David Mackenzie's encore to Young Adam is not noticeably a step up, nor is it a significant step removed from the selfsame era of repression, the late Fifties. The discontented and dangerously idle wife (Natasha Richardson) of a buttoned-down madhouse director (Hugh Bonneville) starts up a sort of Lady Chatterley thing with a dark, sweaty, lowborn wife killer and former sculptor (Marton Csokas) at work on the grounds. (Sometimes a tool is not just a tool.) Apart from a mildly shocking turn near the finish, the unfoldment seems rather over-obvious and overcalculated for a case of l'amour fou. The period cars, hats, dresses, and such, are enjoyable, even so; and the photography is crisp and clear; and Ian McKellen is properly smarmy as a manipulative psychiatrist who controls fewer puppet-strings than he'd like. (2005) — Duncan Shepherd
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