Capote 2005

Critics score:
90 / 100

Reviews provided by RottenTomatoes

Rene Rodriguez, Miami Herald: Hoffman ... has always been an actor whose performances, no matter how small, leave a permanent impression. But his portrayal of Capote is in an entirely different league. Read more

Michael Phillips, Chicago Tribune: It is exceptional in every sharp-eyed, low-keyed detail. Read more

Moira MacDonald, Seattle Times: The great strength of Miller's film -- aside from Hoffman's brilliant portrayal -- is that it both tells the story behind Capote's masterpiece, the true-crime tale In Cold Blood, and serves as an homage to it. Read more

Richard Roeper, Ebert & Roeper: It's a great film. Read more

Steve Murray, Atlanta Journal-Constitution: Hoffman goes beyond impersonation to something close to possession. Read more

AV Club: Read more

Bill Muller, Arizona Republic: This spare, uncompromising portrait not only examines what drove the author but delves into the ethics of journalists who identify with their subjects, or pretend to, in order to report their stories. Read more

Ty Burr, Boston Globe: When it's good -- which is very often -- Capote remembers what Capote forgot: Beware the reporter who thinks he's the story. Read more

Carina Chocano, Los Angeles Times: Hoffman captures what is presented as an astonishing capacity for insinuation and connects it to a deep personal understanding of the basic human need for connection. Read more

Jonathan Rosenbaum, Chicago Reader: Skillfully and economically put together. Read more

Bruce Westbrook, Houston Chronicle: It's a fully realized look at a time and place as well as a riveting study of career obsessions warring with a sense of justice. Read more

Paul Clinton (, Let me put this bluntly: Capote is, without a doubt, one of the best films of the year. Read more

Peter Rainer, Christian Science Monitor: I don't think I've ever seen another performance based on a famous artist that was as psychologically acute or troubling. Read more

Lisa Kennedy, Denver Post: Hoffman and company make Capote well worth seeing. What makes the movie important is the way Capote exposes the work of journalism. Read more

Owen Gleiberman, Entertainment Weekly: It teases, fascinates, and haunts. Read more

Chris Vognar, Dallas Morning News: It's about as close as film can come to capturing a man as he gradually loses all bearings and joy. At these moments, it's hard to look at Capote. But it's even harder to turn away. Read more

Ella Taylor, L.A. Weekly: A character study as brilliantly insidious as it is humane. Read more

Gene Seymour, Newsday: An absorbing, emotionally challenging movie out of the dubious process (in terms of dramatic potential) of literary legwork. Read more

Stephen Whitty, Newark Star-Ledger: It's Philip Seymour Hoffman who steals the show. Steals? He owns it outright. Read more

Bob Mondello, Read more

Jack Mathews, New York Daily News: A devastating portrait of genius and narcissism. Read more

Rex Reed, New York Observer: Philip Seymour Hoffman gets it perfect in Capote, with a star turn both meteoric and mesmerizing. This is not an example of a fine actor bringing charisma to a movie. Lock, stock and barrel, he is the movie. Read more

Andrew Sarris, New York Observer: Miller's Capote, from a screenplay by Dan Futterman, has been rightly hailed for Philip Seymour Hoffman's uncanny reincarnation of the late Truman Capote. Read more

Roger Moore, Orlando Sentinel: A meditation on the artist's obligations to the art and to society and lines that blur when you cross them. Read more

James Berardinelli, ReelViews: [Capote] will demand recognition at next year's Oscars. Read more

Roger Ebert, Chicago Sun-Times: Capote is a film of uncommon strength and insight. Read more

Stephanie Zacharek, The movie is both ruthlessly critical of its subject and unabashedly affectionate toward him, and Hoffman hits every note so it rings true. Read more

Mick LaSalle, San Francisco Chronicle: Capote is a surprisingly effective and satisfying effort. Hoffman's success in the role goes way beyond the rightness of his casting, just as the movie's triumph goes well beyond Hoffman's tour de force performance. Read more

David Edelstein, Slate: Hoffman goes beyond the surface mannerisms and diction. He disappears into Capote. Read more

Jeff Strickler, Minneapolis Star Tribune: As entertaining as it is insightful. Read more

St. Louis Post-Dispatch: Read more

Rick Groen, Globe and Mail: I came in expecting Hoffman's tour de force and left with a fuller appreciation of the quiet yet lethal film around him. Lethal, because what it says about the writer's craft, about what often gets destroyed in the name of creation. Read more

Peter Howell, Toronto Star: The almost perfectly realized Capote -- stumbling only in the lack of shading it gives Keener's and Greenwood's characters -- offers a sobering glimpse at what the author had to give up of his soul to achieve his success. Read more

Time Out: Read more

Dave Calhoun, Time Out: Read more

Claudia Puig, USA Today: Hoffman delivers a thrilling and profound Oscar-caliber performance that will haunt viewers well after the movie is over. Read more

David Rooney, Variety: The mesmerizing performance of Philip Seymour Hoffman as the celebrated writer dominates every scene, while director Bennett Miller and screenwriter Dan Futterman's penetrating study enthralls in every aspect. Read more

J. Hoberman, Village Voice: Capote is a cool and polished hall of mirrors reflecting the ways in which Truman Capote came to write (and be written by) In Cold Blood. Read more

Stephen Hunter, Washington Post: The genius of the film, besides Hoffman's stunning performance, is that it knows exactly how much is enough. It never overplays, lingers or punches up. Read more