The Theory of Everything | Movie Review 16 Jan 2015   213


Cast: Eddie Redmayne, Felicity Jones, Charlie CDavid Thewlis, Harry Lloyd, Maxine Peake
Direction: James Marsh
Genre: Biopic
Duration: 2 hours 3 minutes

Critics Review

Times of India (TOI):

In 1963, Stephen Hawking was very far from the world-revered figure he is today. Instead, this biopic depicts Hawking (Eddie Redmayne) as a partying, rowing Cambridge student, interested in the “physics of lust”, bantering with buddy Brian (Lloyd). Hawking is brilliant but yawningly lazy, giving Professor Sciama (Thewlis) answers scrawled on train schedules, meeting Jane (Felicity Jones) at a party, the pretty languages student bowled over by the awkward, charming young man.
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‘The Theory of Everything’ desperately wants to be loved and adored. At places it tries too hard, at others it tries too little. The lack of balance is carried out throughout the film, and by the time you exit the theater you’ll be wondering whom the movie was for.
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NDTV Movies:

The Theory of Everything, James Marsh’s biographical film about the British theoretical physicist Stephen Hawking, tries very hard to live up to its title: It wants to show a remarkable man in full, to explore his ideas, his emotional life and his struggle with illness.
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The film’s strength is Eddie Redmayne’s terrific, consistent performance as Hawking, who goes from a carefree young student at Cambridge in the mid 1960s to a world-class thinker, even as his body succumbs to neuromuscular disease leaving him wheelchair-bound and able to speak only through a computer-enabled voice. Essentially an intimate marital drama rather than a career story, the film focuses on Hawking’s first marriage to literature student Jane Wilde (Felicity Jones) and her unwavering loyalty to him since the onset of his illness.
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The Indian Express:

SCIENTIST Stephen Hawking is still looking for that “one simple equation that explains everything”. The person Stephen Hawking knows better than most that life itself has a way of bucking theories. This film, despite a virtuoso performance by Redmayne and a great effort by Jones, doesn’t allow him that courtesy.
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