An adaptation of F. Scott Fitzgerald’s Long Island-set novel, where Midwesterner Nick Carraway is lured into the lavish world of his neighbor, Jay Gatsby. Soon enough, however, Carraway will see through the cracks of Gatsby’s nouveau riche existence, where obsession, madness, and tragedy await.









Film information

Genre: ,
Starring: , , , , , , , , , , , , , , , , , , , , , , , , , , , , ,
Release date: May 10, 2013
MPAA rating: Rated PG-13 for some violent images, sexual content, smoking, partying and brief language
Official website:
Runtime: 143 min
Movie Reviews:
  • 88
    Chicago Sun-Times - by Richard Roeper
    Amidst all the fireworks and the cascading champagne and the insanely over-the-top parties, we’re reminded again and again that The Great Gatsby is about a man who spends half a decade constructing an elaborate monument to the woman of his dreams. more

  • 88
    New York Post - by Lou Lumenick
    Baz Luhrmann’s The Great Gatsby is the first must-see film of Hollywood’s summer season, if for no other reason than its jaw-dropping evocation of Roaring ’20s New York — in 3-D, no less. more

  • 83
    Charlotte Observer - by Lawrence Toppman
    Now comes director Baz Luhrmann, who’s incapable of taking anything literally, and what do we get? The “Gatsby” that, of three I’ve seen and two I’ve read about, seems most faithful to the spirit of Fitzgerald’s superbly sad book. His audacity pays off in a way that may not exactly reproduce the novel but continually illuminates it. more

  • 83
    Portland Oregonian - by Marc Mohan
    When the camera glides down a pier to settle for the first time on Gatsby's face, it's a movie-star moment of the sort we don't often get anymore, and there aren't many actors who could pull off Gatsby's mixture of confident charisma and pathetic vulnerability. more

  • 83
    Tampa Bay Times - by Steve Persall
    As a purely sensory experience at the movies you're hard-pressed to find anything more dazzling than the first 90 minutes of The Great Gatsby, when Luhrmann's riotous amusements make anything possible. more

  • 75
    San Francisco Chronicle - by Mick LaSalle
    The good news about Baz Luhrmann's adaptation of the Fitzgerald masterpiece is that he doesn't use the novel as a mere pretext for his own visual invention, but genuinely tries to capture the Fitzgeraldian spirit, and for the most part, despite some vulgar lapses, he succeeds. ...

  • 75
    Movie Nation - by Roger Moore
    This movie hangs utterly on performance, and DiCaprio’s Gatsby is mesmerizing. more

  • 70
    Slate - by Dana Stevens
    It is, as I suspected, a gargantuan hunk of over-art-directed kitsch, but it makes for a grandiose, colorful, pleasure-drenched night at the movies. more

  • 70
    Time - by Richard Corliss
    The actors emote up a summer storm. Maguire’s otherworldly coolness suits the observer drawn into a story he might prefer only to watch. DiCaprio is persuasive as the little boy lost impersonating a tough guy, and Mulligan finds ways to express Daisy’s magnetism and weakness. more

  • 70
    New York Magazine (Vulture) - by David Edelstein
    You can find fault with virtually every scene in Luhrmann’s The Great Gatsby — and yet in spite of all the wrong notes, Fitzgerald (and the excess he was writing about and living) comes through. The Deco extravagance of the big party scenes is enthralling. Luhrmann throws money at the screen in a way that is positively Gatsby-like, walloping you intentionally and un- with the theme of prodigal waste. more

  • 70
    The New York Times - by A.O. Scott
    Less a conventional movie adaptation than a splashy, trashy opera, a wayward, lavishly theatrical celebration of the emotional and material extravagance that Fitzgerald surveyed with fascinated ambivalence. ...

  • 70
    Village Voice - by Stephanie Zacharek
    It's an expressionist work, a story reinvented to the point of total self-invention, polished to a handsome sheen and possessing no class or taste beyond the kind you can buy. And those are the reasons to love it. more

  • 70
    The Hollywood Reporter - by Todd McCarthy
    No matter how frenzied and elaborate and sometimes distracting his technique may be, Luhrmann's personal connection and commitment to the material remains palpable, which makes for a film that, most of the time, feels vibrantly alive while remaining quite faithful to the spirit, if not the letter or the tone, of its source. more

  • 67
    Entertainment Weekly - by Chris Nashawaty
    It's a dazzling time capsule of a shimmering era and a devastating look into the dark side of the American dream. Too bad Luhrmann, the caffeinated conductor, doesn't trust that story enough. He'd rather blast your retinas into sugar-shock submission. Uncle, old sport! Uncle! more

  • 63
    Boston Globe - by Ty Burr
    It has in Leonardo DiCaprio — magnificent is the only word to describe this performance — the best movie Gatsby by far, superhuman in his charm and connections, the host of revels beyond imagining, and at his heart an insecure fraud whose hopes are pinned to a woman. more

  • 63
    Slant Magazine - by Richard Larson
    This is a film which takes classic source material and imbues it on screen with a sense of wonder commensurate to its prior form, perhaps offering an even more visceral impression of the possibilities inherent to this beautiful, tragic world. more

