We can note immediately that Zilberman has the requisite gifts.
A classical-music ensemble rosins up the bull in a tone-deaf melodrama that loves its musical metaphors almost has much as it adores afternoon soaps.
| Original Score: C+
| Original Score: 3/5
A Late Quartet is visually and musically rich. But above all there are the performances, individually and as an ensemble, and they're pitch perfect.
Impressive, superior drama.
| Original Score: 4/5
While this film has some bracingly strong observations on the nature of long-term professional and personal relationships, it also feels somewhat theatrical in the way its story develops.
It is not flawless but it makes you watch, and listen, closely throughout.
It isn't great art, but it is patterned after great art, and there are worse ways to make a film than that.
The film offers first-rate, mostly middle-aged actors in an intelligent screenplay that's decently crafted, covers interesting but unfamiliar ground and has a worthwhile central idea.
[L]ays on [its] metaphor a little too thickly, [but] all is preforgiven... by the sheer joy of getting to watch Christopher Walken, Catherine Keener, and Philip Seymour Hoffman rattle around one another...
The picture's really about the trials and joys of performing for a living so it's no surprise that it has attracted such a fine cast, nor that its principal virtue lies in the acting.
A movie with clarity and grownup complexity.
Insightful and incandescent, this is a film for both music lovers and movie lovers.
This skilfully constructed, beautifully performed drama will satisfy audiences looking for smart, intelligent filmmaking.
Engaging drama, enlivened by a trio of terrific performances from Hoffman, Keener and Walken, though the script occasionally feels a little contrived.
The result is a perfectly serviceable, well acted melodrama - but why so serious?
A pathos-laden chamber piece poignantly played by an ensemble of actors at the peak of their powers.
It's a shame that director Yaron Zilberman feels the need to raise the dramatic stakes so implausibly high, as the actors really are excellent - and the music is sublime.
It's a film dripping with Zilberman's passion for classical music and the way it touches the emotions, and because the actors feel it too, you can forgive any moments of discord.
It's easy to dismiss Zilberman's film as a bit soapy and self-conscious, but I enjoyed the script's bookish digressions ...