| 100 |
Seattle Post-Intelligencer
Another worthy performance comes from Valeria Bruni-Tedeschi.
|
| 90 |
Salon.com
It's a magnificent miniature, a supremely tender work that's full of emotion and even sentimentality.
|
| 90 |
Newsweek
This is the most personal, deeply felt film from the gifted director of "Under the Sand" and "Swimming Pool." Ozon leaches his melodrama of all sentimentality, and moves us all the more.
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| 88 |
New York Post
Time to Leave just might be Ozon's best work yet. He tackles a sensitive, off-putting subject with a dignity that will put viewers at ease. Poupaud connects as the dying man and Moreau is - Moreau, a French national treasure.
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| 88 |
TV Guide
The film rests entirely on Poupaud's shoulders, and he rises to the demands of a complex, deeply unsympathetic role.
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| 75 |
Chicago Tribune
Time to Leave may not have made me cry, but it's affecting nonetheless.
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| 75 |
Christian Science Monitor
What makes the film intriguing, and somewhat off-putting, is that Romain is deliberately portrayed as a heel; he strains his relations with his lover and his family, except for his grandmother (Moreau), to the breaking point.
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| 70 |
The New York Times
Time to Leave subordinates narrative to mood. Since the end of the story is never in doubt, the only surprises lie in the particulars of Romain’s behavior and the nuances of sorrow, determination and doubt that pass over Mr. Poupaud’s face.
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| 70 |
New York Magazine
David Edelstein
As with all Ozon's work, Time to Leave resounds with grace notes. The wide-screen cinematography by Jeanne Lapoirie offsets (or maybe disguises) the movie's narrow scope, and there's something private--withholding--in Poupaud's beauty that gives his misanthropy a touch of mystery.
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| 70 |
The Hollywood Reporter
Staff (Not credited)
A short and succinct film but it lingers long in the memory.
|
| 70 |
LA Weekly
The same quiet ecstasy that made the final moments of "Under the Sand" so moving works on the viewer here too, inspiring joy and naked grief in equal measure.
|
| 70 |
Los Angeles Times
As with any Ozon film, Time to Leave comes across with unexpected moments of illuminated stillness.
|
| 70 |
Washington Post
The splendid, painterly melodramas of Douglas Sirk lurk behind every shot, but the tone is essentially pre-Raphaelite, sexy and cold.
|
| 67 |
The Onion (A.V. Club)
Ozon's disappointing new film Time To Leave is his "The Flower Of My Secret," a Douglas Sirk-inspired weepie about a terminal cancer victim making amends, but it's a little too sentimental and square even by his recent standards.
|
| 67 |
Entertainment Weekly
Moreau's few ripe scenes are choice, and she spices up the joint with her gravelly voice of je ne regrette rien.
|
| 60 |
Variety
Leslie Felperin
Francois Ozon's Time to Leave reps one of the helmer's most straightforward, but perhaps least interesting pics.
|
| 50 |
Village Voice
Time to Leave amounts simply to a semi-thoughtful disease-of-the-week weepie, admirable in its restraint but shying from the terror of the situation.
|
| 50 |
Chicago Reader
2005 French feature by the highly uneven Francois Ozon (Swimming Pool, Under the Sand), who doesn't have much to say about his subject that's fresh.
|
| 50 |
San Francisco Chronicle
Not up to Ozon's standards.
|
| 50 |
Boston Globe
Time to Leave is an unintended litmus test for lovers of foreign films.
|
| 40 |
Austin Chronicle
This oddly dispassionate film about a young man dying of cancer is the French antidote to those Hollywood weepies in which the heroine courageously faces her own mortality with every hair in place.
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