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reviews

53
Based on 24 Reviews
critic reviews (10)
fan reviews ( )
  • 75
    Peter Stack San Francisco Chronicle

    A sexy, moody comedy that plays like a dreamy comic novel. show more

  • 50
    Susan Wloszczyna USA Today

    Bale tends to be overwrought and self-conscious as he wrestles with his demons, here in both '60s flashbacks (the liveliest segment) and in the 1977 present, in which punk clubs and easy women represent temptation. [09 Apr 1999] show more

  • NA
    Joe Morgenstern Wall Street Journal

    Metroland, which is adapted from a novel by Julian Barnes, is an oddly unpleasant variation on the theme of "The Way We Were." [09 Apr 1999] show more

  • 50
    Jami Bernard New York Daily News

    Bale fails to make Chris a character compelling enough to stand out from that heavy dose of '70s clothes and hair. show more

  • 75
    Roger Ebert Chicago Sun-Times

    There are a lot of movies about escaping from the middle class, but Metroland is one of the few about escaping into it. show more

  • 63
    Walter Addiego San Francisco Examiner

    Metroland is a provocative rumination on how relationships are warped by two people's inability to be truthful with each other. show more

  • 63
    TV Guide

    This slight story of youthful dreams and adult compromise is bolstered by finely modulated performances from the three leads. show more

  • 63
    Boston Globe

    Bale and Watson make most of the film more interesting and watchable than it might otherwise be, finding flesh and blood in a script that isn't always equal to their talents. [23 Apr 1999] show more

  • 63
    James Berardinelli ReelViews

    Director Philip Saville, working from a script by Adrian Hodges (which, in turn, is based on the novel by Julian Barnes), has crafted a competent, character-based tale, but the issues examined are stale, and Saville is unable to find a way to take the story to a newer, more interesting level show more

  • 50
    Tom Meek Film Threat

    The sexually charged undercurrent of Mertoland promises something dark, disturbing or at least provocative, but as the characters reach their defining moments, it's the plot that yields to the ordinary. show more

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