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I went to see this at an advanced screener in Leicester Square last night. Kate Winslett chatted about the film on stage afterward. I went as one of those people who'd read the book and consider that source material to be amongst the best literature I'd ever read. I was wondering if and how the film could match up. My prior concerns were about how accurate the film would be. Well, there's nothing to worry about there. Mendes has created a near carbon copy of the book, the locations, characters and scenes are all exactly as I 'saw' them on the page. Nothing (as far as I could tell) is portrayed out of order, no extra characters are introduced, and no primary characters are dropped or altered. The acting is 100% perfect. The mies-en-scene is perfect. Absolutely nothing could or should have been done differently. So why not 10/10? The problem lies in the fact that Yates' novel is a literary one, much of the essence of the experience of the story is realized by Yates with just the right turn of phrase or choice of word. How does a director set about depicting or capturing this visually? I don't think he really can, he needs to use cinematic tricks and devices to inject resonance, the same resonance Yates achieves with that turn of phrase. But in being so (probably rightly) concerned about being true to the source material, the film somehow comes up a little flat as a film going experience, a sort of American Beauty without the crucial stylistic bells and whistles. Kate Winslett said afterward that (interestingly) it was she who had brought the book and the project to her husband, not vice versa and that it took some consideration for Sam Mendes to convince himself that he hadn't already told this story before, and by the final credits, I too was thinking just that, it felt like I'd watched a prequel to American Beauty, but without the pizazz and the rapture and the delight. So, the book, 10/10, the film, 8/10.

That 'Revolutionary Road' was directed by Sam Mendes (who directed the brilliant 'American Beauty' nine years earlier) and that it reunited two immensely talented actors Leonardo DiCaprio and Kate Winslet after 1997's 'Titanic' were reasons enough to see it.

'Revolutionary Road' may not be "revolutionary" and it is not perhaps a film that will be re-watched over and over by me. This said, there is so much to appreciate, there is no denying that it's incredibly well made and superbly acted. And to me and many others (though it is an understandably polarising film, the dark and unpleasant subject matter is not for everybody) it is a powerful and moving film, and one of the most realistic and truthful depictions of a struggling marriage on film.

Visually, 'Revolutionary Road' is wonderfully shot, bleak but also sumptuous, while the scenery and 50s production values are evocatively and handsomely rendered. Thomas Newman's music score is hauntingly hypnotic, achingly melancholic and at times ominous.

While at times stagy, the dialogue is insightful, making one really think about what it's saying (it has much to say and knows how to say it without preaching) and for many will wrench the gut and induce floods of tears. There is a little levity provided by Kathy Bates, that could have been ill-fitting but is pitched well. The story is deliberate, but the atmosphere is brilliantly evoked and there are many parts that have huge power and are emotionally devastating, especially in the latter parts.

Sam Mendes keeps things at an assured pace, keeps the atmosphere alive and doesn't undermine the chemistry between DiCaprio and Winslet in any way. DiCaprio and Winslet embody their roles, which are intentionally not the most likable, are very complex and very much compellingly real, and their chemistry is both tense and affecting. Winslet has the more complex one of the two and her performance is a heart-wrenching emotional roller-coaster, while DiCaprio gives an explosive turn especially in the fever pitch latter parts.

Michael Shannon proves himself to be a scene stealer as the brutally honest crazy nut, and Kathy Bates brings well-timed levity.

Overall, a powerful and moving film that is highly appreciated in many ways. 9/10 Bethany Cox

The Titanic lovers, Leonardo DiCaprio and Kate Winslet, get reunited for Revolutionary Road a tale of sterile life in the suburbs during the Eisenhower years. Not that this is anything new, the subject was done as comedy and as drama in such diverse films way back then as Rally Round The Flag Boys and Strangers When We Meet.

It's a nice story, but not one I could terribly worked up about. So Leonardo is working for some firm as a sales rep and it's a job he hates. Good for him, 90% of the American work force are in jobs that are just paychecks to support themselves and their families. Which Leo and Kate increased by two during the course of the film.

Seeing themselves in a rut, Kate lets fly the brilliant suggestion that he just quit and move to Paris. Not only that he should just 'find himself' and she'll work and support and raise the kids and him. Leo likes the idea, but then gets cold feet and it goes downhill from there.

Leo and Kate are fine, but the film just is not up to the standards set by Titanic. I sure cared a lot more about Jack and Rose than I did about either of the Wheelers. Nevertheless Revolutionary Road which is the name of the street the Wheelers live on in the film, got three Oscar nominations including one for Michael Shannon as the bipolar son of the Wheeler's neighbor Kathy Bates who sold them the house. Nowadays Shannon would be on his meds and leading a more productive life than he is here. Shannon lost for Best Supporting Actor to Heath Ledger for the Dark Knight.

Revolutionary Road is entertaining, but hardly groundbreaking.

Revolutionary Road is not a very joyful film, or is it easy to watch. Instead of being simply entertaining, it achieves what not many films these days do. It wants to be a learning lesson.

This film is superbly crafted, in both the writing and the amazing direction by Sam Mendes. After his great film 'American Beauty', he comes back with strong will to do this project. His direction is the best of the year for sure. It feels so professional, so alive. The writing, both of the characters, Frank and April Wheeler, I feel they are so open and 3-dimensional characters, but the screenplay wants to let us inside their lives, and it does so with great passion. Leonardo Dicaprio plays Frank with such intensity, with such force. Dicaprio gives his best performance here without a doubt, since I don't really think he has ever done something like this before. Then there is Kate Winslet. My favorite actress, and certainly one of the most talented out there. Winslet has surprised me before in a lot of movies, but here, she surprises me in a whole other way. Her silent, unlikeable, and sometimes human and cold portrayal of April Wheeler is one of the best performances of the decade. She gives the best female performance of the year, and I truly hope she finally wins the Oscar she deserves.

The film itself is so beautiful, so alive, yet at the same time, so dark to what the film is about. The cinematography is amazing, as well as the costumes and the whole set designs. The music, the original score, was so unsettling, perfectly balanced to what each scene brought.

Revolutionary Road is not a film for everyone. I can definitely see some critics will hate it, but it should certainly be respected, for its ambition, for the things it accomplishes and every thing it portrays. I think this is Mendes' masterpiece. I have not seen a better made film this year.

First, for the chemistry between Winslet and DiCaprio, Second - for the amazing performances of Kathy Bates and Michael Shannon. Not the last for the accuracy of recreated atmosphere. A splendid film because it seems escape out of script. And because it has the potential to be a film about its public. Each of us has dreams and regrets and desire of beginning. Each of us is confronted with decisions, responsabilities, duties. And the answer is not alwazs the best. So, a magnificent film about people, vulnerabilities, crisis and the cold solution.