The Eye of the Storm 2011

Manohla Dargis, New York Times: [A] dramatically unsteady, blustery if likable film, which was adapted by Judy Morris from the Patrick White novel. Read more

Peter Rainer, Christian Science Monitor: Rush and Davis are two of the best actors in the business, and their brittle gamesmanship and rue holds the screen. But the film is disappointingly lackluster -- a mild squall instead of a storm. Read more

Megan Lehmann, Hollywood Reporter: An intelligent, visually sumptuous drama that embraces the grandeur of the Australian literary classic upon which it's based. Read more

Kenneth Turan, Los Angeles Times: The project's ambitions turn out to be greater than its ability to achieve them. Read more

David Denby, New Yorker: A brilliantly acted semi-dud. Read more

Stephen Whitty, Newark Star-Ledger: Too often the film's moods switch unsuccessfully between the abruptly serious and the broadly bizarre. Read more

Stephanie Zacharek, NPR: Schepisi orchestrates these vitriolic cat-and-mouse games with great subtlety and skill, and you can almost feel the pleasure he takes in watching these actors do what they do best. Read more

Lou Lumenick, New York Post: It all feels like a whittled-down miniseries. Read more

Walter V. Addiego, San Francisco Chronicle: Sometimes a feast of acting isn't enough. Read more

Liam Lacey, Globe and Mail: Sometimes a film just can't live up to all its reputations. Read more

Guy Lodge, Time Out: Has taken almost two years to reach the UK; you'd be forgiven for thinking it was far longer, given its sub-Joseph Losey pretensions and doily-like styling. Read more

Joshua Rothkopf, Time Out: The title takes on a depressing literalness; you sense the movie teetering with tonal imbalance, its brilliant cast of savage line-readers forced to turn inward. Read more

Linda Barnard, Toronto Star: The subject matter is dark but disjointed, despite the best efforts of the cast. Read more

Russell Edwards, Variety: Geoffrey Rush and Judy Davis bookend a cast consisting of some of Oz's finest thesps, but Schepisi never gets a grip on a script with awkward literary tics. Read more

Nick Schager, Village Voice: Its portrait of the grotesque uber-privileged has considerable bite, bracingly reveling in the greed, selfishness, bitterness, jealousy, neurosis, detachment, and hunger for power and sex ... Read more