The Edge of Love (15)

The worst film I have seen in a long time. You can't blame the poor actors who were required to chain-smoke throughout every scene. The indulgence of the script was only matched only by the pretentiousness of the direction. This was an incredibly boring and uninvolving film . . . . I watched it in 10 minute segments over two days . . wondering whether it was ever going to get any better. Sadly it didn't. Particularly nauseous are the attempts to forge a feminist interpretation. One star for the hapless actors whose agents should have advised them to steer clear.

All in all I wished I'd stayed at home. This was a sordid film about selfish, adulterous, shallow people with no real concern for anyone other than themselves.It's one redeeming feature is the photography

Time Out readers should be congratulated for identifying this as a dud. Dialogue was uninteresting eg " we are all innocent in Dylan" - what possible context could justify that rubbish; the tiresome close ups, superfluous songs and bombing scenes, gratuitous nudity and irrelevant poetry readings. The bored look from Mathew Rhys sums up the film entirely.

I loved the film and think the accents were alright, apart from perhaps Miller's because she sounded Welsh and English and not alot Irish. He photography was good and the storyline was, in my opinion brilliant. I loved it, five stars all the way.

I watched this pretentious, boring, pseudo-artistic rubbish in Cardiff today, and nearly walked out half way through to watch something more absorbing, like the building work. Was Matthew Rhys asked to play it like Richard Burton? Where did Keira find her drippy accent? From watching newsreader Huw Edwards? Sienna's didn't matter, because she covered all bases with English, Irish and Welsh in turn.Why did she call Dylan Dullan sometimes, then Dillan ? The only decent performance was from Cillian Murphy- the only character you could care about. The film being shot in gloomy half light in London, then in rain in Wales ( natch) it was thoroughly depressing. Worst, it was utterly boring. I thought Atonement superb. This was plain awful. Please don't ever let English writers get involved in essentially a Welsh theme ever again. The dialogue was not only banal, it was totally unconvincing in the Welsh context.

I nearly wlked out of this tedious rubbish half way through. Amateurishly made, it was boring beyond, and confirms my long-held belief that \English people should never be allowed to make a film largely about the Welsh. Matthew Rhys was half decent, but played Dylan with a Richard Burton, not Dylan accent.Keira's accent was pure twp Welsh. Think of newsreader Huw Edwards at his worst. Sienna's didnt matter. It veered anyway between English, Irish and Welsh.The one decent performance came from Ciaran Murphy. His was the only character you could care about. As my wife said when a basement London club was bombed, let's hope they were all bumped off.The whole load of tosh was depressingly conducted in seme-light, or else in the pouring rain. It's set in Wales, right? So it has to rain. The dialogue was banal beyond belief. Richard and Judy were reported to have loved it. I'll never read their book recommendations again.

This is a masterful piece of film-making, with many themes simmering and occasionally boiling over in this warts and all study of the poet's bohemian, self-indulgent wartime years that span the aerial bombardments of London and the outward tranquillity of a Welsh coastal retreat - the borderlines between friendship, lust and love, dedication to art and experience versus practical concerns, jealousy, rivalry, cowardice and egotism versus heroism and self-sacrifice and more. A mature, subtle script that suggests and occasionally brings into dramatic focus the underlying tensions is well served by perfect performances (apart from the odd inappropriate smiling that Keira Knightley is prone to, though perhaps under direction this time as the other characters themselves often mention it). But above all the exquisite visual composition of each moment, with inventive and elegant use of close-up, camera angle and lighting, including pointillistic faux home movie footage, is a wonder and joy to behold. It's as continuously beautiful to look at as the Conformist, but the relationships here are more convincing and the narrative more engaging. A very rare type of film these days - it holds the attention and stirs the emotions without abandoning artistic integrity and succumbing to manipulative, superficial shortcuts.

Disjointed film with several themes running through which were not somehow "connected" up to make a whole. Sienna Miller was the stronger actress. It didn't really hang together and was overall depressing to watch

Please don't waste your time or money watching this meaningless and plotless film.

Throughly enjoyed the film and the performances. How you can describe this film as vile is beside me. Its ragged at times but I think as the film progresses this adds to the film. Miller is outstanding and Keira's accent superb. Rhys is frightening at times and intense. All makes for a deep, sometimes poignant and well shot/acted film.