42
Linney is too sensitive and capable an actress to play a stock villain like this. That everyone in the movie dislikes her makes you dislike everyone in the movie.
What are people saying?
What are critics saying?
70
While Driving Lessons' writer-director, Jeremy Brock, sticks to the all-too-familiar template of such tales, he's given Walters her best role since "Educating Rita." Hamming it up with the precision of a master, she makes this somewhat plodding film a pleasure, as does young Grint.
63
New York Daily News by Elizabeth Weitzman
Linney hits a single note for her uptight character, while Walters travels the scale indiscriminately. Her outsized eccentric darts from amusing to grating. Only Grint is just right, as the boy they, and the film, can't do without.
60
Los Angeles Times by Gene Seymour
Driving Lessons follows the well-worn path laid down by other, better movies while making strained, ludicrous things happen toward the end.
50
Wall Street Journal by Joe Morgenstern
This coming-of-age movie, is a clumsy contraption, but it's nice to see Rupert Grint coming out from under that colorful thatch, and coming, not a moment too soon, into an appealing pre-maturity.
63
Linney's character is written as a one-dimensional monster whose selfish cruelty is beyond redemption and, ultimately, belief.
70
Basically conservative yet titillatingly "eccentric" British laffer could succeed in the "Full Monty" import slot.
60
The Hollywood Reporter by Sheri Linden
Aiming for wacky and heartwarming, the film is, at its sporadic best, a mildly diverting coming-of-age story. At its worst, it feels forced.
70
The New York Times by Stephen Holden
The screwball aging diva genre isn't the only formula guiding this stubbornly old-fashioned movie. Driving Lessons belongs to the silly feel-good mode of "The Full Monty," "Calendar Girls," "Billy Elliot," "Kinky Boots" and dozens of other celebrations of Britons defying convention to become "free," whatever that means.