Reviews
| Empire - Will Lawrence | Screenrush Barometer:  |
| 'An ambitious if decidedly uneven interpretation of the last great Gothic horror novel.' |
| Other reviews with the same rating:
| The Observer - Philip French | Screenrush Barometer: |
| 'I much prefer Albert Lewin's undervalued, black-and-white 1945 MGM version, with Hurd Hatfield's hypnotic, mask-like Dorian, and the portrait rendered in colour by the American hyper realist, Ivan Le Lorraine Albright.' |
| The Daily Telegraph - Tim Robey | Screenrush Barometer: |
| 'We could complain that Barnes is a somewhat vanilla hellraiser, and more boyishly handsome than impossibly beautiful. He's too much of an ingénu at the start. But, let's face it, it could have been worse. It could have been Orlando Bloom.' |
| The Financial Times - Karl French | Screenrush Barometer: |
| 'while it has some effective moments of horror it is, as a drama, peculiarly inert.' |
| The Guardian - Peter Bradshaw | Screenrush Barometer: |
| 'Parker has made a name for himself with Wilde adaptations. This is the least respectful and the most fun.' |
| Time Out - Dave Calhoun | Screenrush Barometer: |
| ' things look up from the halfway point as Gray's murder of an associate - and its dreadful effect on him - is claustrophobic enough to convince, and the film is particularly interesting when presenting Dorian as a Victorian out of time, pitching him against the Edwardian age, the car and the suffrage movement. Barnes's ability to handle his character's strange psychological journey is limited: he's upstaged by the painting itself, which doesn't just age; it putrefies, maggots and all.' |
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