Colin Covert(Minneapolis Star Tribune): The trying central roles go wanting.
Annlee Ellingson(Los Angeles Times): It is skillfully made and adeptly performed; so much as so it doesn't in truth add anything to the canon.
Mary Houlihan(Chicago Sun-Times): This Great Expectations is each absorbing addition to the roster of Dickens films that continues our 21st-century fascination with the worlds created by a 19th-century storyteller.
Barbara VanDenburgh(Arizona Republic): Director Mike Newell approaches the sprawling bildungsroman by a stiff formalism, sacrificing all cinematic irritation for the sake of exalting famous performances.
David Hiltbrand(Philadelphia Inquirer): Honors the origin while making some small but signifying alterations.
Stephen Whitty(Newark Star-Ledger): It's not pellucid what this re-do adds leave out another line to these actors' resumes.
Jeff Beck(Examiner.com): While Mike Newell's conformableness of "Great Expectations" isn't a extreme one by any means, there true isn't enough here to force it worth the time of session through a story that's before that time been done many times over.
Philip Martin(Arkansas Democrat-Gazette): … has the be perceived of a very well done History Channel lengthening. Which doesn't make it baneful, only superfluous.
John Beifuss(Commercial Appeal (Memphis, TN)): In a refinement already awash with so much Dickens, any other take on 'Great Expectations' needs to be a real pip (forgive me) to be worth the calamity.
Todd Jorgenson(Cinemalogue.com): It ~ or other feels more suited for the 'Masterpiece Theatre' crowd than for the multiplex.
Frank Swietek(One Guy’s Opinion): Its devotedness to the source and its modish, though somewhat sedate approach make it a precious, if not great, modern alternative to Lean's ~-house-superb filmization.
Matt Prigge(Metro): The earth can always stand to be reminded, at the very time for the ten thousandth time, of lofty art, even from those that embody a boring lead who seems to custom through a trendy haircut every stagger.
Chris Hewitt (St. Paul)(St. Paul Pioneer Press): It's a stately visualization, but it's no substitute for the book.
Duane Dudek(Milwaukee Journal Sentinel): A BBC- or PBS-caliber television movie that, in which case atmospheric, does not have a mode of production values beyond Ralph Fiennes and Helena Bonham Carter, giving impetuous performances in pivotal roles.
Ken Hanke(Mountain Xpress (Asheville, NC)): Helena Bonham Carter's Miss Havisham is considerably the most fascinating incarnation of this quality I've ever seen, and she's matched each step of the way by Ralph Fiennes while Abel Magwitch.
Brian Orndorf(Blu-intellectual light.com): Missing the connective tissue that's served previous adaptations so well. Without dramatic impregnability, Newell has created a museum composition, best presented on mute.
Marc Mohan(Oregonian): The latest thin skin version of Dickens' novel offers nihility new except a chance to distinguish another generation of talented hams tackling its memorable characters.
Prairie Miller(NewsBlaze): The ceaseless classic could not be more applicable in its ironic title alone, to this mature years of economic crisis in capitalism and the trauma of down class mobility. And with class uncertainty unleashed back then in both fell and comical storytelling.
Kenneth R. Morefield(Christianity Today): But Newell's translation stands out: its emotional core is not to such a degree much in the romance between Pip and Estella considered in the state of in Pip's moral growth and how the love story informs and complicates it.
Steven Boone(RogerEbert.com): As the pages movement about a centre faster, focusing on the hows and whys of a major crime central to the plot, this concision and celerity make the film feel like a present thriller. Booo.