Critic Reviews

47

Metascore

Based on 33 critic reviews provided by Metacritic.com
63
ReelViews
I walked out of the original Shall We Dance? with a silly grin on my face. I left this one shaking my head, wondering where it had all gone wrong.
63
Chicago Tribune
The movie tries hard to duplicate the original's mood and story, but, like Gere or Lopez, is too much of a visual knockout to rope us in.
60
Variety
An unabashedly old-fashioned entertainment loaded with traditional dancing and music.
50
Entertainment Weekly
The movie never gives its heart freely and honestly to the satiny whirl of post-"Chicago" showbiz spectacle it so clearly wants to be.
50
Dallas Observer
Runs out of breath and collapses into a heap of feel-good endings that turn a soaring feeling into a sinking one. But by then, the audience that adores it will forgive it its sins.
50
L.A. Weekly
Shall We Dance?, which roams all over the emotional map without landing anywhere, is an unwieldy mess that gives every impression of having been made under a mandate to fill the Miramax crowd-pleaser slot.
50
Charlotte Observer
The warm performances give the film momentum, but writer Audrey Wells and director Peter Chelsom (who chops dance sequences clumsily) often stumble.
40
Even those who have never been exposed to the considerable charms of the Masayuki Suo original will likely find Peter Chelsom's all-American version of Shall We Dance? to be a dishearteningly sullen, lead-footed misstep.
40
The A.V. Club
Chelsom has transformed a low-key charmer into an overblown shtick-com whose idea of restraint only extends to forgoing wacky sound effects, a laugh track, and amplified rim-shots every time a character delivers a wisecrack.
40
Village Voice
While Suo's original was hardly a masterpiece, it featured a subtle performance from Koji Yakusho. Gere doesn't even compare, playing the part of a despondent lawyer with the empathy of a mannequin.

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