Christian Science Monitor by David Sterritt

Pinter's screenplay offers an exciting mixture of psychological suspense and storytelling surprise, and the lead performances are close to flawless.

L.A. Weekly by Ella Taylor

Despite his (Jeremy Irons) showboating turn and Dench's lascivious energy, it's Annette Crosbie, in her quiet way, who gives the most commanding performance, as the sister who sees all too clearly what's coming.

TV Guide Magazine by Ken Fox

A rare treat — catch it while you can.

New York Post by Megan Lehmann

An atmospheric and subtly engrossing relationship saga, which wowed the critics when it played on British TV and is just now getting a theatrical release.

The New York Times by Dana Stevens

A teasing, oblique curiosity of a movie.

New York Daily News by Jami Bernard

Watching these pros in a dance of things unsaid is breathtaking, but it's a lugubrious, claustrophobic tale.

Village Voice by Jessica Winter

Aidan Higgins's novel undergoes a choppy, perplexing script adaptation by Harold Pinter (who enjoys a soused, belligerent cameo), further muddied by non sequitur editing inserts. Imogen and Otto's happenstance affair holds little intrigue or surprise.

Los Angeles Times by Manohla Dargis

Unearthing even the roughest gems serves a programming purpose, but in this case it has also led to a theatrical release of a movie that looks like a muddy second-generation Xerox and contains all the emotional and intellectual appeal of cold tea and soggy toast.