Living (2022)

The review praises the film as a thoughtful, superbly rendered drama and lauds Bill Nighy’s performance. It singles out the evocative 1950s look and visual presentation for praise.

Time Out presents the film as an emotionally searing redo, led by a career-best performance from Bill Nighy. The praise singles out Nighy’s performance as the film’s standout.

Huff finds the film an artistically masterful, deceptively simple meditation on life and death. He especially praises Bill Nighy’s restrained, memorable performance and his electric scenes with Aimee Lou Wood.

The critic calls it a rare remake that enriches its source and a major achievement for Bill Nighy. They especially praise Nighy’s restrained performance, alongside the film’s careful craftsmanship.

The review finds that Hermanus’s remake comes very close to perfection and can stand alongside Kurosawa’s original. It particularly praises Bill Nighy’s portrayal of Williams, while noting that his family life is underdeveloped.

Kermode finds the film beautifully melancholy and moving, praising its understated treatment of mortality and lost youth. He especially singles out Bill Nighy and Aimee Lou Wood for their deeply affecting performances and the intimate bond they create.

Newland finds this British adaptation poignant and powerful, with a story that makes a convincing case for appreciating life’s brevity. She singles out Bill Nighy’s understated performance and the film’s elegant, self-assured classicism for praise.

Kemp finds the film a poignant, graceful celebration of life, beautifully told despite its familiar story. She especially praises Bill Nighy’s gentle performance and the film’s striking visuals.

Ebiri finds the remake moving, engaging, and visually splendid, praising how its period style makes familiar themes resonate anew. He also singles out Bill Nighy’s reserved performance as an effective contrast to the original film’s more theatrical lead.

Debruge finds the film moving, though less subtle and emotionally powerful than Kurosawa’s original. He praises Bill Nighy’s exceptionally understated performance.

Chang finds the remake moving and distinctive, though more restrained and less forceful than Kurosawa’s original. He especially praises Bill Nighy’s understated performance and its melancholy depth.

Ide presents the film as a handsome, positive period adaptation of Kurosawa’s Ikiru. The standfirst singles out its polished period approach and Bill Nighy’s lead performance.

Lane finds “Living” carefully arranged and compelling, while questioning whether its reserved protagonist’s behavior always feels believable. He singles out Bill Nighy’s performance and the emotional force gathered beneath his character’s mannerisms for praise.

The page could not be read, so the critic’s verdict is unavailable. No specific element praised or criticized can be verified.

Ehrlich finds the remake stiff and forgettable despite its sincere understanding of the original’s appeal. He praises Bill Nighy’s affecting performance, while criticizing the adaptation for compressing the story and muting its emotional force.

Han finds the remake thoughtful and touching, but not essential or able to escape comparison with its revered predecessor. She especially praises Bill Nighy’s restrained, moving performance and the film’s dignified visual style.

Fujishima finds the remake too faithful to Ikiru, though its existential themes still resonate. He especially praises Bill Nighy’s restrained, affecting performance.

Lovitt finds the film somber, beautiful, and haunting, with Bill Nighy giving a tremendously moving performance. She singles out the film’s thoughtful visual choices and its intimate portrayal of Williams’s effort to leave a meaningful legacy.

The critic warmly recommends the film as elegant, absorbing, and tremendously moving. They single out Bill Nighy’s contained, affecting performance as one of the year’s best.

The critic gives the film an emphatic recommendation, calling it a rare cinematic achievement. They especially praise Hermanus’s expressive framing and the historic County Hall setting.

Hammond says the remake works very well, praising its loving care and fidelity to Kurosawa’s original. He particularly singles out Bill Nighy’s understated, beautifully judged performance.

The critic finds this remake elegant, humane and emotionally affecting. Bill Nighy’s restrained performance is singled out as its heart, with his scenes alongside Aimee Lou Wood especially poignant.

Oller finds the remake worthwhile but overly slow, with an epilogue that drains some of its emotional force. He praises Bill Nighy’s restrained, affecting performance as its chief strength.

Doherty finds the remake mostly rewarding, but says its final act weakens its impact. He praises Bill Nighy's performance and Jamie Ramsay's cinematography, while faulting the underdeveloped emotional payoff.

Wilkinson admires the film’s craft but finds its deeper emotions held at arm’s length. She singles out the period design and Nighy’s subtle performance for praise, while noting that the film grows stagey and its music sometimes overwhelms.