The reviews split almost down the middle, with nothing in between: five critics like Cuarón’s modern-dress Dickens and four do not. What they agree on is the look. Nearly every review, warm or cold, praises the voluptuous visual style and finds the move to 1970s Florida and 1980s New York convincingly done. De Niro’s Magwitch figure earns praise from admirers and detractors alike, as does Anne Bancroft.
The reservations cluster around what the update leaves behind. The detractors say the film narrows the story to the romance and the stars and loses the novel’s lessons about loyalty and growing up, so that it ends up stranded between its two periods. Variety finds it a talented curiosity short on dramatic tension; Empire thinks Hawke’s lead is weak; The New Yorker prefers David Lean’s 1946 film. Notably, the warmest notices come from critics revisiting the film years on, while the reviews from its release run cooler.
