Ansel Elgort hits back at Goldfinch critics

  • Bang Showbiz
  • 24 September 2019
Ansel Elgort

Ansel Elgort

Ansel Elgort has hit back at critics of his new movie, 'The Goldfinch', insisting here is "a lot of good" in it

Ansel Elgort has hit back at critics of his new movie, 'The Goldfinch'.

The 25-year-old actor stars as an adult Theodore Decker in the drama movie, which follows the story of a boy whose life takes a different course when his mother is tragically killed in a bombing at the Metropolitan Museum of Art in New York, and has attempted to silence the film's critics by insisting there is "a lot of good" in it.

Speaking in a video posted to his Instagram account, "Critics are usually really great writers and they have to kind of choose a side. They decided that pointing out everything wrong with the film is the best way to write their reviews, their articles. They are all great articles, too. All the bad reviews are well written but there is a lot of good in the film, too. The film does work and the people who see it enjoy it and are moved by it. The most important person it moved for me was my mother, and she's not moved by all of my films. She really liked this one, which made me really like it, too."

The movie took just $2.6 million from 2,542 locations during its opening weekend after being predicted that it would rake in near $12 million over the same weekend.

Jeff Goldstein, president of domestic distribution at Warner Bros, which co-financed the film with Amazon, believes the "marketplace" is to blame.

He said: "I think the audience wasn't interested in seeing this literary work on screen. There were many things that didn't work, but the biggest was probably the marketplace. The gap between the have and the have-nots is growing even bigger."

The Goldfinch

  • 3 stars
  • 2019
  • US
  • 2h 29min
  • 15
  • Directed by: John Crowley
  • Cast: Oakes Fegley, Ansel Elgort, Nicole Kidman

When Theodore (Fegley)’s mother is killed during a childhood trip to New York’s Metropolitan Museum, he steals a priceless 17th century oil painting. This adaptation of Donna Tartt’s Pulitzer-winning novel is meticulously crafted and faithful but meandering, and for all its pleasures it never becomes the sum of its parts.

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