Critic scores range from 0 to 100, with higher scores indicating more favorable reviews.
This is Webber's flawed but treasured document of his son, an attempt to share a portrait of their developing relationship, and — later on — a chance for Isaac to see his dad's parental reflections captured on-screen. Read full review
An exceptionally intimate, human-scaled picture. It's also quite a special piece of work. Read full review
The End of Love is hardly a work of revelation. At the same time, it's surprisingly well-executed, nicely performed and manages to combine a warm and gentle sense of the rhythms of life with a cold and bright-eyed look at the world and its lead's flaws and character. Read full review
Webber’s key influence appears to be ultra-naturalistic contemporary European cinema, most specifically French, and The End of Love hits that mark often enough to make it affecting. Read full review
There are powerful ingredients here, certainly enough to create a deeply felt work, but The End of Love lacks the additional layers of storytelling necessary for Webber to make the audience feel as close to the material as he does to his son. Read full review
It’s a kind of self-portrait made out of quotidian meals, naps and scattershot car-seat conversations, and though the loss that underlies Mark’s emotional state feels like a scripted conceit, The End of Love excels at conveying the moment-to-moment frustrations and exhilarations of being a dad. Read full review
There is plenty of evidence that Webber has something significant to say, and the gifts with which to express himself. Once he’s ready to commit fully to his own vision, there’s no end to what he might accomplish. Read full review
A mostly mundane single-father drama. Read full review
There are some lovely and moving things here, but over the long haul it’s more like watching an hour and a half of someone’s weekend trip to Knott’s Berry Farm. Read full review
Oddly overstuffed with cameos by bigscreen actors playing tongue-in-cheek versions of themselves, Webber's Los Angeles-set, microbudget dramedy delivers some rare and beautiful moments of daddy day-care, but its tone shifts more wildly than a preschooler's disposition and its narrative is stillborn. Read full review