Scandal 1989

Dave Kehr, Chicago Tribune: Caton-Jones is not the most stylistically assured of filmmakers, but his ability with actors is obvious. For this project, that is enough to turn the flat conventions of the docudrama into something resembling life. Read more

Sheila Benson, Los Angeles Times: The film holds because of the brilliance of Hurt and the fascination of Whalley-Kilmer, as well as the sly, tongue-in-cheek viciousness of Bridget Fonda's Mandy Rice-Davies. Read more

Jay Boyar, Orlando Sentinel: The greatest virtue of the filmmakers' straightforward approach is that it avoids the obvious pitfall of pretentiousness. Read more

Vincent Canby, New York Times: A stylish and persuasive film, made compelling by the exceptionally fine work of Mr. Hurt and Miss Whalley-Kilmer. Read more

Jonathan Rosenbaum, Chicago Reader: What makes this movie so absorbing is its heady celebration of London during this period, as well as a healthy enjoyment of the erotic elements -- demonstrating overall that good, trashy fun doesn't necessarily entail dumbness or irresponsibility. Read more

Roger Ebert, Chicago Sun-Times: The movie's strength is that it is surprisingly wise about the complexities of the human heart. Read more

Peter Travers, Rolling Stone: In 1989, until now a year of unparalleled cinematic mediocrity, the hypnotic and haunting Scandal looms like a colossus. Prepare to be wowed. Read more

Richard Corliss, TIME Magazine: Scandal is an express tour of the Profumo affair that moves with a pop historian's revisionist swagger and plays like News of the World headlines set to early '60s rock 'n' roll. Read more

Stephen Garrett, Time Out: Caton-Jones' first feature is a serious, almost low-key affair, strong on period detail and imbued with a sense of genuine outrage. Read more

Variety Staff, Variety: Hurt is excellent as the charming but shallow Ward. Read more

Desson Thomson, Washington Post: It's not the bed hopping that entices you in Scandal. It's director Michael Caton-Jones' bedside manner, in this humane, frequently lighthearted parable about falling from grace. Read more

Rita Kempley, Washington Post: As a reenactment of the tabloid tempest that derailed Britain's Conservative Party in the '60s, it is a cotton candy docu-melodrama desperately seeking social significance. Read more