Emma.

Takes an act to really get going, breezing over any exposition in an assumption of familiarity with the source material, but once it's moving it's terrifically entertaining. Colourful, funny, and eminently charming, it handles sweetness and humour with equal skill, cleverly avoiding the melodrama of a love triangle and keeping the dramatic focus on the maturation of the titular lead, who is surrounded by a truly delightful cast.

This movie is so British in the snappiest way possible. Wickedly sharp and overtly sexual in all the right ways, Emma does better than most Austen adaptations I've seen in getting that wit right. The cast, especially Taylor-Joy and Nighy, master their subtlety and how to make it incredibly funny too. Most every beat lands perfectly, and while I at times wished for a movie with more teeth such as The Favourite, Emma bridges the gap between period slapstick and romantic comedy quite well.

I feel like I was dropped into a fantasy world, so I had to struggle to figure out what, exactly, was happening. Listen, I am not a smart man. I have dabbled with some older novels. I may or may not have written an essay about one or two of them. But, the hoity-toity language being used was like Elvish to me. However, once I did settle in, this film was a delight on a nice Spring day.

Sumptuous, vivid and decadent. A little on the slow side. Diet Barry Lyndon.

Enchanting. Fresh. Sparkling. Lively. A great interpretation of Austen for 2020

Not so much a film adaptation of the novel as a ballet of it; DeWilde delivers straight-up costume drama porn in pastel, having her characters zoom along in the tracks society's made for them, just so she can jerk them out of it for the moments that really matter. Propriety as something to be subverted and taken control of.

A perfectly put-together period. piece, slickly subtle yet sizzling in its sensuality (those looks shared at the dance!) and humour (chatty Miss Bates is an obvious highlight, but spineless Mr. Elton is another) as wonderful cinematography, performances, and script unravel the story's web of relationships centered on the beguiling Emma. With all the pomp and privilege on display though (not to mention the tidy pairing-off in the end), a little more bite and blood would've been welcome.

I've never read the novel but this feels extraordinarily silly - the kind of movie that relies on the musical score to let you know something's supposed to be funny. Emma also destroys her friend's happiness which might be interesting if we weren't presumably meant to like her and she wasn't oblivious to boot. Characters like this only work if it's funny (like Clueless) but it's not. Emma finally realizes how awful she is in the last half hour after humiliating a nice lady. Too little to

Beautifully vibrant, energetically performed and terrifically cast right down the line – Taylor-Joy is indeed a joy in the lead, reveling in Emma's bitchiness but finding the reserves for genuine tenderness and emotion where needed; film may well be stolen by O'Connor as a hilariously smarmy Mr Elton (he only need to remain out of focus during a dance scene to get a good belly laugh!). Some beautiful sun dappled photography gives the out-of-doors settings a visceral immediacy.

The only thing that got me through this was the costuming. Even though I know the story line and plot points of Emma I was still totally lost watching this. Couldn't keep characters or their relationships straight. Someone just smack this arrogant meddling girl and tell her to mind her own business already.

Despite being well-acted, with some witty dialogue, I was utterly bored during Emma. The strength of the film lies in the subtext of the dialogue, but characters are either relentlessly bland or mildly annoying, with the titular character being pathological. The film is filled with pastel colours and a soundtrack that is oddly contemporary and period fitting simultaneously. Emma. definitely has an audience, though I am decidedly not among it.

Emma is every bit as handsome and clever as advertised, a sumptuous delight for the senses that proves an impressive debut for director Autumn de Wilde. Anya Taylor-Joy is absolutely magnetic in the titular role, portraying the ineffable matchmaker to perfection. It does lack a certain thematic richness, but Eleanor Catton's whip-smart and heartfelt adaptation of Austen's final novel keeps the proceedings deftly agreeable, if not profound. An undeniably delightful diversion.

What it lacks in punch, it makes up for in style

The fact that there are 7 versions of Emma on Criticker (without counting all the TV adaptions) says 1 thing; It is a great story! A story about people, friendship, emotions and how easy it is to step on feelings of those who are more vulnerable. This is a wonderful adaptation; sumptuous, beautifully acted, quirky ( although not the grating sound track!) funny and sexy.. yet retains the stong emotional punch of Emma becoming aware of the impact that her matchmaking (aka "using") has on others.

Delightful and witty. I have seen at least 3 other iterations of this story, but Autumn DeWilde managed to make it fresh, even contemporary. It had a nice visual flair that transcended the Regency era and a nice frenetic energy. Taylor-Joy is awesome as the mean girl Emma. But there's kissing in it. Jane Austen has no kissing. Just kidding, I did not mind that one bit.

This would have been so much better if it had been 30 to 40 minutes shorter.

A Jane Austin book I have not read nor seen previous versions. It was amusing in parts and fun characters with deep personalities.

This is very much a 'prim and proper' frilly tale of its time. As a period drama its ok but not entirely memorable. Some aspects of the story interested me but I didn't feel entirely impressed by this film to be honest. It's ok, with some gentle comedy at times but nothing exciting or memorable, certainly (though seeing an as ever grumpy Bill Nighy did make me smirk), so no, I wouldn't recommend it as such.

Good but not great. The best part is the opening script, which starts with the films tagline. "Emma Woodhouse, handsome, clever, and rich. She had lived nearly twenty-one years in the world with very little to distress or vex her."

Emma Woodhouse is a young woman who accidentally discovers that she is a good matchmaker. At least that proves the wedding she attends between the lovers she has managed to bring together. She decides to use her talent to help single friends find love. In the meantime, there is also something going on for her on an amorous level.

I succeeded till the end. Give me a medal for it! Nice costumes, good leads but the story was way out of my league. Jane Austen. Banned for me!

