Reviews provided by RottenTomatoes
Titanic is a film that sweeps us away into a world of spectacle, beauty and excitement.
With his beatific, sweet, open face, DiCaprio gives us a rooting interest in hoping that someone important to us survives the wreck.
Los Angeles Times:
What really brings on the tears is Cameron's insistence that writing this kind of movie is within his abilities.
The execution is state-of-the-art and breathtaking. Titanic offers the full compass of courage and cowardice, and it stands as an achievement that truly is a night to remember at the movies.
Titanic is big-budget spectacle and director Cameron brings it off with high-tech bravura, placing us aboard the ship in real time.
No other film has made the horror of the ship's sinking so palpable, and none other has dared to dramatize the night of the living dead that followed after it sank beneath the North Atlantic.
As spectacle, Titanic sets a new standard; as romantic drama, it's substandard.
New York Times:
Cameron succeeds magically in linking his film's young lovers, played enchantingly by Leonardo DiCaprio and Kate Winslet.
New York Observer:
Titanic runs well enough in the backstretch of intrigue and contrivance to cross the finish line well ahead of all but a few of the screen's superspectacles in this century.
Wall Street Journal:
This version has deepened and enriched a film that was already rich in emotions and remarkable for its depth of detail.
Credit Cameron for locating that latitude-longitude spot where haunting loss intersects with sheer cinematic braggadocio. His movie may not be perfect, but visually and viscerally, it pretty well is.
Titanic provides an absorbing blend of historical fact and old-fashioned Hollywood tearjerking.
If any film should be redone in 3-D, it's "Titanic." And if any filmmaker should be the one doing the redoing, it's James Cameron.
All things considered, Titanic is old-fashioned epic filmmaking that carries a wallop.
Cameron is a genius at instilling narrative dread and designing a hokum-drenched fairy tale of a certain size.
Cameron has devised a tender love story between Kate Winslet and Leonardo DiCaprio that serves as the main focus of Titanic's storyline, and it works beautifully.
Globe and Mail:
Titanic is awesome even when it's awful -- you can't take your eyes off the extraordinary thing.
Here is a rare opportunity to return to something you once loved, and discover it still holds up, no apologies necessary.
The New Republic:
Bursting through gaps in the hull, rushing down corridors, licking at rooms, triumphing over great ballrooms and tiny closets, down stairways and into elevators, the sea, in the hands of Cameron and his technical associates, becomes hungry, vindictive.
"Titanic" still amazes as the kind of massive, build-and-destroy production that few filmmakers have the ambition or budget to make.
Titanic is big, bold, touchingly uncynical filmmaking.
New York Daily News:
If computer-generated special effects have overpowered human-generated drama, Cameron seizes that dangerously cold technology and recasts it as dream and delirium, profoundly human in its sources and longings.
New York Daily News:
Like Kathy Bates' "unsinkable" Molly Brown, "Titanic" is unabashedly American: It's big, brash and sometimes gauche, yet also unapologetically earnest, amazing to look at and devoted to its own cause. And it knows how to win us over.
New York Post:
James Cameron's spectacular new 3-D version of "Titanic'' is everything I'd hoped for, and more.
Cameron's three-hour disaster epic is a triumph of popular art -- of folk art, really.
Now it can be told: The Titanic went down because of two distracting smoochers on the poop deck.
St. Louis Post-Dispatch:
Take one of history's most compelling tragedies, tell it through the lives of two engaging young lovers and show it with some of the best-ever special effects and you have a dazzling, exciting movie that is also poignant and personal.
Globe and Mail:
Overall, for a blockbuster movie about one great big thing hitting another great big thing, the new film shows distinctly upper-deck restraint.
Cost: well over $200m. Disregarding the ethics of such expenditure on a film, this unprecedented extravagance has not resulted in sophisticated or even very satisfying storytelling.
We know the story ends badly but Cameron still sweeps us up in the romance between Kate Winslet's rebellious posh girl and DiCaprio's steerage kid.
The letdown factor has been most keenly felt in conversions from 2D, but Titanic 3D shows how the ambition can be realized if the will and skill are there. We can only hope that other filmmakers follow Cameron's example.
Sure, it's corny, but there's something endearing about the tale of young love and its earnest lack of irony.
A spectacular demonstration of what modern technology can contribute to dramatic storytelling.
But the power of Titanic didn't come from originality; it came from punching cliches across with a seldom-seen directness and sincerity that seemed pure of heart, "old-fashioned," or plain corny, depending on your perspective.
[Cameron] stages the sinking with a flawless sense of detail, pacing, import and dread.
Titanic is a good, often stunning movie caught in a three-and-a-half hour drift.