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Based on 13 critic reviews provided by
An intelligent, visually sumptuous drama that embraces the grandeur of the Australian literary classic upon which it's based.
Narrative unevenness notwithstanding, those hang-ups are given delicious life by a superb Rush, Davis, and Rampling (the latter often confined to a bed and encased in elderly makeup), who prove a regally dysfunctional trio par excellence.
There's a quiet audaciousness about it. Schepisi still seems to believe that if you tell a good story in an artful, straightforward way, people will come to it. He may be wrong, but thank goodness he's still in there pitching.
Schepisi is deft with the social-strata stuff, introducing a large Gosford Park-like ensemble to tease out the central trio's dysfunction. So it's a shame that both book and film tilt away from the tart-tongued exchanges, giving increasing weight to a buried trauma that feels a little soggy.
The New York Times
Whether she's lying in bed, her gray hair spilling out around her head, or exalting in existence itself during one of several flashbacks, Elizabeth draws you in, which works for the story and simultaneously unbalances it.
Fred Schepisi's sly, stately comedy-drama that will please fans of BBC melodramas. But even on its own merits, its mild manner has sneaky stings.
For all the talent involved, The Eye of the Storm is an incident-stuffed but lacklustre affair - a case of lots of sturm, but not enough drang - that reaches for a satiric sting and emotional depth it never achieves.
Good acting and some very good scenes don't quite add up to a good film.
The Eye of the Storm is performed with zest by a fine cast and offers some nicely biting moments but, in the end, falls short of its large ambitions.
This adaptation of a prize-winning Australian novel is a stodgy slog save for some sporadic moments of blunt force supplied by Judy Davis and Charlotte Rampling.

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