Restoration

The film has many virtues, but for me the most enchanting is simply the lust with which it depicts a bold and colorful era in history. Read full review

Screenwriter Walters and director Hoffman superbly replay the mood of Tremain's lively, well-written novel. Read full review

Blinking his puppy-moist eyes and grappling with an English accent, Downey struggles so manfully in the role that one cuts him a lot of slack; working earnestly on her Irish brogue and mussing up her cupcake demeanor in the service of verisimilitude as a wise madwoman, Meg Ryan’s performance is, refreshingly, less precious than she’s been in a long while. Read full review

Hoffman proves himself a master of complex scenery, crowd control and graceful direction. He succeeds in making a conspicuously lush and rich movie out of what was reportedly a less than kingly budget. Read full review

For all its shortcomings, Restoration is miles beyond most historical epics. [26 Jan 1996, p.51]

If one judged movies purely on the basis of photography and sets, Restoration would deserve a place near the top. [26 Jan 1996, p.C]

It never feels like a history lesson about the social-political changes wrought by the Restoration, although it could be argued that it's exactly that. Even when it's taking itself seriously, it neatly avoids pomposity. [02 Feb 1996, p.F1]

This adaptation (by Rupert Walters) of Rose Tremain's brilliant Booker-shortlisted novel is a lot better than rumours about its frantic, lengthy post-production might have suggested. Engaging if uneven. Read full review

Writer Rupert Walters's episodic narrative is decidedly corny—especially the later chapters—and yes, it's as creaky as old bones. But its weaknesses are offset by the film's elaborate re-creation of plague-ridden London. Read full review

Restoration, as I say, has its flaws. The lessons it wants to teach us may be too obvious. And the production's appealing lack of solemnity has the downside of seeming, at times, like superficiality. [26 Jan 1996, p.18]

Restoration moves from farce to spiritual parable to melodrama with such inconsistency that it could be a case study in 17th-century multiple personality disorder. [02 Feb 1996, p.05]

Restoration is a middling thing, indifferent good, albeit much enlivened by Robert Downey Jr., who did act Merivel with the full vigour of his profession. [31 Jan 1996]

Sweeping yet intimate drama boasts an exemplary cast headed by Robert Downey Jr., who does bravura work as a wastrel physician. Pic’s main liability, an overly episodic story that loses some steam in the second half, might, however, limit its commercial domain to aficionados of artier historical fare. Read full review

Hoffman's eye for detail isn't matched by his jolting way with a narrative, which an extra year's preparation and editing from its original planned release didn't help. One comes away with the suspicion that Restoration should have been a longer movie, and feeling somewhat relieved that it isn't. [02 Feb 1996, p.5]

The movie takes on a somber, fitful atmosphere of straining epic proportions. But it strays into an episodic bog that leaves it gasping for dramatic life. Read full review

Downey seems subdued in the film's central role, as if he's out of his league when it comes to dramatically stretching as an actor. Even when all decked out in foppish finery, looking absolutely ridiculous to the objective eye, he can't find a way to focus your attention on him. Instead, in looking at him, all you can do is wonder: How much did those duds cost? Read full review