Paul Clark’s review:
Somewhat pricklier than most Anderson films, mostly because it's so full of tics and quirks that it almost feels like a screw-you to the haters. Hard to argue with the Chuck Bowens of the world who hate it for this reason, especially since the characters are even thinner and more weightless than usual (no Kylies or Klauses in this bunch, sadly). Yet whenever Anderson keeps the focus on his young leads, this is pretty magical and surprisingly affecting. And it's definitely the best use of Benjamin Britten since BEAU TRAVAIL- not that there's much competition, but still.