The Sense of an Ending

The Sense of an Ending

The Sense of an Ending

Oscar winner Jim Broadbent (Iris) is a man haunted by his past in this British drama based on the novel by Julian Barnes. Co-stars Oscar nominee Charlotte Rampling (45 Years).

2017Rating: M, Mature themes, sex scenes and coarse language108 minsUK
Drama
88%
want to see

Reviews & comments

Vulture

Vulture

press

You only spoon-feed an audience that way when you don't trust them - or don't trust your ability to connect with them on a deeper level. In this case, it's probably both.

0
Variety

Variety

press

Its most receptive audiences will almost certainly be older, with enough life experience to recognize the mix of curiosity and regret that ensnares us like so many wild brambles each time we hazard a stroll down Memory Lane.

0
Time Out

Time Out

press

This is a mature film that asks us to bring a lot of ourselves to it.

4.0
0
The New York Times

The New York Times

press

The film totters into a redemptive sentimentality that wouldn't even play if it were made to seem more earned.

0
The Guardian

The Guardian

press

This is involving storytelling, but ultimately the film is undermined by its own tasteful restraint.

4.0
0
Stuff

Stuff

press

If you go in to The Sense of an Ending hoping to – err – make sense of the ending, then good luck.

0
Los Angeles Times

Los Angeles Times

press

The movie is ultimately Broadbent's showcase, and he shoulders the dramatic burden with sly, curmudgeonly expertise.

0
Hollywood Reporter

Hollywood Reporter

press

Julian Barnes' short, penetrating novel about how we self-protectively edit our memories receives an intelligent, low-key, necessarily diluted big-screen treatment in The Sense of an Ending.

0

Everyone is a storyteller in their own way. Some use the big screen, others a book or a painter’s canvas, but most of us tell stories to ourselves. In 1967, acclaimed literary theorist Professor Frank Kermode published a seminal book called The Sense of an Ending: Studies in the Theory of Fiction. He argued that we all internally write the fictions of our...

3.0
0
Vulture

Vulture

press

You only spoon-feed an audience that way when you don't trust them - or don't trust your ability to connect with them on a deeper level. In this case, it's probably both.

0
Variety

Variety

press

Its most receptive audiences will almost certainly be older, with enough life experience to recognize the mix of curiosity and regret that ensnares us like so many wild brambles each time we hazard a stroll down Memory Lane.

0
Time Out

Time Out

press

This is a mature film that asks us to bring a lot of ourselves to it.

4.0
0
The New York Times

The New York Times

press

The film totters into a redemptive sentimentality that wouldn't even play if it were made to seem more earned.

0
The Guardian

The Guardian

press

This is involving storytelling, but ultimately the film is undermined by its own tasteful restraint.

4.0
0
Stuff

Stuff

press

If you go in to The Sense of an Ending hoping to – err – make sense of the ending, then good luck.

0
Los Angeles Times

Los Angeles Times

press

The movie is ultimately Broadbent's showcase, and he shoulders the dramatic burden with sly, curmudgeonly expertise.

0
Hollywood Reporter

Hollywood Reporter

press

Julian Barnes' short, penetrating novel about how we self-protectively edit our memories receives an intelligent, low-key, necessarily diluted big-screen treatment in The Sense of an Ending.

0

Everyone is a storyteller in their own way. Some use the big screen, others a book or a painter’s canvas, but most of us tell stories to ourselves. In 1967, acclaimed literary theorist Professor Frank Kermode published a seminal book called The Sense of an Ending: Studies in the Theory of Fiction. He argued that we all internally write the fictions of our...

3.0
0