आलोचक समीक्षाएं

The threat posed by women who think for themselves to the absolute power of men is a central theme in this starch-free tale of Tudor intrigue, its protofeminist perspective seamlessly woven into the narrative fabric without a hint of the didactic.

Law is horribly good.

Strangely, the most conventional aspect of Firebrand is its central character.

It’s a watchable piece of faux history, but the movie does not know what to do with its own heroine, content to leave her to the clutches of its villain: Henry.

It’s hampered by a pedestrian script and an improbable ending, but always catches fire when the supercharged Law is on screen.

Firebrand pays frequent lip service to the courage it surely required for Katherine to do her royal duties with a straight face at the same time as she cultivated such radical ideas in secret, but little about the film itself reflects the courage of her convictions.

With a messy story and confusing characters, Aïnouz's Firebrand is a disappointment to behold no matter how exquisite the film looks.

For a movie that seeks to establish the ferocious fire within the great, shunned Catherine Parr, it doesn’t take long for the flame to fizzle out.

As sympathetic as Vikander is in the role, this queen remains a bit opaque, her inner life never brought into sharp focus. Katherine may have survived, but she’s still not fully known.

Firebrand is clever to reframe Catherine as an important figure in England’s change. It just goes too far.