Critics’ reviews

Husbands and Wives (1992)

7 reviews from 7 publications. We need six from publications we count before we show a critics’ score; there are 4 so far.

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4 of 6
Positive
2
Mixed
1
Negative
1
Empire
1 January 2000 · Mark Honigsbaum
80*

The review calls the film a triumph as both art and propaganda, with poignant exchanges and fine ensemble performances, especially from Judy Davis and Sydney Pollack. It notes the real-life resonance adds to the humour but questions its honesty as docudrama.

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Time Out
10 September 2012 · GA
80*

The critic finds the film engrossing throughout, with vividly drawn characters caught in emotional and psychological confusion. The handheld documentary style and strong performances, especially from Judy Davis and Sydney Pollack, make it Allen's best work since Hannah and Her Sisters.

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The Independent
22 October 1992 · Adam Mars-Jones
60*

The critic finds the film's pseudo-documentary technique self-advertising and callow, creating an artificial distance in material close to home. He praises the structure and performances, particularly Judy Davis, while noting the film avoids smugness in its philosophical take on marital unease.

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The New Yorker
14 September 1992 · Terrence Rafferty
30*

Allen’s uncomfortably personal film renders the dissolution of a marriage in a raw, rough-edged style meant to feel immediate and revelatory, yet the vision of relationships proves unpersuasive and sour. It amounts to a meticulously constructed but familiar argument about the impossibility of marriage, marked by mean-spiritedness and intellectual stasis.

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Los Angeles Times
18 September 1992 · Kenneth Turan

This assured, penetrating film is a lacerating comedy about love turned sour and a painful yet funny look at how relationships become destructive emotional dead-ends. It ranks as Allen’s best work since “Hannah and Her Sisters” and one of his most accomplished ever, anti-romantic in its doomed characters and free-floating misery.

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Slant Magazine
28 April 2002 · Ed Gonzalez

The critic calls the film one of Allen’s most personal and incisive works, a neurotic but universal masterpiece that catalogs the insecurity and fear rocking marriages when another breaks apart. Allen’s paranoiac gaze and understanding of the emotionally fragile period after a breakup are singled out for praise.

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The New York Times
18 September 1992 · Vincent Canby

The film is a very fine, sometimes brutal comedy about edgy, self-analyzing New Yorkers finding cracked satisfactions amid joyless lives. It stands as a strong, wise, and exhilarating ensemble piece that should weather real-life chaos surrounding its release.

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Ordered by the weight we give each publication, then by score. Scores are normalised to 100; * means inferred from an unrated review. Summaries are ours, not quotations; follow the links for the reviews themselves. How we rate