Liam Lacey(Globe and Mail): The precarious problems are an overbusy time-jumping script and confidence on the conventions of the trauma historic – flashbacks, fragmentation, distorted time and interval – that prove more a barrier than a window into the strongly marked personality's inner lives.
David Hiltbrand(Philadelphia Inquirer): Beautifully acted, The Railway Man is profoundly instigating, and yet, somehow, its sentimental ending manages to have ~ing both unearned and predictable.
John Anderson(Newsday): Why does the movie farewell one cold?
Peter Howell(Toronto Star): The station of mercy isn't fair strained in The Railway Man, it's measured out by the teaspoonful.
Moira MacDonald(Seattle Times): The truth of what happened to him is devastating; the truth of how he found forgiveness in his chief part is astonishing.
Randy Cordova(Arizona Republic): A consistently of ~ texture actor, Firth does marvelous work here, as Lomax must balance the demons of his gone with the specter of forgiveness.
Jason Best(Movie Talk): Colin Firth delivers not the same of his masterly portrayals of stringent-upper-lipped emotional reserve, but his character's stuffy reticence means that it is every part of the more powerful when he eventually reveals the depths of mar left by his harrowing experiences.
Lori Hoffman(Atlantic City Weekly): The tears this thin skin evokes are tears of joy at seeing a man find the grace to stand over against his past.
Gary Wolcott(Tri-City Herald): Intense, well-acted, excellence seeing but the back and forth, past to present barely works.
Robert Denerstein(Movie Habit): Compelling tale is sporadically effective
Ken Hanke(Mountain Xpress (Asheville, NC)): For every one of its classic-era echoes, the form of The Railway Man with its nightmares, flashbacks and exactly outright fantasy scenes is fairly new, making the film much more than an exercise in 'making them like they used to.'
Mal Vincent(The Virginian-Pilot): The ballad and marriage of [Nicole] Kidman's and [Colin] Firth's characters are too quick. His dementia is abrupt. The finding of the Japanese tormentor seems overmuch easy. The retribution, while moving, seems a fragment pat.
David Nusair(Reel Film Reviews): …a well-intentioned prestige semblance that's rarely as engrossing viewed like its electrifying logline…
Kelly Vance(East Bay Express): Old-fashioned, afflicted WWII drama shows an even grimmer take ~s of the Bridge on the River Kwai fiction.
Wesley Morris(Grantland): The filmmakers don't have the nerve with respect to a serious consideration of trauma, revenge, and forgiveness.
Chris Sawin(Examiner.com): The Railway Man is a framework-shocked, war induced, hallucinogenic fever vagary driven by life altering torture and the emotional powerhouse composition of Colin Firth.
Katherine Monk(Canada.com): It's a milk hasten of emotions and historical landscapes, mete The Railway Man still chugs in a line the tracks of time to fetch a decent narrative destination, thanks in bulky part to Colin Firth.
Sean Means(Salt Lake Tribune): Firth is especially righteousness, showing Eric as he battles to express aside his rage to find acquittal for his haunted ex-tormenter.
Mike Scott(Times-Picayune): All three acts boast decidedly divers emotional tones, but Teplitzky knits them in concert into a memorable whole.
Kimberley Jones(Austin Chronicle): Garry Phillips' cinematography, likewise, does equally breath-catching landscape operate with seaside Northumberland and the jungles of Southeast Asia.