Recensioni di Metacritic

A wholly original creation, crossed with shadows and light and the everyday madness of Savannah and its remarkable citizens.

Eastwood essentially uses the Lady Chablis the same way he did a few extended Charlie Parker solos in Bird--as unbridled, inventive improvisations that challenge the well-rehearsed "head" arrangements of everyone else.

Two aspects stand out. Clint Eastwood is not the first person we might think of to direct a film of leisurely pace, concerned with ghosts and a transvestite...Then there's Kevin Spacey, who grows before our eyes. [29 December 1997, p. 28]

Clint Eastwood's film is a determined attempt to be faithful to the book's spirit, but something ineffable is lost just by turning on the camera: Nothing we see can be as amazing as what we've imagined.

A sputtering marathon of a movie. It starts, it stops, it sprints, it stumbles, occasionally following a straight narrative line, frequently darting off on colourful if pointless tangents, often commanding our attention yet never sparking our imagination.

This is a movie that is wonderful on the peripherals.

The fans who have kept John Berendt's nonfiction tale on the best-seller list for more than three years may come away feeling they've seen "Perry Mason" on Valium. [1 December 1997, p.87]

A dragging, rhythmless piece of work.

Isn't an awful movie. It's got two charismatic, albeit ill-served leads in John Cusack and Kevin Spacey, and it's got a sizzling, tear-it-up performance by The Lady Chablis, who brings such good-natured sass and suggestiveness that you hunger for more whenever she's offscreen.

It is likely to disappoint the book's acolytes and tax the patience of newcomers. [1 December 1997, p.84]