Le Chardonneret

Le résultat n'est pas pleinement convaincant, mais Ansel Elgort dégage à la fois le charme et la timidité qui conviennent au jeune héros rendu à l'âge adulte. 

Il y a, dans The Goldfinch, une élégance diaphane, peu perceptible, relevant de ce qu'on peut imaginer (dans la boutique d'antiquaire, quelques plans de la ville, des intérieurs sortis d'un autre âge).

À l'arrivée, The Goldfinch est un film bien appliqué, mais trop sage. Et qui, malgré d'indéniables qualités artistiques, ne suscite ni passion ni enthousiasme.

The only achievement in transferring Donna Tartt's 'The Goldfinch' from page to screen is that it's a botch job for the ages.

If the immaculately chosen cast has done its job as best they could, that goes double for the key behind-the-scenes talent, notably cinematographer Roger Deakins for his compositions (...).

The Goldfinch is too artful to deserve that kind of rejection, but too arty to keep you from saying, "What did I just see?'

If a film ever had a better in-story symbol of its own failing, I can't think of it. 

This year's prestige cinematic literary adaptation is a version of Donna Tartt's 2013 novel about art, terrorism, and a lost boy growing up that's scrupulously faithful, yet still misses the book's captivating essence.

John Crowley has to do a serious balancing act throughout the movie. But with two timelines and plenty of A-List talent to feature, the movie's pacing ends up slowing down. It's this lack of energy that sometimes brings The Goldfinch down.

It's beautiful to look at, but if Tartt's book was something special that doesn't come across in the movie at all.