Alicia I love this movie so much

Redwarmin This movie is the proof that the world is becoming a sick and dumb place

Matho The biggest problem with this movie is it’s a little better than you think it might be, which somehow makes it worse. As in, it takes itself a bit too seriously, which makes most of the movie feel kind of dull.

Isbel A terrific literary drama and character piece that shows how the process of creating art can be seen differently by those doing it and those looking at it from the outside.

anenglishmanabroard The story is a challenging one to tell, and although all concerned make a valiant attempt to capture the genius and tragedy of the man, somehow the end result is not entirely convincing. At times, a little over dramatic and cliched; and excessively focused on Wild's sexuality. At the end of the film one feels one knows more about Wilde, but does not know him better.

writers_reign We are, of course, blessed in England with a language in which often a single word can be made to do double duty and capture a given situation to perfection. I employ such a word in my summary where 'wild' refers not only to the focus of the film Oscar Wilde but also to his ambivalent feelings to his bete noire Lord Alfred Douglas aka Bosie, the object of Wilde's love/lust who treated him abominally and could truthfully be described as Wilde's nemesis. Rupert Everett's passion for and commitment to the project is undeniable and shines through every frame but like at least one other person writing here I was strangely unmoved ultimately and I cry at card tricks. There was in England - indeed may still be - a manufacturer of brass instruments named Boosey & Hawkes which allowed the observation that Oscar Wilde was fond of blowing his own trumpet - a Bosie & Hawkes. Bosie, it appears, was bad for Wilde in more ways than one.

blauregenbogen A masterpiece made and performed by Rupert Everett. Fabulous,they way of such a great writer. Such shame ,not every Cinema show that movie

ponty-84699 Although it focuses on the less well-known final years of Wilde's life, the script follows a traditional arc and has little new to say about the writer or his relationships.Ross and Douglas are presented as daggers drawn in the service of a script which identifies them as Wilde's 'good' and 'bad' angels. The reality was much messier, and records show that during Wilde's lifetime they remained friends, at least on the surface. It was only a good while after his death that they fell out, with appalling consequences for both of them. In this context, the film's depiction of the altercation between the two men at Wilde's funeral is particularly ridiculous. If the eye witness account of the poet Paul Fort is to be believed, there was a hysterical scene when Douglas tried to throw himself into the grave, but it didn't lead to fisticuffs with Ross.This aside, there is much to enjoy in the film, not least Rupert Everett's compelling central performance, its impressionistic structure and the stunning cinematography and costumes. There are also interesting and nuanced supporting performances from Emily Watson and Colin Morgan, even within the strait jacket of a script that has little to add to received wisdom about their characters.