Metacritic reviews

The ending is a bit of an audience-pleasing cop-out, a retreat into formula after 80 minutes or so of upending it. But those upendings are memorable, the cast dishy fun, and Jerusha Hess and Shannon Hale's breeze of a script (based on Hale's novel) is smart about the allure of fictional romances.

Hess gets her romance just grounded enough to handle the comic extremes supplied by the supporting cast.

Austenland is kind of a one-joke movie, and the film's rhythm is a bit flaccid, but the joke, at least, has a twinge of wit.

Austenland is as light and airy as a cream puff, and as entirely unfulfilling. Fans of the book may find it amusing, but those looking for heartier romantic comedy fare would do well to look elsewhere.

It is smart and surprisingly literate, its only downfall being in that, in riffing on the work of a very talented writer on the subject of men and women, its screenplay could have used a little more of Jane Austen's immaculate sense of storytelling.

The Napoleon Dynamite cowriter-turned-director should have applied her editorial eye more consistently; Coolidge and King especially are allowed to wander into mugging far too often and for far too long.

There's no doubt Austen fans will find things to admire, but like the protagonist, you can’t help but leave Austenland feeling a bit unfulfilled.

Austenland doesn’t really satirize Austen’s world (or fans) so much as use them as a pretext for a mixture of middling burlesque and routine romantic comedy.

Austenland embraces convention, and the result is a romantic comedy in which the ending seems not just foreordained, but promised via contract from the first moment of the film.

In Austenland, her directorial debut, Hess adapts a 2007 beach book into another broad comedy of caricature. It’s a truly half-assed satire, one whose senseless sensibility seems less informed by the best of English literature than the worst of Saturday Night Live.