Nell wrote:

Sofia Coppola is the Veruca Salt of American filmmakers. She's the privileged little girl in Charlie and the Chocolate Factory whose father, a nut tycoon, makes sure his daughter wins a golden ticket to the Willie Wonka factory by buying up countless Wonka bars, which his workers methodically unwrap till they find the prize. If Coppola's 2004 Academy Award for best original screenplay for Lost in Translation was her golden ticket to big-budget filmmaking, Marie Antoinette is her prize, a $40 million tour through the lush and hallucinatory candy land of 18th-century France. Of course, Roald Dahl's insufferable Veruca Salt was eventually seized by angry squirrels and hurled down a garbage chute. Will Coppola suffer a similar fate when Marie Antoinette opens this Friday?

We walked out of a sneak preview of this on Thursday. I almost never walk out of movies. I find her frustrating as a director. She is obviously having fun, but the combinations and styles of her previous films -- make up for acting by having only sparse dialog, add weight by long lingering stills, add energy through modern music -- are still here. It feels more desperation than Vision. The Washington Post claims the movie "may be the most fascinating cinematic Rorschach test to come down the pike". If you like what you've seen before of her movies, this may be a great movie and will feel deep and atmospheric. If not, this movie will not improve your impression of Director Coppola II.

RE: Marie Antoinette reviewed. - By Dana Stevens - Slate Magazine