Hope Gap

Hope Gap

Hope Gap

Two-time Oscar-nominated screenwriter William Nicholson (Gladiator, Shadowlands) directs fellow Academy Award veteran Annette Bening (20th Century Women) and Golden Globe winner Bill Nighy (Their Finest) in this relationship drama that sees a father telling his son that he plans to leave his mother.

2019Rating: M100 minsUK
DramaRomance

Streaming (4 Providers)

Hope Gap / Reviews

FilmInk

FilmInk

...as powerful domestic stories go, it’s in the top league.

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Stuff

Stuff

Bening’s maudlin, manipulative Grace won’t appeal to everyone as a nice time out at the cinema (“that’s the thing about unhappiness, after a while it stops being interesting,” as she so adroitly and ironically puts it), but you can’t deny she’s memorable.

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Chicago Sun-Times

Chicago Sun-Times

Annette Bening gets it just right as a loving but maddening woman abandoned by her longtime husband.

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Vulture

Vulture

A brief, sad little piece that doesn’t quite hurdle the blood-brain barrier and rattle you to the core, but it does achieve a half-sublimity, thanks to coastal settings with white cliffs that inspire both awe and thoughts of flinging oneself off, and also thanks to poetry.

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Entertainment Weekly

Entertainment Weekly

If Bening’s genteel British accent sometimes feels a little wobbly, her character is by far the most vivid force in the film.

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Screen Daily

Screen Daily

A modest, tasteful family drama ... None of this is terribly original, of course, but the leads consistently mine the complexity in Nicholson’s script.

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Hollywood Reporter

Hollywood Reporter

Hope Gap may engage the mind up to a point with its pithy dialogue and resourceful players, but it offers little insight into the complexities and wages of wedlock.

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Variety

Variety

Slow and stuffy, like a filmed play, but also considerably more nuanced and mature than your typical relationship drama.

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The Guardian

The Guardian

Nicholson fails to give his film the specificity and emotional depth required to make it seem necessary. We’ve been here before and nothing in the film’s 100-minute length truly justifies why we’re back here again.

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