Review Roundup (11/27): LES MISERABLES Movie

Christmas can't get here fast enough, because that's when LES MISERABLES hits the big screen. Les Misérables is the motion-picture adaptation of the beloved global stage sensation seen by more than 60 million people in 42 countries and in 21 languages around the globe and still breaking box-office records everywhere in its 27th year.

Helmed by The King’s Speech’s Academy Award-winning director, Tom Hooper, the Working Title/Cameron Mackintosh production stars Hugh Jackman, Oscar® winner Russell Crowe, Anne Hathaway, Amanda Seyfried, Eddie Redmayne, Aaron Tveit, Samantha Barks, with Helena Bonham Carter and Sacha Baron Cohen.

Journalists who attended the first screening could not yet 'review' the film, but were allowed to reveal their general reactions. Check even more below!

Jon Weisman, Variety: Best picture nominee? Fer sure. Best picture winner? Not necessarily, because while it is a film that soars in many places and is rock solid in others, "Les Miserables" also displays enough bumps and bruises to hurt it (and director Tom Hooper) in a close race. Some of the flaws I identified come from comparing it to the musical that I've held near and dear to my heart ever since I saw it Thanksgiving week 1987 in London – no doubt, a huge swath of Academy members have their own personal relationship with the film, and I find it a little hard to believe that they won't nitpick it.

Marlow Stern, Daily Beast: Nearly every number in Hooper’s film is brilliantly performed, with other highlights including Jackman’s rendition of “What Have I Done” following his silver theft, the camera skying upward to reveal a beautiful “eye of God” shot (a nifty trick repeated to equally thrilling effect several times throughout the film); the quodlibet “One Day More,” with Hooper cutting to different members of the cast; and the heartbreaking ballad “On My Own,” magnificently sung by Barks (who played the role on the West End). And of course, the revolutionary anthem “Do You Hear the People Sing” soars to the heavens.

Oliver Littelton, Indie Wire: Standing ovations and tear-stained handkerchiefs greeted showings on both coasts, along with a general consensus that the film is a triumphant screen version of the stage musical hit destined to be a big Oscar player. And while we wouldn't want to jump in until reviews officially drop next month, it's certainly the biggest threat to "Lincoln" at present, and might well turn out to be the big dog of the season.

Scott Feinberg, Hollywood Reporter: Whether or not the use of actors' live on-set singing (as opposed to re-recording it in post-production) actually enhances the believability of a film more than it compromises the quality of the music, audiences seem to have been sold on the former, thanks in large part to Universal's recent featurette about the practice. Moreover, any "first" makes for a great talking-point on the awards season campaign trail. (Incidentally, all of the musical numbers were also shot in close-up and uninterrupted takes.)

Steve Zeitchik, LA Times: There will be plenty of review takes later, so suffice to say that in-between the movie offers some rousing emotion and vivid set pieces, uneven pacing and the sight of Russell Crowe singing. (He's fine as the law-enforcing Javert but, like Hugh Jackman’s Jean Valjean and the other males in the cast, pales next to the women, Amanda Seyfried’s Cosette and particularly Anne Hathaway’s Fantine, whose single-take, close-up "I Dreamed a Dream" is bound to bring down multiplexes and land her on Oscar ballots.) Other Kleenex-producing musical numbers include the large-scale “Do You Hear The People Sing?," offered in reprise later in the film. (Samantha Barks' "On My Own” did not have the same effect on this reporter; others may disagree.)

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