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Reviews provided by RottenTomatoes
Sid Smith, Chicago Tribune: Andrew Lloyd Webber's kitschy theatrical spectacle is now a kitschy theatrical movie, a mix of melodrama, horror, romance, mystery and melody heaped together into a cinematic smorgasbord, one heavy in starch. Read more
Moira MacDonald, Seattle Times: It's a shamelessly over-the-top wallow in romantic obsession, and a thoroughly enjoyable one. Read more
Ruthe Stein, San Francisco Chronicle: The movie misfires as often as it connects. Read more
David Edelstein, Slate: I'm more inclined to suggest that it be used to entertain the prisoners at Abu Ghraib and Guantanamo -- at least until Amnesty International gets wind of it. Read more
Richard Roeper, Ebert & Roeper: This guy's not the Phantom of the Opera, he's the Fashionably Scarred Stud of the Opera and that just doesn't work. Read more
Eleanor Ringel Gillespie, Atlanta Journal-Constitution: Bottom line: If you love the show, you'll most likely love the movie. But if you think Webber's cash cow is a bloated monstrosity, well, there's always Lon Chaney. Read more
Bill Muller, Arizona Republic: Butler doesn't have the necessary screen presence, and without a good Phantom, the movie fails to capture the imagination. Read more
Wesley Morris, Boston Globe: Schumacher's film is, at times, unintentionally entertaining, as its tone shifts from ridiculous to overwrought. Read more
Carina Chocano, Los Angeles Times: It's a slow-moving orgy of lowbrow grandiosity that's as tedious as it is overblown and pretentious. Songs, scenes, dance numbers, lyrics and set pieces all blend together into an indistinct, ludicrously self-serious mush. Read more
Bruce Westbrook, Houston Chronicle: Its close-ups of belted numbers command attention without truly commanding our hearts. Read more
Lisa Kennedy, Denver Post: Director Schumacher understands what he has in Rossum and often frames her with the sort of close-up that evokes a Golden Age movie star in her budding glory. Read more
Owen Gleiberman, Entertainment Weekly: The movie version of Lloyd Webber's swooning 1986 horror operetta has been directed, by Joel Schumacher, as if Schumacher were the world's hardest-working upholstery salesman. Read more
Leah McLaren, Globe and Mail: Christine is a dipstick, a trait that the vapid, but pretty-voiced Emmy Rossum brings across with effortless, blank-eyed aplomb in this similarly idiotic film. Read more
Philip Wuntch, Dallas Morning News: The story has an intrinsic appeal, part nostalgic valentine and part root-for-the-underdog thriller. For all the film's missteps, it remains watchable. Read more
Scott Foundas, L.A. Weekly: Watching the passionless Phantom, with its geriatric story-framing device, gooey dimestore romanticism and tawdry pop ballads about unrequited yearning, feels akin to dying and waking up in your parents' easy-listening-radio hell. Read more
Jan Stuart, Newsday: For some of us, the phenomenal popularity of Phantom remains the greatest mystery of all, one left unsolved by this interminable screen spectacle. Read more
Stephen Whitty, Newark Star-Ledger: If you want something more from musicals than a single syrupy hit, though -- and have fond memories of the Phantom as our most romantic of monsters -- then seek out the old Lon Chaney silent instead, and put on your own darn music. Read more
Jack Mathews, New York Daily News: Where's Homeland Security when you need it? Read more
A.O. Scott, New York Times: The screen version of Andrew Lloyd Webber's musical lacks both authentic romance and the thrill of memorable spectacle. Read more
Andrew Sarris, New York Observer: My own reaction to the current version fashioned by Mr. Schumacher is one of pure stupefaction. Read more
Roger Moore, Orlando Sentinel: It was the '80s. You really had to be there. Preferably with low expectations. Read more
James Berardinelli, ReelViews: It's questionable whether fans of the musical will be enamored with this adaptation. The energy that characterizes a live performance is absent, resulting in a production that often feels sluggish and slow-moving. Read more
Roger Ebert, Chicago Sun-Times: Schumacher has bravely taken aboard this dreck and made of it a movie I am pleased to have seen. Read more
Stephanie Zacharek, Salon.com: Takes everything that's wrong with Broadway and puts it on the big screen in a gaudy splat. Read more
Colin Covert, Minneapolis Star Tribune: On its own terms, the film is just about perfect. Viewers who accept it on those terms will be swept away. Read more
Peter Howell, Toronto Star: The film overflows with overkill, from the amped-up orchestra that constantly threatens to submerge the singers to the ornate silliness of each and every scene involving the Phantom. Read more
Claudia Puig, USA Today: For those whose primary experience with musicals is on the screen, this melodramatic tale with the familiar soundtrack should hold substantial appeal. Read more
Jorge Morales, Village Voice: Sure, all the ingredients of camp are there (oh, the hubris!), but this isn't a so-bad-it's-good classic. It's worse. Read more
Philip Kennicott, Washington Post: The movie version of Lloyd Webber's smash hit does to the music what the music did to the words and story: It distracts the mind and cajoles the eyes to the point that one doesn't really care that everything the ears are hearing is pure nonsense. Read more
Desson Thomson, Washington Post: Read more