Howards End (2017)

Travers praises the adaptation as lively, incisive, and timely. He especially singles out Hayley Atwell’s joyful, compelling performance as Meg.

The reviewer finds this adaptation fresh, focused, and successful on its own merits. They especially praise Hayley Atwell and Philippa Coulthard, whose performances make the Schlegel sisters the retelling’s compelling heart.

Thomas-Corr calls the adaptation an intelligent, handsome period drama that speaks compellingly to contemporary concerns. She praises its sharp dialogue and thoughtful focus on ideas, especially women’s voices.

Wollaston finds the adaptation thoughtful, humane, witty and bold, despite its lack of a rollicking finale. He especially praises its portrayal of Margaret and Helen’s relationship and the focus on people and ideas over period spectacle.

Seitz finds the miniseries a subtly audacious, fresh adaptation that mostly delivers and grows more distinctive as it unfolds. He praises its nuanced treatment of race and class, while noting that a crucial love story feels rushed.

Robson finds the adaptation overly stately, though he thinks it could become one of the BBC’s finest literary dramas. He praises its cast and its warm, perceptive capture of Forster’s tone.

Saraiya finds the miniseries enjoyable but ultimately a syrupy, messy adaptation that lacks the source novel’s humanity and subtlety. She praises the cast, especially Julia Ormond, while criticizing the final hour’s sloppy handling of key reveals.

Herman finds the adaptation charming and empathetic, showing that people divided by class and politics can still connect. She particularly praises Hayley Atwell’s performance and the restrained way the series conveys its characters’ growing intimacy.