| Original Score: 2/5
If Leaving is a romantic parable, it is a dark and depressing one, emphasizing not the sensuality of attraction but rather the obsessive side of romantic behavior. This is mad love for sure, and that is not usually a pretty picture.
| Original Score: 2.5/5
The only reason to see "Leaving'' - and it's not a bad reason at all - is for the sight of Kristin Scott Thomas in a rare happy mood.
| Original Score: 2/4
As Suzanne's stair-stepping recklessness leads ever downward, from secret rendezvous to public humiliations to thievery and worse, "Leaving" trades sympathy for surprise.
| Original Score: 3/4
If "Leaving" is a story of a broken marriage, what, exactly, went wrong?
| Original Score: 1.5/4
This is one of those films that depends entirely on its star, and Thomas mixes sexuality, giddy flirtatiousness, stoic determination and agony in just the right amounts, without ever straining.
| Original Score: B+
Thomas' face, tremulous with desire one second, steely with anger the next, holds the screen every second. But the actress deserves richer material.
Kristin Scott Thomas is not only one of the best English actresses of her generation, she's one of France's best, too.
While "Leaving" is a tragedy, it's also a celebration: of the way a fine actor can tell us a story, barely needing words.
Scott Thomas walks around in jeans and a T-shirt and has that Isabelle Huppert lifelong little girl look. She's good. Pity about the movie.
Corsini has her surprises. And she has Scott Thomas, and that's really all she needs.
There have been many adultery movies over the years, but Leaving has some aspects that make it different and interesting.
For a triangular tale with a familiar premise, this compact feature, which was written by the director with Gaëlle Macé, proves to be uncommonly interesting.
The surrender to Eros fails to translate despite the boudoir choreography.
The plot isn't a new one (remember Lady Chatterley?), but Corsini gives it a few twists and turns that keep matters fresh and suspenseful.
Kristin Scott Thomas breathes new life into a woman who was invented by Flaubert and copied by Francoise Sagan.
A tawdry potboiler slathered riotously in portent, complete with a lamebrained detour into vengeance that only Claude Chabrol would be able to pull off.
[Kristin Scott Thomas] does what she can to best serve her scripts, even when they're hopelessly beneath her.
Tightly wound and crafted, with robust performances by Kristin Scott Thomas and recurrent Spanish Don Juan Sergi Lopez, the pic offers a rough, no-frills take on a story as old as France itself.
The ending suggests a lack of ideas, but the journey is surprising enough for that not to matter.
| Original Score: 3/5
| Original Score: 3/4