Final Portrait

As a bit of art-house escapism, that it is a trip well worth taking.

Makes for a narrative with little consistent forward momentum and an anticlimactic ending, though the film remains agreeable thanks largely to Rush's flavorful performance.

In "Final Portrait," Stanley Tucci, directing his first film in 10 years, takes the biopic to an even more exquisitely homespun level of miniature close-up.

A bleakly funny, genteelly twisted gloss on the clichés of temperamental creative genius, via the relationship between an artist and his subject, one that questions the sometimes high personal price of great art.

It is not an innovative proposal, but not too trite... [Full review in Spanish]

This modest, extremely charming labor of love from writer/director Stanley Tucci is not intended for anyone who can't wait for the next Transformers. But if you're interested in Paris, art, the 1960s or any combination, it may be right up your alley.

Actor-turned-director Stanley Tucci's fifth movie is like an engagingly acted episode stretched into a feature.

A low-key drama of consistently high quality...

Tucci presents an engaging overview of the artist, undoubtedly one that will inspire viewers to continue their own exploration of a fascinating character.

Avoids the usual biopic pitfalls, yet succumbs to the half-baked slightness that can plague talky, miniaturist chamber pieces.

Giacometti's endless delaying tactics and his prosaic nature means Final Portrait weirdly feels both once over lightly and somewhat slow all at once.

Rather like the sittings, the film just goes on and on and on.