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Feb 27, 201388This is Webber's flawed but treasured document of his son, an attempt to share a portrait of their developing relationship, and — later on — a chance for Isaac to see his dad's parental reflections captured on-screen.
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83Shot with tiny digital cameras to minimize the sense of intrusion, The End Of Love sometimes feels like a home movie, but that’s also the source of its strength.
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80An exceptionally intimate, human-scaled picture. It's also quite a special piece of work.
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75The End of Love is hardly a work of revelation. At the same time, it's surprisingly well-executed, nicely performed and manages to combine a warm and gentle sense of the rhythms of life with a cold and bright-eyed look at the world and its lead's flaws and character.
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70Webber’s key influence appears to be ultra-naturalistic contemporary European cinema, most specifically French, and The End of Love hits that mark often enough to make it affecting.
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67There are powerful ingredients here, certainly enough to create a deeply felt work, but The End of Love lacks the additional layers of storytelling necessary for Webber to make the audience feel as close to the material as he does to his son.
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60There is plenty of evidence that Webber has something significant to say, and the gifts with which to express himself. Once he’s ready to commit fully to his own vision, there’s no end to what he might accomplish.
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60It’s a kind of self-portrait made out of quotidian meals, naps and scattershot car-seat conversations, and though the loss that underlies Mark’s emotional state feels like a scripted conceit, The End of Love excels at conveying the moment-to-moment frustrations and exhilarations of being a dad.
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50There are some lovely and moving things here, but over the long haul it’s more like watching an hour and a half of someone’s weekend trip to Knott’s Berry Farm.
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50A mostly mundane single-father drama.
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50Oddly overstuffed with cameos by bigscreen actors playing tongue-in-cheek versions of themselves, Webber's Los Angeles-set, microbudget dramedy delivers some rare and beautiful moments of daddy day-care, but its tone shifts more wildly than a preschooler's disposition and its narrative is stillborn.
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Feb 28, 201340Mr. Webber, a skilled actor, has not devised a narrative with sufficient momentum or tension to sustain much interest.
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30It's the kind of indie in which shrugging naturalism means nobody has a distinctive personality or energy, and the claustrophobic sense of young Industry workers collarbone-deep into their own navels is hard to shake.