73
Metascore
9 reviews · Provided by Metacritic.com
- 100The New York TimesBosley CrowtherThe New York TimesBosley CrowtherThis grandly sophisticated romance, which Mr. Wilder and I. A. L. Diamond have penned with a courteous nod to a novel by a Frenchman named Claude Anet, is in the great Lubitsch tradition, right down to the froth on the champagne, with a couple of fine additional "touches" that Mr. Wilder may wholly claim.
- 90The New YorkerRichard BrodyThe New YorkerRichard BrodyThe visual gags that Wilder deploys are as stingingly cynical as ever, but here they have a newfound way with time, which they inhabit with an exquisitely controlled leisure. It’s the first of Wilder’s later and greatest films.
- 88Chicago TribuneMichael WilmingtonChicago TribuneMichael WilmingtonLove in the Afternoon is a 1957 romantic comedy by writer-director Billy Wilder that fondly re-created the atmosphere--the brio, wit, star personality and sardonic joie de vivre--of the great Hollywood-continental comic romances of the 1930s. And there's an obvious reason: It's a tribute from one movie comic master to the man who taught him how to do it. [15 Oct 1997, p.1]
- LOVE IN THE AFTERNOON had many faults and yet, as the song goes, "with all it's faults, we love it still."
- Not without its cruelties, but not without its beauties as well.
- 70Los Angeles TimesLos Angeles TimesCoop is too long in the tooth as the rich rogue, but Hepburn and the Parisian locales make this worth watching. [13 Feb 1997, p.F43]
- 50Time OutGeoff AndrewTime OutGeoff AndrewThe script - Wilder's first with IAL Diamond - has its moments, but by and large it's conspicuously lacking in insight or originality, while Hepburn's fresh-faced infatuation for her all too visibly ageing guide to the adult, sensual world comes across as faintly implausible.
- 40The New YorkerPauline KaelThe New YorkerPauline KaelIt's all meant to be airy and bubbly, but it's obvious, overextended (2 hours plus), and overproduced.