Premiere by Glenn Kenny

Resnais employs all the tools of studio-bound moviemaking, silent-era to post-modern, in a way that is not only is consistently dazzling in a purely visual sense, but contains an empathy that lifts the picture to tragic heights even at those points at which it seems practically weightless.

Chicago Reader by Jonathan Rosenbaum

Alain Resnais' 2006 adaptation of a British play by Alan Ayckbourn is a world apart from his earlier Ayckbourn adaptation, "Smoking/No Smoking"; that film tried to be as "English" as possible. But this time Resnais looks for precise French equivalents to British culture, and what emerges is one of his most personal works, intermittently recalling the melancholy "Muriel" and "Providence."

Los Angeles Times by Kevin Thomas

A masterpiece by any measure, is fresh, immediate and contemporary, but its wintry yet warm perspective is suffused with the wisdom and experience of a great filmmaker who turns 85 on June 2.

Chicago Tribune by Michael Wilmington

The cast is tremendous; these actors work with Resnais like a well-oiled stock company that knows every trick and can communicate almost telepathically.

New York Magazine (Vulture) by David Edelstein

It's a Parisian romantic roundelay with sundry couples connecting and disconnecting, but it looks and sounds like no sex comedy ever made: It's transcendentally yummy.

The A.V. Club by Scott Tobias

Resnais and Ayckbourn care primarily about observing these characters' private and public faces, who they are and who they present themselves as. To that end, they've achieved a mood of enchanting intimacy.

Entertainment Weekly by Lisa Schwarzbaum

The grand old filmmaker frames each scene like a fine painting. And fake snow falls with happy artificiality between rueful vignettes.

Village Voice

Resnais is now 84 years old; perhaps it takes eight decades of living to make a movie this compassionate, this confident--and this young.

The New York Times by Manohla Dargis

The film is accessible, pleasant, dreamy, a touch goofy and melancholic. Its modernist gestures are little more than stylistic tics, but there's an image of snow falling on two clasped hands that is almost rapturous. The role of the artist remains, for Mr. Resnais, the role of a lifetime.

Village Voice by Jim Ridley

Resnais is now 84 years old; perhaps it takes eight decades of living to make a movie this compassionate, this confident--and this young.

New York Post by V.A. Musetto

Clever, wise and witty.

The Hollywood Reporter by Kirk Honeycutt

This is a minor film from a master, which is disappointing, but nevertheless it has its charms, most notably in the acting by a cast of stage and screen veterans.

Variety

Despite a perfect cast of Resnais regulars plus the master's own impeccable crafting, the characters fail to grip, and with approximately 50 short scenes, development comes in fits and starts.

Salon by Andrew O'Hehir

I found the interlocking bitterness of Ayckbourn's play irritating and overly neat, and these people don't seem to belong to Paris or London or anywhere else, at least not anytime in the last 20 years.