Us
Captain Marvel
Widows
The Walking Dead
Log in with Facebook
OR
By creating an account, you agree to the Privacy Policy and the Terms and Policies, and to receive email from Rotten Tomatoes and Fandango.
Please enter your email address and we will email you a new password.
We want to hear what you have to say but need to verify your account. Just leave us a message here and we will work on getting you verified.
Please reference “Error Code 2121” when contacting customer service.
No consensus yet.
All Critics (24) | Top Critics (5) | Fresh (24) | Rotten (0) | DVD (4)
Each shot in Late Spring is striking on its own; the mature Ozu belongs to that rare category of filmmakers whose work can be recognized from a single frame. Mar 3, 2016 | Rating: A | Full Review…
Each shot in Late Spring is striking on its own; the mature Ozu belongs to that rare category of filmmakers whose work can be recognized from a single frame.
Ignatiy Vishnevetsky
"Movies resurrect the beautiful dead," Susan Sontag once wrote, and there's no better way to commemorate Hara than to watch her in Late Spring, a film in which she is heartbreakingly vibrant. Mar 1, 2016 | Full Review…
"Movies resurrect the beautiful dead," Susan Sontag once wrote, and there's no better way to commemorate Hara than to watch her in Late Spring, a film in which she is heartbreakingly vibrant.
Melissa Anderson
One of the best two or three films Ozu ever made. Jan 20, 2006 | Full Review…
One of the best two or three films Ozu ever made.
Roger Ebert
Ozu's characters don't seek ecstasy, not because they are afraid of it but because they are brave enough to accept compromise. May 9, 2005 | Rating: 4/5
Ozu's characters don't seek ecstasy, not because they are afraid of it but because they are brave enough to accept compromise.
Vincent Canby
Yasujiro Ozu's 1949 film inaugurated his majestic late period: it's here that he decisively renounces melodrama (and, indeed, most surface action of any kind) and lets his camera settle into the still, long-take contemplation. Jan 1, 2000 | Full Review…
Yasujiro Ozu's 1949 film inaugurated his majestic late period: it's here that he decisively renounces melodrama (and, indeed, most surface action of any kind) and lets his camera settle into the still, long-take contemplation.
Dave Kehr
Terrifying film about a woman who wants to be single pressured into marriage. Dec 3, 2016 | Full Review…
Terrifying film about a woman who wants to be single pressured into marriage.
Michael E. Grost
Yasujiro Ozu's early domestic masterwork has been given a gorgeous restoration which makes it even more treasurable-if possible-than ever. Mar 8, 2016 | Full Review…
Yasujiro Ozu's early domestic masterwork has been given a gorgeous restoration which makes it even more treasurable-if possible-than ever.
David Noh
Sadness is tempered with humor, even to a 'good luck' wallet found under a policeman's nose, just as, tempered by the unknown and unforeseeable, life itself is sweet as well as bitter. Apr 13, 2015 | Full Review…
Sadness is tempered with humor, even to a 'good luck' wallet found under a policeman's nose, just as, tempered by the unknown and unforeseeable, life itself is sweet as well as bitter.
Donald J. Levit
Ozu's low camera position helps the audience relate to his characters, and his almost-always static shots portray the sturdy demeanor of his characters. Jun 1, 2012 | Rating: 3.5/4 | Full Review…
Ozu's low camera position helps the audience relate to his characters, and his almost-always static shots portray the sturdy demeanor of his characters.
Eric Melin
Ozu trains his trademarked fixed camera on the deceptively simple story of a father and daughter and finds in it nothing short of the whole wide world. May 1, 2012 | Rating: 10/10 | Full Review…
Ozu trains his trademarked fixed camera on the deceptively simple story of a father and daughter and finds in it nothing short of the whole wide world.
Christopher Long
impermanence... forms the film's true subject - and it is Ozu's ambivalence towards it, as though he wants both to board the train, and to stay on the platform, that ultimately gives Late Spring its bittersweet resonance. Aug 23, 2010 | Full Review…
impermanence... forms the film's true subject - and it is Ozu's ambivalence towards it, as though he wants both to board the train, and to stay on the platform, that ultimately gives Late Spring its bittersweet resonance.
Anton Bitel
Haiku-like in its title, its interest in the undramatic silences between scenes, and its enfolding of human behaviour within nature, Late Spring offers tenderness in the place of melodrama and patient truth in the place of sudden revelation. Dec 2, 2009
Haiku-like in its title, its interest in the undramatic silences between scenes, and its enfolding of human behaviour within nature, Late Spring offers tenderness in the place of melodrama and patient truth in the place of sudden revelation.
Brian Gibson
Another fantastic example of Ozu's work. As usual, very restrianed and very simple. Ozu examines family relationships and the social beliefs of Japan at the time. The struggles of women and the worries of fathers are all played out. Late Spring focuses on Ryu once again playing a single father, and his daughter Noriko. Many of Ozu's films deal with the effects of a marriage on a family. Here, Noriko does not want to get married. She is content with her life with her father. She enjoys looking after her father and worries about he will be able to cope without her. As it progresses Ryu must make the choice of letting his daughter go. Even if he must trick her to set her free. The great thing about Ozu is that he doesn't tell us what to think, a story is laid out in front of us with each characters emotions open to interpretation. A very moving ending, but one that doesn't try and make us cry. Slow and boring to some, Ozu is a director who has no need to try and impress his audience. Ironically, this is the most impressive thing about him.
Super Reviewer
although ozu typically starts slow, this film begins slower than most of his. however, by the time it picks up, it becomes one of ozu's most emotionally powerful films. in particular japanese fashion noriko's father doesnt display any emotion until completely alone, and then it hits hard, but hara gave a phenomenal and emotionally charged performance. i never get tired of seeing ryu or hara in an ozu film, and ozu's camera shots are typically strong in this film. the bike riding scene, the scene on the road after the play, and the discussion towards the end just before the wedding are all phenomenal, and as is usual for ozu, we get a wonderful portrait of japanese culture and family life.
What I liked about this movie, is the gradual attachment that grows between you and the characters. I've got this with all the Ozu's I've seen so far: in the beginning it's very neutral, but when he gets to the core of the relationships, I find it deeply moving. This movie explores the bond between a father and his daughter. It's about making sacrifices, or being prepared to make sacrifices for each other. Not something you see very often anymore in today's society,
every bit as good as tokyo story, due in large part to setsuko hara's subtle performance and the film's investment in her character. the plot concerns a twenty-something woman who is manipulated into following society's conventions; once again a simple domestic story told in such a peaceful and powerful way... it feels very modern and timeless all at once.
There are no approved quotes yet for this movie.
View All