Critic Reviews

• Rex Reed, New York Observer

  In the end, director Paul Andrew Williams fails to resist sentimentality, but classy acting and distinguished production values never sink to the level of soap opera.

• Ernest Hardy, Village Voice

  Williams uses a sledgehammer to drive [his] message home, but the velvet touch of his cast (particularly Redgrave) almost salvages this.

• Eric Hynes, Time Out New York

  It may be the equivalent of NBA stars tossing crumpled paper into a wastebasket, but you're no less compelled to watch old pros go through the motions.

• Trevor Johnston, Time Out

  Even though we know where the film's going, it still manages to give the tear-ducts a workout.

• Marshall Fine, Hollywood & Fine

  A film that makes you feel a lot without resenting it. You wish it were better, but it's good enough not to make you begrudge its shortcomings.

• R. Kurt Osenlund, Slant Magazine

  Part end-of-life romance, part grossly manipulative mush, the film tries to stare grief and mortality in the face while practically shitting rainbows.

• Harvey S. Karten, Compuserve

  Patronizes older people by having them act like teenagers. Embarrassing.

• Rebecca Barry, Flicks.co.nz

  This is one film that's equal parts moving and grating.

• Matthew Toomey, ABC Radio Brisbane

  The film's comedic elements are a bit clunky but Song For Marion clicks into gear when it starts pulling at the heart strings.

• Jim Schembri, 3AW

  A modest joy to behold, the film also clicks into the recent high-quality spate of movies aimed at and starring seniors, such as The Best Exotic Marigold Hotel, Quartet, Performance, Amour and Hitchcock. Here's to more.

• David 'Mad Dog' Bradley, Rip It Up

  Director Paul Andrew Williams has until now concentrated on low-budget pics about drugs, crime and blackly comic bloodthirsty horror, but with this superior character piece he also demonstrates an amiable knack for the old-fashioned tear-jerker too.

• Ed Gibbs, The Sunday Age

  Terence Stamp is terrific as the grumpy Arthur, while Vanessa Redgrave embodies the ailing figure of Marion with a gravitas one would expect.

• Louise Keller, Urban Cinefile

  The sentiments expressed are sincere and the performances have great veracity so it is a shame that the film itself lacks the juice and pace proffered by its energetic cast

• Donald Clarke, Irish Times

  The interactions between Redgrave and Stamp confirm [Williams] has serious dramatic chops. The swerve towards cuddly redemption porn suggests he's starting to panic a little.

• Alistair Harkness, Scotsman

  A movie that celebrates wilful amateurism over anything good.

• Philip French, Observer [UK]

  Everything that follows is as predictable, dreary and proverbial as the weather in Manchester.

• Jason Best, Movie Talk

  Parts of the film are cheesy and the whole is undeniably manipulative, but the film is so tender and generous, and its stars so genuinely affecting, that it's easy to forgive the odd bum note.

• Mike McCahill, Daily Telegraph

  Plays like an update of the time-honoured Full Monty formula - public exhibitionism vanquishes English emotional reserve - for a post-Glee world.

• Graham Young, Birmingham Mail

  It's a very British, predictable film with its heart in the right place.

• Grant Rollings, Sun Online

  It patronises the older generation by going, "Tee-hee, look at them trying to be young".

Read all 21 critic reviews