movie film review | chris tookey
harsh reviews
An A to Z of the World's Deadliest Movie Reviews From Affleck
to Zeta Jones
A B C D E F G H I J K L M N O P Q R S T U V W X Y Z 
Kirsten Dunst
Actress, Wimbledon (2004)
Kirsten Dunst is really nothing more than moderate. Her appearance in this film confirms my suspicion that someone who had originally looked like a wonderfully smart intelligent performer three years ago is really nothing more than a highly professional one-trick pony: an actress who can aim her ultranatural, if faintly anaemic, loving look at Spider-Man, or Paul Bettany, or Jeffrey Dahmer if need be. It sometimes seems as if she can do those smiley facial expressions without the leading man being there, and his shots can be edited in later.
(Peter Bradshaw, Guardian)
There’s more sexual chemistry between the Flowerpot Men and Little Weed than there is between Dunst and Bettany.
(Philip French, Observer)
It’s a sign of the film’s failure of nerve that the excellent Bettany receives second billing behind an uneasy-looking, distinctly off-form Kirsten Dunst. Because of silly billing, we keep waiting for Dunst’s character to come to the fore, or at least to life, and she never quite does.
(Chris Tookey, Daily Mail)
Actress, Elizabethtown (2005)
Kirsten Dunst, who puts the "oy" in "cloying" is the world's most aggressively adorable flight attendant. Orlando Bloom as Drew’s a cipher. She's maybe meant to disarm, but she's scarier than anything in Flightplan.
(Michael Phillips, Chicago Tribune)
Silver medal of ghastliness goes to Kirsten Dunst, playing the flight attendant who befriends Bloom on the plane home and actually sits next to him and flirts with him - the way flight attendants do. With her unvarying, eerily vampiric grin, Dunst is pretty scary.
(Peter Bradshaw, Guardian)
I can not recall a more annoying leading lady. Cameron Crowe obviously wishes us to smile delightedly at her endless pulling of faces and her oh-so-adorable habit of taking pretend-pictures with an invisible camera. He really expects us to nod wisely as our cheerily platitudinous heroine reveals that “men see things in a box, women see them in a round room”. It just shows that one man’s fount of New Age wisdom is another’s living nightmare. To me, she’s a smug, garrulous, insensitive bore. Whenever this ghastly creature is on screen, and sometimes when she isn’t, Crowe’s script turns into a preachy, pretentious, relentlessly upbeat homily about how good can come out of evil. Dunst’s character is intended to be an encapsulation of the American “can-do” mentality, but serves instead as an awful warning against the way exposure to psychobabble can rot the brain.
(Chris Tookey, Daily Mail)
Key to Symbols