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Leave your thoughts about Dalíland.
| San Francisco ChronicleMick LaSalleAt its base level, Dalíland is all about what a drag it is getting old, especially for a narcissist. But more importantly, it’s also a cautionary tale about the dead-end that is narcissism — not just in life, but in art. |
| Original-CinLiam LaceyPossibly, no sane person could truly explain Dalí — who could account for the painter of Atmospheric Skull Sodomizing a Grand Piano? — but Harron’s film maintains a wry compassion for these mad love birds, who have spent their lives defying convention and perhaps reality itself. |
| VarietyOwen GleibermanIt’s both a highly entertaining movie and, by the end, a haunting one. It revels in Dalí’s artifice even as it mercilessly peels away his layers. |
| TheWrapMartin TsaiIt’s based on historical facts and real-life characters, yet it feels timeless and allegorical. It’s indisputably Harron’s best, and she deftly locates stately classicism amid the crass and the banal, and vice versa. |
| The New York TimesManohla DargisWhile Dalíland occasionally edges into caricature, its take on Gala’s role in the marriage, her temperament and feverish attention to money is happily more complicated. |
| The New YorkerRichard BrodyThe ultimate deflation of the movie into a pointed drama of norms and ethics doesn’t, however, dispel its glorious hour of theatrical spectacle and artistic mystery. |
| The Hollywood ReporterJohn DeForeMary Harron’s Dalíland revolves around the titular Surrealist, played with restraint and dignity by Ben Kingsley, while gently nudging the spotlight in the direction of his complicated wife/muse Gala, a role in which Barbara Sukowa more than earns the movie’s attention. |
| Film ThreatAndy HowellIt raises interesting questions about cults of personality, our inability to deal with aging, and how we can use the people around us to get what we want. That’s not exactly surrealism, nor is it realism. It’s just Hollywood. |
| The GuardianCath ClarkeThe cleverness of Kingsley’s performance is the twinkle in his eye that leaves you wondering whether Dalí has disappeared entirely up his own myth. How much of the eccentricity is a put-on, brazen self-publicity to maximise sales? Disappointingly, the script invents a fictional art school dropout to be our guide to Dalí’s universe. |
| RogerEbert.comGlenn KennySuki Waterhouse does her best with what she’s given. But still. The movie’s commonplaces don’t serve its singular subject—love him or hate him—all that well. |
