Konterr
Brilliant and touching
Sanjeev Waters
A movie that not only functions as a solid scarefest but a razor-sharp satire.
Bob
This is one of the best movies I’ve seen in a very long time. You have to go and see this on the big screen.
Niv-1
The Theory of Flight has a good performance from Bonham Carter but in a underdeveloped role. Too much of Branagh's character. Her "My Left Foot" the movie is not. It was directed by Paul Greengrass before he went all shaky cam. A movie that was more about Carter's character would have been better because her performance is so good that it deserved the Oscar buzz it received. Because the movie is not about her however and is so focused on Branagh's unbalanced but not as interesting character the movie is basically just OK rather than being a film like My Left Foot. The direction from Greengrass has some interesting moments but a lot of time there is just too much overdoing of scenes with Branagh.
Keith G
Not wishing to give *anything* away here, I would just say this technically excellent, flawlessly acted and uplifting little flic will reward the viewer with an excellent hour and a half's entertainment: It will amuse, surprise, possibly embarrass occasionally and almost certainly tug at the heartstrings from time to time, as it approaches the inevitable, but not obvious, ending without becoming clichéd or predictable in any way. Most definitely recommended.A previous User's Comment gives 8 out of 10 for the film and 10 out of 10 for both Branagh and Bonham-Carter's outstanding performances - I agree entirely....
Chris Bright
That is, good in parts.The good: enjoyably twisted and unsentimental approach to disability, good acting (probably Branagh's best work in a questionable film career), some interesting images (Branagh in flying goggles!) and a cinematic sense unusual in Brit cinema. Director Paul Greengrass has done excellent hard-edged work elsewhere, notably "Bloody Sunday", and brings some of that sensibility to this.The bad: occasional lapses into sentimentality or silliness (note to all British directors - DO NOT put 'wacky' speeded up sequences set to ska music into your films unless you want them to resemble the work of Mel Smith). A tricksy ending which didn't quite work, although kudos for avoiding a "Terms of Endearment"-style deathbed scene.The questionable: the whole idea of casting able-bodied actors in disabled parts is a bit of a hot potato these days, in the same way as white actors blacking up. First seeing Helena Bonham Carter in the chair was a bit of a "black and white minstrels" moment, although I think she overcame it with a fine, tough performance.We never believe Branagh's plane really flies, although I guess as it's mainly intended symbolically that doesn't matter too much.All in all, much better than one would have expected, even if it didn't quite hang together as a movie. I caught the beginning by chance and stayed up to watch till the end so I guess that's a recommendation. 7/10.
Stephen-12
Despite its low-key release in this country, and its apparent disregard in other countries (the 'R' rating in the States can't have helped - honestly, just because HBC uses the C-word!), this is actually a fine piece of work. The sentimentality does occasionally threaten to choke it, but it's overcome by the playing of the two leads.It's easy to win plaudits just because you're playing a physical or mental cripple (Daniel Day-Lewis, Geoffrey Rush, Dustin Hoffman, etc.), and Helena Bonham-Carter may not quite capture the physical degradation of MND, but her vocal stretching and ruthless emotional drive compensate entirely. In fact, almost all her performance is conducted through her eyes (and what eyes!). This is an intelligent turn from an actress who is rapidly undoing her English Rose reputation, and emerging as a figure of some stature. Awards must surely follow, though not, alas, for this fine performance.Branagh, one feels, has never quite given his best on film (except possibly 'Hamlet', and there his playing was diluted by the large cast). Here, though, he tops his other appearances, playing to the hilt a self-loathing, unstable, ultimately lovable guy with a subtlety he hasn't always displayed, and exhibiting both intelligence and depth. In short, we believe him, just as much as we could NOT believe him as Frankenstein, as the priest in 'The Proposition', as the lawyer in 'The Gingerbread Man', even as Andrew in 'Peter's Friends'. This is surely his finest performance yet - so why could he not produce the goods much earlier?As a film, it looks more like a television offering, and without its stars it probably wouldn't amount to very much. But it's been a pleasure to see this pair perform their socks off like this, and I eagerly await more from them (though not 'Love's Labour's Lost'...). 8 out of 10, but Branagh and HBC get 10 out of 10.
