| Sony Pictures Classics | Release Date: February 26, 2021 | CRITIC SCORE DISTRIBUTION | ||
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Positive:
48
Mixed:
3
Negative:
0
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Critic Reviews
Sneakily utilizing production design and uncanny good editing, The Father fascinatingly puts the viewer in the same state of distress as its main character. And in adapting his own play, the director’s carried over an intimate quality of a staged chamber drama to not just show a man dealing with dementia but also offer a way into his mind with a haunting, deeply affecting and quite memorable narrative.
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The Father is about the suffering of old age, the importance of connection, the sick encroaching of an affliction, and ultimately, death. It doesn’t sugarcoat things, despite its sugarcoated exterior. Like its French counterpart, Michael Haneke’s Amour, it’s not an easy watch, but it’s a necessary one, a film that examines the very essence of our humanity.
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The Father is an unsettling film, but it’s also a compassionate one; family members of those suffering with dementia can turn to it for an empathetic portrait of how that disorientation must feel on the inside. It’s one of the most disturbing films in recent memory, but it’s both understanding and unforgettable.
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This is one of the most painfully realistic depictions of dementia in recent film history, and yes, that means The Father can be a tough viewing experience at times — but how can one be anything but grateful for the chance to see one of the world’s greatest actors doing such enormously moving work past his 80th birthday?
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Hopkins methodically strips away every quality we’ve come to expect from him—the refinement, the silver tongue, the imposing intensity he lent Lecter and Nixon and Titus—until there’s nothing left but frailty and distress. In doing so, he helps convey the full tragedy and horror of dementia: the way it can make someone almost unrecognizable to themselves and their loved ones.
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For the many people impacted by dementia, it won’t be an easy watch – and for those who have experienced it in the past, it may feel like a gentle pressure on an old wound. But it’s a real window into an affliction that is both commonplace and unfathomable. And in that sense, it’s a gift.
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The TelegraphApr 15, 2021
The chance to see the 83-year-old Hopkins in a role that forces him to confront the tragic fact of human mortality, and his own eventual demise, with such rigor, curiosity, and vulnerability would have been reason enough to send audiences to see The Father, even if we weren’t also witnessing the birth of a major film director in Florian Zeller.
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On the whole, The Father incorporates what could have just been a storytelling gimmick and infuses it with such sorrow, grace and even the occasional dark joke that it becomes a profound exploration of how we say goodbye to someone dear to us — even though they have not yet really gone.
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Keeping logical track of all the comings and goings is like trying to focus on a single bird in a flock. The details, names and faces blur a little more every time a character rounds a corner, just as they would for the ailing Anthony. With its narrative boldness, however, The Father never stirs or fully satiates.
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The Father is brilliantly structured and executed, but in the end it’s just a cleverly constructed way to depict the mundane. It never finds that level of the fantastic or allows for the kind of magical thinking necessary to escape its dreary reality. Ultimately it wallows in the pathetic. Who needs this?
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