Facts and Figures

Genre: Dramas

Run time: 98 mins

In Theaters: Wednesday 27th November 2013

Box Office USA: $37.7M

Budget: $12M

Distributed by: The Weinstein Company

Production compaines: Baby Cow Productions, BBC Films, Magnolia Mae Films, Pathé, Yucaipa Films, The Weinstein Company

Reviews 4 / 5

Rotten Tomatoes: 92%
Fresh: 158 Rotten: 13

IMDB: 7.7 / 10

Cast & Crew


Producer: , , Gabrielle Tana

Starring: as Philomena Lee, as Martin Sixsmith, as Sally Mitchell, as Mary, as Jane, Simone Lahbib as Kate Sixsmith, as Young Philomena, Charles Edwards as David, Sean Mahon as Michael Hess, Amy McAllister as Sister Anunciata, Cathy Belton as Sister Claire, as Young Sister Hildegarde, as Pete Olsson, as Kathleen

Philomena Review

Based on a true story, this warm drama uses sharp humour to keep from tipping over into sloppy sentiment. It's still hugely emotional, but in a shamelessly entertaining way. And it gives Judi Dench and Steve Coogan characters they can really sink their teeth into as the twists and turns of the real events unfold.

In 2002, cynical London journalist Martin Sixsmith (Coogan) has just been sacked from his job as a government spin doctor, so his editor suggests he try a human interest story to get back to work. He hates the idea until he meets Philomena (Dench), a retired Irishwoman who was raised by nuns in a workhouse, where she was forced to give her baby son up for adoption some 50 years ago. She'd like to know what happened to him, so Martin accompanies her back to Ireland and then on to America, where the babies were sold. But their search doesn't go as expected, and what they discover is startlingly moving.

As he did with The Queen, director Frears gives the film a gentle, light tone that helps balance the intensely serious subject matter. He also encourages his cast to deliver understated performances, which is especially effective for the usually broad Coogan. And of course Dench is simply wonderful as a feisty straight-talker who isn't thrown by anything she encounters. Gurgling under everything is an astute look at religious heritage: Martin is a lapsed Catholic who can't understand why Philomena still has a devout faith, because of what the church has done to her. And as the story continues, he begins to understand the strength this gives her.

Both Dench and Coogan dig deeply into their characters, using both crisp humour and more introspective emotion to bring out the conflicting feelings. Frears sometimes seems to hurry through the darker moments to get to something happier, but the big revelations along the way carry a strong punch. And there are moments here and there that catch us off-guard with intense resonance, such as when Philomena watches home movies of her son growing up. And what makes the film so powerfully entertaining is the way Frears and Dench let us see all of this through Philomena's relentlessly curious eyes.

Rich Cline