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The Long Day Closes

✭ ✭ ✭ ✭   Read critic reviews

United Kingdom
·
1992

Rated PG · 1h 25m

Director Terence Davies
Starring Leigh McCormack, Marjorie Yates, Anthony Watson, Nicholas Lamont

Genre Drama

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Set in Kensington, a working-class district of Liverpool, England in the mid-1950s, this is the story of eleven-year-old Bud, a lonely boy who spends most of his time at the local cinema watching movies. All the while, his family looms large in the periphery, as do the menacing bullies of his school, but Bud is the center of attention as he navigates the loneliness of childhood and the realization of his sexuality.

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WHAT ARE CRITICS SAYING?

60

Empire by

Though Davies says this is a celebration of what were the best years of his life — he had a doting mum, nice sisters, and school was apparently okay — you'd hate to see what he'd produce if he were depressed, for the overall mood is heavy and glum.
100

The A.V. Club by A.A. Dowd

What’s uniquely remarkable about The Long Day Closes, Terence Davies’ 1992 return to his own childhood, is how gloriously disorganized its story feels.
80

Variety by Derek Elley

Strength of Davies’ vision is the crux, and it holds the line to the final, confident fadeout.
100

Chicago Tribune by John Petrakis

Davies has said that he loves the "poetry of the ordinary." In that sense, he doesn't just wax nostalgic about the good old days, but rather, he makes us question and reevaluate those things we may not remember so readily-not the general, but the specific.
50

Miami Herald by Rene Rodriguez

What The Long Day Closes lacks is a narrative thread, however slim, to match the perfectly realized setting and wonderful visuals Davies has crafted. The whole thing feels like a chapter of a much larger work, one that, if finished, would doubtless prove more intriguing than what we get here. [7 Aug 1993, p.G5]
100

The Dissolve by Scott Tobias

A singularly beautiful nostalgia piece that radiates with love and sadness, and doesn’t extract one type of feeling from another. It’s a film of aching bittersweetness, impeccably realized, past perfect.
80

The New York Times by Stephen Holden

A deeply personal film, and at times a touching one, it is a collection of fragments and memories artfully pieced into a quirky, captivating book of dreams.

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