Metropolitan (1990)

The critic calls the film a hilarious yet warmly affectionate portrait of New York’s debutante-ball subculture that remains a fascinating cinematic oddity. He singles out the plethora of quotable lines and the superb ensemble delivering them for praise.

The critic views Metropolitan as a melancholic yet appreciative elegy for a class of anachronistic young socialites whose charm and self-awareness make the film enduring. He singles out the film's elegant, perceptive dialogue and aperçus for particular praise.

Whit Stillman’s directorial debut confidently immerses viewers in an improbable but believable hothouse world of privileged Manhattan youth. The critic singles out the beautifully chiselled dialogue, paired with near-static camerawork and mannered performances, as the film’s chief attraction.

Whit Stillman's first film from 1990 is a wryly sympathetic portrait of aristocratic college students attending nightly balls in Manhattan over Christmas. It features glittering dialogue and lovely New York scenery, evoking what Woody Allen might have made if born rich.

Stillman’s semi-autobiographical debut follows the university-age scions of New York’s old-money Upper East Side during Christmas vacation debutante balls and after-parties. The critic praises the dry, affable humour that ribs the characters’ vanities without belittling them and highlights the sharp characterisation, especially of the outsider stand-in Tom.

This small, gentle first feature shows Stillman's literary background to good effect with sound cinematic instincts and affectionate, witty observation of young New York socialites. The second half shifts from astringent social comedy to somewhat forced romantic nonsense.

The critic notes that compassion for the very rich and rather dim may be tested but appreciates the gentle irony and the director's gift for quiet, scrupulous observation that grows on the viewer. Stillman understands caste, class and deportment as perfectly as Jane Austen.

The critic finds Stillman’s portrait of the urban haute bourgeoisie redeemed by the filmmaker’s affectionate custody of their idiosyncrasies and flaws. The review singles out the musical quality of the dialogue and the bittersweet evocation of a vanished youthful milieu for praise.

The critic calls it a comedy of manners of a very high order with unparochial wit and sense of fun. The film places its privileged young characters in context with alertness and intelligence, with particularly funny performances from Taylor Nichols and Christopher Eigeman.

Whit Stillman makes a strikingly original debut with a glib, ironic portrait of the vulnerable young heirs to Manhattan’s disappearing debutante scene, offering rich, sparkling dialog, distinct characters and an intriguing peek into a seldom seen milieu.

The film is a nuanced and original portrait of crumbling preppy aristocracy that humanizes its privileged characters through witty dialogue and intellectual banter. It stands out as one of the most elegant and intelligent debuts of its generation.

The critic finds Whit Stillman's debut worth seeing despite its focus on Park Avenue debutantes and their escorts. The screenplay stands out for its tact, wit and modesty in portraying the group's entertaining, hypocritical banter without easy mockery.