Stylised and somewhat theatrical, with an annoying soundtrack, but it captures the mise-en-scène quite spectacularly. I might have scored this one a little low.

The costumes, hair-do's, buildings and even trees look fabulous. Too bad there's nothing going on.

Taylor-Joy as usual is quite good here and there's some good comedy scattered throughout. I would say that the comedy hit more effectively than the drama. This isn't really a "me" movie but I did enjoy it--I just don't have a lot to say about it because I think it was finely made in all respects but didn't go beyond that.

I stopped watching after 30 mins. It was pretty, but tedious. I don't care enough about who marries who.

Feature adaptations of Austin novels are usually perfunctory. I haven't read the original, but I was able to follow the story and general themes to this one. In 2020 I'm just glad that filmmakers still take period pieces seriously.

This much like the book is my least favorite Austen story. There's not enough plot for the film's length so I found myself losing interest a few time. The acting is decent and the cinematography was well done but the paced and music was flawed.

#21#, exp3, rw3, story, ratings, cast.

Visually stunning, and we'll acted, but mostly by the numbers.

Slow and visually pleasing. Bill Nighy steals every scene he's in. Anya Taylor-Joy is great but the chemistry between her and other leads is just not there.

Paraphrasing my "New Mutants" review, having Anya Taylor-Joy on the marquee all but guarantees a mostly-good review from me, plus Bill Nighy is just a treat. I must admit that getting into this was more of a struggle than I expected; I wanted to be more interested, and I think this deserves a more-invested viewing. The movie gets better as it goes, even if the comedy was hit-and-miss for me. The ensemble does a good job, and Taylor-Joy has moments of greatness as the flawed but sympathetic Emma.

Idontevenreallycareaboutunderstandinglol+theguyactuallylovesE+ilikethelittleoldladylol+meanyosomeladyforsomereason+nextguywasalreadysecretlyengaged+guyproposetoE-nosebleedlol+shegetshertomarryOGguy+Emarriesguy

I quickly got bored in the first half and got lost, so I ended up having difficult time enjoying its much better second half to the fullest.

Manages to be both hectic and lumbering. Johnny Flynn is solid and Miranda Hart is breezily amusing, but most of the performances are below par, with the mugging of Josh O'Connor and Mia Goth hard to take. Rattles through the story with barely a pause, and little of the wit or nuance which this story requires.

7???????????

Move over other Austen adaptations! This. This is the shit. Emma sets up new standards for period romance. Flynn and Taylor-Joy swirling around each other at the ball, ungloved hands stealing lingering touches... This is more titillating than most porn. This will be one of select, VERY, few movies that will get rewatches from me.

Aristokrat ailenin kızı olan Emma'nın kibirli halleri. Jane Austen'in başarılı romanın uyarlaması. Konu bilindik. Film, roman gibi ağır ilerlese de, aşk üzerine güzel aforizmalar var. Feminen bu konu iç açıcı değil. Yada konuyu zorlanıp işlenmiş. Filmin sonunda, Emma esas oğlanı kapıyor. İngiltere'de aşk oyunları. Filmi seyrederken içim geçmiş.

There's a plot with characters, meaning and story development. But all of it is presented in a movie with a hectic edition, terrible direction, and an attempt to present things in a plesant/enjoyable/ fun way that often make things supperficial and distant from the possible depth of the story. It also feels like the edition and the attempt of making it fast paced ruins the moments that could display real human emotions. The direction ruined a possibly good movie, but it still has good moments.

The movie decides to jump into the story quickly due to the many adaptations before it. This is probably a good thing for most, but I have no prior knowledge of the story. The best parts are the visuals and acting. Beyond that, a few of the characters annoyed me.

I dont know anything about Jane Austen or but I dont see that as an excuse for finding this film so boring.

It's well-costumed and directed, and feelingly acted. For those (such as myself) unfamiliar with the book, few of the characters are explained at the outset, leaving us to figure out as things progress that this is not a plot-driven film but a character study. Even so, the first hour of the film is somewhat plodding; only in the final third do interesting revelations provide satisfying payoffs. The final act is a very good film, but my score reflects the excessive time it takes to get there.

A fun new version of the Jane Austen classic that revels in the lavish costumes and sets, while simultaneously highlighting the inherent ridiculousness of the manners and customs of the times. The cast is all around great.

It's no "Pride & Prejudice", but it's engaging enough. Taylor-Joy and Flynn are a delight to watch.

Enchanting - slow paced, lovely to look at and the acting is all glances and gestures,

Entertainment: 3. Spirit: 0.5. Sustainability: 0. Family: 1.5

This is perhaps the greatest testament of Taylor-Joy's ability. I wanted to like this way more than I actually did, but was was left a bit confused in the end of what exactly they were going for. That said, Taylor-Joy carries the thing by sheer will and her charisma and star power. While large portions of the movie don't really work, it's hard to take your eyes off her performance. Goth is also excellent. The sets and costumes and some other aspects gave me Wes Anderson vibes at times.

I found Emma. (2020) utterly delightful!

Heartfelt, playful, and Anya Taylor-Joy.

Lovely movie, soundtrack is amazing, wonderful pace. Leading man, not so hot.

I must admit that I haven’t read the Austen book and I cannot say if this was a faithful adaptation, but as a film it's not very successful. Visually it’s very strong: cinematography, costumes, sets were top notch. Actors were also OK, especially Taylor-Joy as Emma, but the film has a peculiar semi-comedic style which prevented me from taking it seriously as a costume drama, nor was it funny enough to work as a proper comedy. It improved towards the end, but still felt seriously overlong.

The director must have stayed as director of photography.

What curious busy work people make for themselves when all their needs have been met and no greater achievements are readily available.