Critics reviews

The movie finally punts on grappling with its ambiguities. The finale feels functional rather than haunting.

The problem lies less with Eyre's smooth directing than with the attenuated material, adapted from a rather anodyne novel that's far from McEwan's best.

Closer to an epic PSA than a cinematic experience rife with audience-character identification.

Directed with immaculate poise and discretion by Richard Eyre, who propels us into high society with such ease you feel you belong there, The Children Act is a meticulously calibrated drama worthy of Claude Sautet, and not just a distinguished example of the kind of ‘masterpiece theatre' the British film industry reliably coughs up for awards consideration.

Fiona's unusual decision to visit the sick teenage boy in the hospital in order to determine whether the lad's not under the influence of his religious parents leads to an odd little friendship between the two, one that, after she saves his life from forcing him to receive the blood transfusion, becomes increasingly awkward and yet somewhat more life-fulfilling for the two over time, until Adam's insistence to stay in touch pushes them into too-far territory.

The Children Act is directed by the ever-prestigious Richard Eyre, who did far better with similar (if juicier) material in Notes on a Scandal, a movie whose starry cast recognized that what they were making was camp. There is no such awareness here, and it's sort of painful to watch Thompson—arguably one of the best living actresses in the English language, and never one to phone in a performance—bring depth, shading, and technique to a role that doesn't warrant it.