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About half the scenes in Our Souls at Night consist of Jane Fonda and Robert Redford simply talking to one another. Those scenes are more exhilarating, more intoxicating and more memorable than many if not most gigantic action sequences in big-budget movies.
Our Souls at Night is your classic Hollywood weepie, so immaculately played that it confounds crass preconceptions.
Both Redford and Fonda are charming, delicate and convincing as Addie Moore and Louis Waters, the couple who find each other at the tail end of their lives. They are directed with sophistication and without a drop of melodrama or sentimentality by Ritesh Batra
Made with care and conviction as it explores this unexpected relationship, "Our Souls at Night" understands both what changes in people as they age and what remains the same. It covers quite a bit of emotional territory, and it covers it well.
There’s nothing particularly world-shaking about Our Souls at Night, but it’s a nice movie about nice people finding love.
There’s an air of well-oiled, made-for-TV efficiency about the exercise that extends from Lunchbox director Ritesh Batra’s safe hand on the tiller to Stephen Goldblatt’s golden-light photography.
It’s hard to deny that the small screen may be the most natural fit for Batra’s film, given its pleasantly mollified storytelling and blandly unassuming visual style.
The ending may be strained, but it works its way to just the right sentiment.
The whole package is still charming on its own cosy terms – the film equivalent of a loveable old hound that fetches your favourite slippers, rolls over for a tickle, curls up on your feet, contentedly passes wind, then nods off.
Part of the pleasure of this film, directed by Ritesh Batra (“The Lunchbox”), lies in the rediscovery of what wonderful actors they can be, and how good they are together.

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