Feast of Love Critic Reviews
Metascore®:
Based upon 12 Critic Reviews- Highest Rated
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Publications (A-Z)
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- Critics (A-Z)
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- Favorite Critics
The bodies are athletic, young, and white, and yet this is not the sport sex we usually see in Hollywood movies. It's the sex of adulation. Sometimes the director Robert Benton goes heavy on the hydraulic positioning, but his movie is scarcely mechanical.Read the full review
Benton has made better movies, but this one has no organic reality.Read the full review
Far too cloyingly pleased with its own humanity.Read the full review
Love is a many-splendored thing in Robert Benton's dull romantic fantasy Feast of Love, though none of its splendors rings true.Read the full review
Feast of Love's greatest strength is that it's about people and involves universal emotions. It's not great art but it is enjoyable soap opera.Read the full review
The multiple-story-line family drama is too cliche-ridden to be considered a great movie. But it's still a very good one, filled with excellent performances, entertaining writing and a final few scenes that are quite moving - even if you can see most of them coming at the end of the first act.Read the full review
The film, with its intersecting vignettes, might ultimately feel like more of a sampler platter than a sustaining smorgasbord, but it's effectively rooted in a lovely Morgan Freeman performance.Read the full review
A more accurate name for Feast of Love might be “Feast of Breasts.” At every opportunity, Mr. Benton turns the camera on his actresses’ gleaming torsos. These beautifully lighted soft-core teases lend an erotic frisson to a movie that in most other ways feels enervated.Read the full review
Maybe Benton's serenely dull time-waster should take a cue from one of its main settings, and become the first Hollywood film released directly to coffee shops. Otherwise, it seems destined to find an indulgent second home as an unusually classy slot-plugger over at Lifetime.Read the full review
The story teeters on the edge of soap opera and emotional manipulation, but director Robert Benton (Kramer vs. Kramer) pulls back in the nick of time. What results is an involving and often poignant examination of love and loss.Read the full review