CRITICISM

Diamond, John. Review of The Sweet Hereafter, by Atom Egoyan. New Statesman (26 September 1997): 56–57.

Diamond suggests how a Hollywood version of The Sweet Hereafter might have differed from Egoyan's, and argues that the film—unlike Egoyan's earlier works—has a sense of hopefulness beneath the surface.

Egoyan, Atom with Lawrence Chua. “Atom's Id.” Artforum 33, No. 7 (March 1995): 25–28.

In this interview, Egoyan discusses his screenwriting process and the importance of colonial power in Exotica.

Howe, Desson. “Film Notes: After The Sweet Hereafter.” Washington Post (19 November 1999): N53.

Howe offers a positive assessment of Felicia's Journey, calling it “precise” and “elegant.”

Johnson, Brian D. “Bleak Beauty.” Maclean's (30 September 1991): 68.

Johnson offers a positive assessment of The Adjuster, describing the film as “seductive, subversive and disturbing.”

Jones, Kent. “The Cinema of Atom Egoyan.” Film Comment 34, No. 1 (January 1998): 32.

Jones discusses Egoyan's body of work and how audiences have reacted to his films.

Kauffmann, Stanley. “Stanley Kauffmann on Films: A Stricken Town.” New Republic 217, No. 23 (8 December 1997): 30–31.

Kauffmann offers a positive assessment of The Sweet Hereafter, and identifies the film's principal themes.

Klawans, Stuart. Review of The Sweet Hereafter, by Atom Egoyan. Nation (8 December 1997): 35–36.

Klawans explores Egoyan's recurring fascination with portraying characters who have recently suffered a loss in their lives.

———. “The Heat in the Kitchen.” Nation (6 December 1999): 50–52.

Klawans offers a generally positive assessment of Felicia's Journey, noting that the film “is made vivid by Bob Hoskins' endlessly crafty performance.”

Merkin, Daphne. “Not Just Child's Play.” New Yorker 73, No. 36 (24 November 1997): 137–38.

Merkin offers a positive assessment of The Sweet Hereafter, describing the film as an “undidactic study of the survival instinct.”

Rayns, Tony. “Everybody Knows.” Sight & Sound 5, No. 5 (May 1995): 9.

Rayns compares Exotica to Egoyan's earlier films, The Adjuster and Calendar.

Romney, Jonathan. “This Green Unpleasant Land.” Sight & Sound 9, No. 10 (October 1999): 34–35, 44.

Romney offers a positive assessment of Felicia's Journey, noting that the film captures the spirit of William Trevor's novel.

Thomas, Kevin. “Exotica Offers a Metaphor for Contemporary Sexuality.” Los Angeles Times (3 March 1995): F10.

Thomas offers a positive assessment of Exotica, calling the film “a haunting fable of loss and desire.”

Turan, Kenneth. “Egoyan's Clear Vision Guides Surreal Spin of Adjuster.” Los Angeles Times (5 June 1992): F12.

Turan contrasts the fragmented structure of The Adjuster with the film's elegance and depth.

———. “Sweet Hereafter Soars with Silence.” Los Angeles Times (21 November 1997): F10.

Turan offers a positive assessment of The Sweet Hereafter, describing it as an evocative transformation of the original book.

Wilmington, Michael. “A World of Mixed-Up Media in Egoyan's Speaking Parts.” Los Angeles Times (27 April 1990): F10.

Wilmington offers a mixed assessment of Speaking Parts, arguing that the film is too sentimental and cerebral.

Additional coverage of Egoyan's life and career is contained in the following sources published by the Gale Group: Contemporary Authors, Vol. 157; and Literature Resource Center.