| 88 |
TV Guide
Lawrence delves deep into the moral dilemma at the heart of Carver's deceptively simple tale. By deliberately making the young woman in the river aboriginal, the film also opens up yet another dimension in the reaction to the men's inaction: Would they have acted any differently had the murder victim been white?
|
| 80 |
Los Angeles Times
Jindabyne's strength and power come from a number of factors: its origin, its current landscape and the unusual way its writer-director, Ray Lawrence, has chosen to work.
|
| 80 |
The Hollywood Reporter
Megan Lehmann
The same organic characterizations that marked Lawrence's acclaimed 2001 film "Lantana" will attract fans of strong adult drama.
|
| 80 |
LA Weekly
Jindabyne wears its class politics lightly, weaving them into a ghost story about the intimate connection between how we treat our living and our dead that will hover around your shoulders long after you leave the theater.
|
| 75 |
Christian Science Monitor
Writer-director Ray Lawrence, well regarded for his two previous films, "Bliss" and "Lantana," expands Carver's work into an indictment of colonialism and an examination of the chasm that supposedly exists between men and women over matters of the heart.
|
| 75 |
Entertainment Weekly
Jindabyne -- named for the lakeside town in which the troubles spill -- can't contain all that the filmmakers want to throw in. Best to keep glued to the taut performance by Laura Linney.
|
| 75 |
The Onion (A.V. Club)
In the end, it's all a bit too self-consciously mysterious and Lawrence leans a bit too much on the atmosphere to do the work for him as he builds to a frustrating ending. But his vision of a place haunted by a restlessness it can't define proves unsettlingly infectious.
|
| 75 |
Chicago Tribune
While not everything in Jindabyne works, especially in its final, redemptive third, the film and its faces stay with you.
|
| 75 |
New York Daily News
Dublin-born Byrne and native New Yorker Linney...are both exceptional at depicting characters about to burst from inner turmoil, and Linney, in particular, is heartbreaking.
|
| 75 |
Seattle Post-Intelligencer
Jindabyne is uniquely Australian, dealing with Australian issues, and it boasts a wickedly wry conclusion that -- for everything that has come before -- is karmically just.
|
| 75 |
Philadelphia Inquirer
Deliberately paced, with an eerie, country-ish score from the Australian singer/songwriter Paul Kelly, Jindabyne is definitely a mystery. But it's not about who killed the woman - audiences know that practically from the outset.
|
| 75 |
Portland Oregonian
At its core, the story is a Mars vs. Venus case study.
|
| 75 |
Miami Herald
Above all, this story is about the peril that lurks under life's surfaces.
|
| 75 |
ReelViews
The result is a mature and challenging motion picture, and something that will stick with viewers after the screen has gone dark.
|
| 70 |
Chicago Reader
Too many extraneous elements have been added--the victim here is an aborigine, which prompts a racial backlash against the men and their families--but at the movie's center lies the knotty story of a marriage poisoned by amorality.
|
| 70 |
The New York Times
The real flaw is that the movie's best features -- the aching clarity of its central performances -- threaten to be lost in a wilderness of metaphor and mystification.
|
| 70 |
Village Voice
Hand it to Lawrence and Christian. Jindabyne is a soberly, if sluggishly, crafted movie in which the bitterness never stops.
|
| 70 |
Variety
Never obtains the full impact of its potentially powerful inner core.
|
| 70 |
Salon.com
I wish one-tenth of the films I saw were made with this much craft and integrity, this much intuitive understanding of where to put the camera, how much of the story to explain in words (not much) and how much to trust his outstanding cast to carry the film with their voices, faces and bodies.
|
| 67 |
Austin Chronicle
Never manages to get its relationships framed in as sharp focus as "Lantana" and goes down some unproductive side roads in its attempt to get to the point.
|
| 63 |
Boston Globe
Where it works best is in the domestic dance of death between a husband and a wife. Linney flutters with increasingly panicky intelligence throughout the film, while Byrne sinks further into his own bulk.
|
| 63 |
Premiere
Lawrence too often errs on the side of embellishing details that didn't need to be expanded upon.
|
| 63 |
The Globe and Mail (Toronto)
Adapting a great short story, like Carver's "So Much Water So Close to Home," into a movie poses a dilemma: How to flesh it out to feature length without destroying what made it great in the first place?
|
| 60 |
New York Magazine
Scene by scene, Jindabyne has dramatic force, but it's an awfully long slog. Carver's smartest tactic was never outstaying his welcome.
|
| 60 |
Empire
Sam Toy
A great idea is weighed down by an over-egged screenplay, but the setting and cast bring out its best.
|
| 50 |
Washington Post
Sometimes, the sincerest form of tribute is inferiority. Watching the Australian film Jindabyne, one soon embraces the conclusion: Robert Altman did this work better. And with fewer brush strokes.
|
| 50 |
Wall Street Journal
Jindabyne started with a bad idea and the finished film doesn't do well by it.
|
| 50 |
USA Today
Has some strong acting. But largely because of its glacial pacing, the story ends up feeling too detached to move us as it should.
|
| 50 |
San Francisco Chronicle
Jindabyne suffers from too many extraneous elements and from a story that doesn't land with enough force or purpose.
|
| 25 |
New York Post
A depressing and tedious movie.
|
