Good story, Not enough for a whole film

This is a small, humorous movie in some ways, but it has a huge heart. What a nice experience.

There are moments in this movie where the great movie it could've been peek out... They're fleeting, here, but they're worth savoring, and they happen often enough to make it worth your while.

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.

With talented actors forming the cast, having an interest in fact-based dramas and with a remarkable story of a very interesting platonic romance between Dora Carrington and Lytton Strachey, 'Carrington' had a lot going for it. Luckily, 'Carrington' didn't waste its potential and the result is an outstanding, beautiful and near-flawless film. Let down only on a few character motivations not quite being as clear as they could have been. Clocking in at just under two hours and with a fairly deliberate pace, 'Carrington' was never dull to me regardless. Due to being captivated by the acting performances, the beautiful and intense way the central relationship was handled and the emotional impact. Jonathan Pryce has never been better and gives the performance of a lifetime. Emma Thompson's performance is one of her best and most captivating. The two have a lovely chemistry, part playful, part ambiguous, part intense and part poignant. The rest of the cast, which includes Penelope Wilton and Samuel West, are similarly splendid, but it's the two leads that particularly shine.'Carrington' is a very handsome-looking film, sumptuously and evocatively designed and costumed and clearly filmed with a lot of love and care. The music is understated but has enough presence to not make it too low-key. Script is witty and thought-provoking, the story always compels thanks to the central relationship anchoring the drama being so beautifully written and played. Also haven't seen first-time direction this intelligent or sympathetic in quite some time either. Overall, outstanding. 9/10 Bethany Cox

Biopic of Edwardian painter Carrington and her platonic relationship with author Lytton Strachey. Set mostly in pastoral England, during the Great War and afterward. Strachey and Carrington entice and embrace various male companions, seemingly to vent their own frustrated passions. Unlike almost every "creative artist" film I have ever watched, the angst and toil not shown at all. Emma Thompson, as Dora Carrington, is quite good in this. Also, during the first half of the film, she manages the trick of resembling a twenty year old. Sense And Sensibility was released the same year; while she portrayed another twenty year old, there she looked like a matronly forty year old. Jonathan Pryce as Strachey is brilliant.

This is an unusually honest film. It does not dwell on romantic idealisms, but instead depicts the ebb and flow to relationships and love. And the persistence of some. I never once found myself knowing what would happen next. The characters have great depth and come together to create an intellectually, as well as emotionally, stimulating film.I found the acting to be superb and, despite the distinct lack of action for much of the film, I never felt bored or like the movie was moving too slowly.The movie is perpetually visually stimulating without the kind of technological flare that most mainstream movies contain, nowadays. The landscapes, buildings, props; everything seemed to fit seamlessly and beautifully with such an organic livability that they give the movie a kind of realism so very precious and rare.The music, as can be expected from Michael Nyman, harmonizes with one's emotions, enhancing the entire movie beyond measure. Despite having listened to the soundtrack many times before seeing this movie and listening to the ending credit music several times in a row now, I never grow weary of the music. On the contrary, my love for it matures and I can think of nothing more beautiful as I listen.This is a must see movie for anyone with patience and an open mind.

I would like to go back for a moment and dig deeper into the idea of full circle. I caught this idea as I was watching this film, and I thought it was amazing the way the director showed this transition. The first person, outside of Lytton, that Carrington falls for is a man who is only interested in a physical relationship. Although she claims she is not interested in him sexually, it is at this time in Carrington's life, she is interested in a man's mind, not what is under his pants. She breaks off this relationship to live with Lytton, a man who can give her the intellect that she desires. As Carrington grows older, she finds comfort in physical relationships. In fact, the majority of this film is about physical relationships. Carrington is never hesitant to jump into the arms of another man. A part of me thinks that she is constantly trying to find another Lytton out there, but there is another part of me that says that she was just trying to get the physical from men, because she had the perfect man at home (Lytton of course). So after being with a man that only wants to have a physical relationship, she jumps into the arms of a soldier. One that is great with the physical, amazing towards Lytton, and perfect for Carrington. As this comes to a surprising end, we see her jump into a relationship that was purely sexual. There was no interaction between the two except for when they were on his boat having sex. Carrington experiences the best sex of her life with this man, but it again ... much like the others ... comes to a complete halt when he tells her that he is not really interested in her sexually. Odd, isn't how this films started with Carrington and her first boyfriend. We have come full circle. If we were to look at this film in a symmetrical angle, we would notice a circle outside with Lytton in the direct center of this circle. The circle would represent Carrington's life. All around the circle would be the men that she has been with, while Lytton would be her stability point. All throughout her encounters with other men she always is able to find comfort with her center figure ... Lytton. If you watch this film closely, you will notice that there is only one point in the movie where Carrington goes outside the circle. It is when she is having a party at her house. Carrington goes outside only to sit down on a stump that happens to be facing the house. She is able to see all the windows in the house, and all of her past lovers with their new ones. Even Lytton with his new boyfriend.This is the moment that we see Carrington thinking about her life. Seeing what she has been a part of, and watching it somewhat crumble down. This is her only moment outside of the circle that she has built. Lytton is the foundation to this circle, and it is obvious that without Lytton everything around Carrington must crumble as well. That my friends, is how you build a love story. Grade: *** out of *****