  • 60
    Variety - by Scott Foundas
    More often, Gatsby feels like a well-rehearsed classic in which the actors say their lines ably, but with no discernible feeling behind them. more

  • 58
    The A.V. Club - by Ben Kenigsberg
    Like Romeo + Juliet (1996), Luhrmann’s version of The Great Gatsby emerges as a half-reverent, half-travestying adaptation that’s campy but not a betrayal, offering a lively take on a familiar work while sacrificing such niceties as structure, character, and nuance. more

  • 58 - by William Goss
    In the end, his (Luhrmann) Gatsby takes the fitting form of a cocktail glass, at once undeniably polished and unfailingly empty. more

  • 58
    The Playlist - by Rodrigo Perez
    With the sound off, Baz Luhrmann’s The Great Gatsby surely looks as radiant and extraordinary as some of the most dazzling movies ever committed to celluloid, but with the sound up and the experience on full volume, the movie is mostly a cacophony of style, excess and noise that makes you want to turn it all down a notch...or three... more

  • 50
    NPR - by Keith Phipps
    When Luhrmann finally reveals the title character, he does so as assorted partygoers work themselves into a frenzy, Rhapsody in Blue pounds on the soundtrack and fireworks explode in the sky...Unfortunately, the film is never again as successful; from here on, it has to dig into the bothersome business of telling Fitzgerald's story. more

  • 50
    Philadelphia Inquirer - by Steven Rea
    There are so many things wrong with Luhrmann's Great Gatsby - the filmmaker's attention-deficit-disorder approach, the anachronistic convergence of hip-hop and swing, the choppy elision of Fitzgerald's plot, the jarring collision of Jazz Age cool and Millennial cluelessness. But at the crux of things, the problem is that it's impossible to care. more

  • 50
    ReelViews - by James Berardinelli
    Tobey Maguire is fine as Nick but his function is more as an observer than a participant. Carey Mulligan's Daisy is unremarkable in every way. And Joel Edgerton is just a mustache twirl away from doing a Snidely Whiplash impersonation. more

  • 50
    Miami Herald - by Connie Ogle
    Luhrmann’s The Great Gatsby is a failure that should have at least been a magnificent mistake, a risky endeavor that showed a daring intent even if its brash vision didn’t quite succeed. Instead, the movie leaves you cold and weary and vaguely disgusted. more

  • 50
    Washington Post - by Ann Hornaday
    Childlike, fetishistic and painfully literal, Luhrmann’s experiment proves once again that it’s Fitzgerald’s writing — not his plot, his characters or his grasp of material detail — that has always made “Gatsby” great. more

  • 50
    Chicago Tribune - by Michael Phillips
    Despite a few good ideas and the uniformly splendid production and costume designs by Luhrmann's mate and partner, Catherine Martin, this frenzied adaptation of The Great Gatsby is all look and no feel. more

  • 50
    USA Today - by Claudia Puig
    So much effort seems to have gone into the eye-popping production design, swooping camera work and anachronistic musical score that the result is hyper-active cacophony rather than enthralling entertainment. more

  • 42
    Christian Science Monitor - by Peter Rainer
    The Great Gatsby isn’t simply a classic American text: In Luhrmann’s hands, it’s also the greatest self-help manual ever written. more

  • 42
    indieWIRE - by Eric Kohn
    Luhrmann's The Great Gatsby has the hallmarks of a contemporary Hollywood spectacle. It's missing the explosions, but make no mistake: Gatsby is one glitzy misfire. more

  • 40
    New York Daily News - by Elizabeth Weitzman
    Luhrmann piles on one shiny distraction after another. But amid all the seductively gaudy excess, DiCaprio finds both the heart and hurt buried within one of literature’s everlasting enigmas. more

  • 40
    Los Angeles Times - by
    The director has steadfastly proclaimed his passion for the novel, but the film he's made of it too often plays as no more than an excuse to display his frantic, frenetic personal style. more

  • 40
    Austin Chronicle - by Kimberley Jones
    Luhrmann has always had a knack with the fever of passion, but here he only catches high fever’s empty gibberish. more

  • 40 - by Andrew O'Hehir
    Whether or not Luhrmann’s “Gatsby” will go down in history as a legendary flop is not for me to judge (though all signs currently point toward yes), but it surely belongs to the category of baroque, overblown, megalomaniacal spectacles dubbed “film follies” by longtime Nation film critic Stuart Klawans. more

  • 40
    Time Out New York - by Keith Uhlich
    Shorn of its quintessentially American roots, a biting tale of adult extravagance becomes insubstantially tween-aged. more

  • 40
    The New Yorker - by David Denby
    Luhrmann's vulgarity is designed to win over the young audience, and it suggests that he's less a filmmaker than a music-video director with endless resources and a stunning absence of taste. [13 May 2013, p.78] ...

  • 25
    Rolling Stone - by Peter Travers
    There may be worse movies this summer than The Great Gatsby, but there won't be a more crushing disappointment. more

  • 25
    New York Observer - by Rex Reed
    I love the publicity quotes by Baz Luhrmann stating that his intention was to make an epic romantic vision that is enormous. Also: overwrought, asinine, exaggerated and boring. But in the end, about as romantic as a pet rock. more

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