There have been nearly 30 movie adaptations and countless TV shows of Alexandre Dumas’ The Count of Monte-Cristo, and it’s not hard to see why. It’s a classic tale of fate, justice, corruption, and love, making it an educational and entertaining watch. You might think, then, that this latest one by Matthieu Delaporte and Alexandre de La Patellière won’t add anything much to the roster, and in a way, that’s true. The film doesn’t change much of the dialogue, setting, and characters. It stands out, however, for being impressively concise and fast-paced without sacrificing the novel’s weighty themes and messages. Even if you already know what happens in this classic tale of vengeance, it still feels thrilling—thanks to its impeccable pace, sure, but also, to compelling performances across the board and lavish costumes and set designs that transport you to 19th-century France. The film is three hours long, but it never feels that way.
"The movie might be set in the early 19th century, but its hero is a 21st century badass."
— Bilge Ebiri
"Once Dantès’s daft, years-in-the-making prison break gets under way, however, it’s off to the races, as the film breathlessly fills its three hours with so much domino-stacked incident that we scarcely have a moment to think about it."
— Guy Lodge
Edmond Dantès becomes the target of a sinister plot and is arrested on his wedding day for a crime he did not commit. After 14 years in the island prison of Château d’If, he manages a daring escape. Now rich beyond his dreams, he assumes the identity of the Count of Monte-Cristo and exacts his revenge on the three men who betrayed him.
Based on the classic novel by Alexandre Dumas, The Count of Motne Cristo follows Edmond Dantès (Pierre Niney) as he plots a complicated scheme of revenge against those who conspired to wrongfully imprison him.
Pierre Niney and Anamaria Vartolomei, who play the Count and Haydée respectively, are scene stealers.
I thought I’ve seen enough Count Monte-Cristo films to last me a lifetime, but somehow this latest adaptation has me on the edge of the seat.
Nat. Board of Review
1 win
