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Jane Eyre

Jane Eyre

Drama · Romance · 2011

After a bleak childhood, Jane Eyre goes out into the world to become a governess. As she lives happily in her new position at Thornfield Hall, she meets the dark, cold, and abrupt master of the house, Edward Rochester. Jane and her employer grow close in friendship and she soon finds herself falling in love with him. Happiness seems to have found Jane at last, but could Rochester's terrible secret be about to destroy it forever?

Movie details

Jane Eyre

“She sought refuge… and found a place haunted by secrets.”

2011 Drama · Romance 2h 0m

Critical arithmetic

One number, for now.

TMDB

7.2 / 10

Community rating

After a bleak childhood, Jane Eyre goes out into the world to become a governess. As she lives happily in her new position at Thornfield Hall, she meets the dark, cold, and abrupt master of the house, Edward Rochester. Jane and her employer grow close in friendship and she soon finds herself falling in love with him. Happiness seems to have found Jane at last, but could Rochester's terrible secret be about to destroy it forever?

CriticWise case file

What this film says about your taste.

Not a recommendation score. A measure of how closely the film’s taste signals resemble yours.

The archetype split

Who fights over Jane Eyre?

The split comes from the same five-axis model used by the test, not audience ratings or review sentiment.

Taste neighbourhood

Nearby on the taste map.

TMDB supplies the candidates. CriticWise reorders them by craft, strangeness, prestige, emotion, and pace.

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Where it lives

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Names above the title

The people responsible.

Directed by

Cary Joji Fukunaga

Written by

Moira Buffini

Mia Wasikowska

Mia Wasikowska

Jane Eyre

Michael Fassbender

Michael Fassbender

Edward Rochester

Jamie Bell

Jamie Bell

St. John

Sally Hawkins

Sally Hawkins

Mrs. Reed

Simon McBurney

Simon McBurney

Mr. Brocklehurst

Valentina Cervi

Valentina Cervi

Bertha Mason

Judi Dench

Judi Dench

Mrs. Fairfax

Court is in session

Put Jane Eyre on trial.

Two incompatible taste archetypes. One film. Read the arguments, then issue a completely binding cultural ruling.

The defence The Prestige Tourist

“Sincerity is not manipulation.”

The film risks embarrassment to make emotion communal, and that openness is harder than fashionable detachment.

The prosecution The Adrenaline Seeker

“The strings are showing.”

Every cue tells you exactly what to feel and when, leaving sentiment to do the work character should have done.