|Lions Gate Films | Release Date: April 9, 1999||CRITIC SCORE DISTRIBUTION|
It's a thoughtfully constructed story, with nuanced performances all around and even a mild surprise thrown in, but the whole thing feels ever so slightly enervated, like a game of chess between codgers in the park.
Director Philip Saville, working from a script by Adrian Hodges (which, in turn, is based on the novel by Julian Barnes), has crafted a competent, character-based tale, but the issues examined are stale, and Saville is unable to find a way to take the story to a newer, more interesting level Read full review
Bale and Watson make most of the film more interesting and watchable than it might otherwise be, finding flesh and blood in a script that isn't always equal to their talents. [23 Apr 1999]
As a tasteful take on a minor novel, Metroland is genteel enough, but it lacks the urgency and scope of a must-see movie. [07 May 1999]
Conceptually, the film is unique - it's a kind of nostalgia movie within a nostalgia movie. [16 Apr 1999]
Bale tends to be overwrought and self-conscious as he wrestles with his demons, here in both '60s flashbacks (the liveliest segment) and in the 1977 present, in which punk clubs and easy women represent temptation. [09 Apr 1999]
The movie is bittersweet, adult, with a fair eye toward men's eternal spirit of the infantile, and knowing. Possibly it's too slick, but in some awkward way it sums up the true essence of adult life, which is just sort of getting along without doing too much harm. [30 Apr 1999]
Bale fails to make Chris a character compelling enough to stand out from that heavy dose of '70s clothes and hair.
Replete with false dilemmas, assisted by a dreadfully stagy screenplay and directed with all the animation of a tableau vivant, Metroland is such a draggy bore.
Metroland, which is adapted from a novel by Julian Barnes, is an oddly unpleasant variation on the theme of "The Way We Were." [09 Apr 1999]
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