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Reviews provided by RottenTomatoes
Terry Lawson, Detroit Free Press: Irving writes about the consequences of the choices we make with endless and honest empathy for the flawed and damaged, and Williams does that too, allowing us to feel deeply for Ted, Marion and the future of Ruth. Read more
Rene Rodriguez, Miami Herald: More than once during the movie, you'll find yourself thinking 'Who are these people, and why am I sitting here watching them?' Read more
Mark Caro, Chicago Tribune: Feels more about a situation than actual people. It's sensitively rendered, filled with those necessary evocative details, and it never rings true. Read more
Misha Berson, Seattle Times: A languorous, fitfully compelling screen adaptation. Read more
Mick LaSalle, San Francisco Chronicle: Showcasing three individuals whose spiritual and physical journeys are both repellent and mundane, the film is just a long and pointless slog. Read more
Richard Roeper, Ebert & Roeper: [I]t's so strong and the performance by Basinger and by Bridges and this young actor, there's such good work and there are some quiet moments of grief that really hit you ... Read more
Eleanor Ringel Gillespie, Atlanta Journal-Constitution: If The Door in the Floor is good enough for Irving, who's often distanced himself from films based on his books, it's certainly good enough for the rest of us. Read more
Ty Burr, Boston Globe: A stunningly well-acted drama for grown-ups. Read more
Manohla Dargis, Los Angeles Times: An unassuming pleasure. Read more
Michael Booth, Denver Post: We're asked to care about a self-absorbed children's author, his depressive, self-absorbed wife and their self-absorbed 16-year-old assistant. Read more
Owen Gleiberman, Entertainment Weekly: It's easily the most robust and compelling movie ever spun off from Irving's work. Read more
Philip Wuntch, Dallas Morning News: [Jeff Bridges] is absolutely riveting in The Door in the Floor. Read more
Ella Taylor, L.A. Weekly: Compelling than satisfying. Read more
John Anderson, Newsday: The transformation of what Irving wrote to what Williams filmed is a classic case of diminishment by movie convention. Read more
Peter Rainer, New York Magazine/Vulture: Since when are dullness and realism synonymous? Read more
Stephen Whitty, Newark Star-Ledger: If Ted Cole were writing this, he would have sailed it toward his wastepaper basket. Read more
Jack Mathews, New York Daily News: That Williams occasionally comes close to the author's layered spirit is a tribute to his passion. But the film fails on a number of levels. Read more
Rex Reed, New York Observer: Not one enigmatic person in The Door in the Floor asks to be liked, but you like them anyway. Read more
A.O. Scott, New York Times: Jeff Bridges offers perhaps the wittiest and richest piece of screen acting by an American man so far this year in the best movie yet made from John Irving's fiction. Read more
Andrew Sarris, New York Observer: I can't say I minded the movie too much, but I can't say it ever grabbed me, which is how I feel about every other movie adapted from an Irving novel. Read more
Roger Moore, Orlando Sentinel: One of the best Irving adaptations, a movie with a sad soul and something to say about that state in us all. Read more
James Berardinelli, ReelViews: For the most part, The Door in the Floor is well-made, and it held my attention throughout, but this is one of those motion pictures where it's easier to admire than like the final result. Read more
Roger Ebert, Chicago Sun-Times: Williams handles the main line of the story, the war between Ted and Marion, clearly and strongly. Read more
Charles Taylor, Salon.com: The movie appears to be made for an audience whose highest aspiration is to be WASPs -- and it feels long enough to produce enough generations of them to fill an Andover reunion. Read more
Colin Covert, Minneapolis Star Tribune: Perversely gripping. Read more
Rick Groen, Globe and Mail: Something feels missing here -- like a middle and an end, maybe. Read more
Susan Walker, Toronto Star: An American tragedy, exquisitely shot in the muted tones of the New England painter's scenes of desolation and disappointment. Read more
David Rooney, Variety: A thoughtful, melancholy story of love, loss, pain, betrayal and the lingering after-effects of tragedy. Read more
Ed Park, Village Voice: At times it plays like an affecting portrait of a marriage on life support intersecting with an earnest coming-of-age story, at times like a Lands' End catalog in which all the models have been instructed to squint at the middle distance. Read more
Ann Hornaday, Washington Post: A carefully conceived, thoughtfully orchestrated effort in taste and restraint that ultimately is too restrained and tasteful. Read more
Desson Thomson, Washington Post: Little more than tony melodrama. Read more