Even without all of this bungled structure and flawed internal logic, Atonement still fizzles.
Atonement (2007)
Tomatometer
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Reviews Counted:199
Fresh:164
Rotten:35
Average Rating:7.3/10
Consensus: Atonement features strong performances, brilliant cinematography, and a unique score. Featuring deft performances from James MacAvoy and Keira Knightley, it's a successful adaptation of Ian McEwan's novel.
Rated: 15
Runtime: 2 hrs 3 mins
Genre: British, , Romance, Young Love, Period Piece, Theatrical Release, Crime, Family Crises, Based On A Novel
Theatrical Release:07-09-2007
Synopsis: On a sultry summer day in 1935, an upper-class British family prepares for a dinner party at their country estate. The players: Briony Tallis (newcomer Saoirse Ronan), a precocious preteen writer;... On a sultry summer day in 1935, an upper-class British family prepares for a dinner party at their country estate. The players: Briony Tallis (newcomer Saoirse Ronan), a precocious preteen writer; her older sister Cecilia (Keira Knightley), Cambridge graduate and femme fatale; Robbie Turner (James McEvoy), the housekeeper's mensch-y son, who carries a torch for Cecilia; and various visitors and family members. A series of misperceptions, fueled by the summer heat and Briony's childish hurts and fevered imagination, lead to a dramatic false accusation that lands Robbie in jail. We meet all three characters five years later in the thick of World War II, as foot soldier Robbie prepares for the Dunkirk evacuation and the two estranged sisters train as nurses in London. Director Joe Wright (PRIDE AND PREJUDICE) deserves high praise for translating Ian McEwan's highly internalized, multilayered tale of guilt, redemption, and the power and limits of the artistic imagination, into a sumptuous visual feast that not only conveys the intricate plot points of the novel, but dives headfirst into the emotional subtleties that make the story so wrenching. Whether any of the characters' actions are ultimately atoned for by the end of the film is a matter of perception, but Wright's sympathetic eye ensures that every player gets a fair trial. The young director favors long, lingering close-ups that trace every flicker of feeling--Ronan's luminous blue eyes clouding over with righteous gravity; the tremors of hurt and anger and love in McEvoy's sensitive face; the defiant jut of Knightley's jaw as it melts into tender affection. The honey-drizzled look of the first two thirds of the film contrasts achingly with the tension and seriousness of the action unfolding (and the grim intensity of the wartime sections), and the scenes on the beach at Dunkirk include some of the most masterly camera work of any recent film. ATONEMENT is a powerful story, retold in a way that even diehard fans of the book will appreciate. [More]
Starring: Keira Knightley, James McAvoy, Romola Garai, Saoirse Ronan
Starring: Keira Knightley, James McAvoy, Romola Garai, Saoirse Ronan, Vanessa Redgrave, Brenda Blethyn
Director: Joe Wright
Director: Joe Wright
Screenwriter: Christopher Hampton
Producer: Tim Bevan, Eric Fellner, Paul Webster
Composer: Dario Marianelli
Studio: Focus Features
Reviews for Atonement
Smaller than you'd expect, though many may remember it for the exquisite period detail, production design or fluid camera work.
One of the many films around Oscar season that's easy to respect but hard to love.
What really sets Atonement apart from other films is the incredible one-two punch at the end that you never see coming and might think about for days.
...without a sense of justice, Atonement just doesn't pay its penance. It turns a potentially magnificent movie into something that's merely good.
The kind of classically contoured love story that American filmmakers have become (almost willfully) incapable of making anymore.
[Director Joe] Wright and cinematographer Seamus McGarvey move us gracefully and jarringly from the gorgeous English countryside to the horrors of war.
[The film] is, in the end, mildly disappointing, a movie that is beautiful but without warmth. Hopefully Joe Wright can continue on the visual path he is blazing for himself while not again losing the humanity of his wonderful Pride & Prejudice.
It grapples with some of the most bruising aspects of the human condition
Somehow the intensity of McEwan's voice hasn't survived and once we move beyond the magic of that lost summer's day, the film becomes a strangely cool and cerebral experience.
The fractured perspective reduces our emotional attachment to the events. That said, if you're looking for a weepy romance %u2013 albeit one with an aggressively bittersweet ending %u2013 Wright delivers adequately.
...this season's serious British film. It's entertaining, provocative and oh so obviously Oscar bait.
It's a shame that the denouement doesn't completely provide us with the emotional catharsis we require.
The movie poses a fascinating question: Can one ever atone for a sin that destroyed somebody’s life? The exploration of the answer and the execution of the film are equally remarkable, making this adaptation of the Ian McEwan novel a top 2007 film.
There's no sinking into "Atonement," no losing yourself to it, no moment when the screen fades away and the story and the characters come to the fore to overcome you.
Sightly better than average, unless you count Keira Knightley's lack of screen time as a positive (note: it is).
It's the only epic I can think of that blossoms out of the notorious slang word for female genitalia. Reduced that way, it sounds kind of silly, and it is kind of silly.
Any man who says he likes this slow-paced, phantasmagorical movie needs a double shot of testosterone.
Even with its strong themes and performances, Atonement will be enjoyed most by those enthralled when the craft of filmmaking becomes an art.
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