Reseñas de Metacritic

The cast is strong and the first act has an intriguingly dreamy quality, but it gives way to a soggy ending.

The film belongs to the women, with Knightley going from strength to strength (and showing she can sing!) and Miller again proving that she has everything it takes to be a major movie star.

While the period drama has several redeeming features, tonally it's all over the map, veering between artsy stylization and hum-drum, sometimes almost twee melodrama.

The Edge Of Love is more like a museum piece, placing historical figures in frozen positions, and asking us to judge them as the curators do.

That none of the protagonists earns the audience's sympathy is more likely a failure of the real-life characters rather than the actors, who deliver fine performances -- especially Rhys, who seems to be channeling Richard Burton channeling Dylan Thomas at his most manipulatively loutish.

The best thing The Edge of Love could do for you is to send you back to Thomas's poetry. Dash this folderol.

Sometimes glossy, sometimes hard-edged, the film alternates between glitz and unpleasantness and ends as a kind of glum soap opera, too glam to be bleak and too bleak to be so glam.

The Edge of Love may be intended as a biopic of Welsh poet Dylan Thomas, but it’s destined to be remembered as the movie that brought Keira Knightley and Sienna Miller into the same bathtub.

A stagy, arty, and uncompelling account of the Welsh writer and his menage-y relations.

Director John Maybury showed a defter hand with the artist biopic in his 1998 Francis Bacon film, "Love Is the Devil." Here he repeatedly falls into the genre’s traps, creating an inert, claustrophobic movie.