Adeel Hail Unshakable, witty and deeply felt, the film will be paying emotional dividends for a long, long time.

Kirandeep Yoder The joyful confection is coated in a sparkly gloss, bright enough to gleam from the darkest, most cynical corners.

Kaelan Mccaffrey Like the great film, it's made with a great deal of visible affection both in front of and behind the camera.

Zandra The movie turns out to be a little better than the average. Starting from a romantic formula often seen in the cinema, it ends in the most predictable (and somewhat bland) way.

Moviereviews999 When a down-on-his-luck real estate agent, named Frank, receives a phone call from a woman purporting to his mother, he plays along with the "prank" (his mother died the prior year!) until he realizes that the woman dialed his number by mistake. But his wanting to relive his life brings him to meet the lady who called him and become her friend, in a mother/son way.While Frank's life has many more "downs" than "ups", lately, his new friend is just what he needs to find a new purpose in life."A Month of Sundays" achieves a delicate balance of drama, pathos and light-hearted comedy in a way that may have you shedding a few tears, along with a few shudders and laughs.

david-rector-85092 There is much to love about 'A Month of Sundays'. What leaps out at this viewer within its first few minutes is the distinctive rhythm and flow of this quite unique Australian feature. It's not only the pacing; its the wonderfully quixotic score by Bryony Marks; the languid editing of veteran Ken Sallows; and the off beat wry dialogue exemplified by the early repartee between satirist supremo John Clarke's 'Phillip' and Anthony La Paglia's 'Frank'. The film never adheres to the expected trajectory of contemporary drama, preferring to lurch in one direction of social satire only to abandon that and veer into deeply personal territory and in so doing giving the flawed protagonist played beautifully here by La Paglia, his hero's journey.'A Month of Sundays' would be worth recommending alone on the above mentioned observations, but then there's the national treasure that is Julia Blake. The legendary stage and screen actress has been a familiar face for decades; and I first fell in love with her in 1979 in a TV series called 'Twenty Good Years'. There has always been an elegance but a strength and power to Julia's performances and age has neither wearied her talent nor her beauty. An alumni of Paul Cox's films as well as many other film makers, Ms Blake gives a dignified and moving performance here; one that deserves an AACTA nomination if not the prize. The chemistry that La Paglia and Blake share is crucial to the success of the narrative, and the viewer buying the coincidences and conceit that the film is built around. I can see why some other reviewers have not been able to get on board with this most unusual but universal story. It is refreshing to experience an exploration of grief and loss and the trauma of having faced those elements - for better and worse! La Paglia's Frank may or may not be destined to be one of life's losers. A modern day Willie Loman he may well be. This movie could be espousing the philosophy that it is not what happens to you in life; it's how you deal with it. The flawed but identifiable characters in 'A Month of Sundays' ring true and that is a huge part of the movie's success. That and casting such talented people with a smartly written and directed script by Matthew Saville. It's well worth the ride.

warren-232-934862 Seeing John Clarke in the cast was one of the main reasons that encouraged me to see 'A month of Sundays'. On that score, I wasn't disappointed, Clarke gave a polished performance with a few of his usual sarcastic/humorous one liners perfectly delivered. While obviously a film of redemption, son's trying to justify and/or prove themselves to their elders, to me the movie lacked a real plot or something to bond it together. It meandered along in its own way, much like the main character, struggling real estate salesman Franks, played by Anthony LaPaglia who did do a great impression of a Real estate agent, albeit not an over enthusiastic one ! Overall it was watchable, but for me fell a little short of being memorable.

andrewbunney Real estate agent Frank Mollard (Anthony LaPaglia) can't move on. Divorced but still attached, he can't connect with his teenage son. One night Frank gets a phone call from his mother who died a year ago. This leads him to explore his grief with wise elder, Sarah played by Julia Blake ('Man of Flowers', 'Prisoner', 'Innocence', 'Wolverine').Set in the leafy suburban streets of picturesque Adelaide, it's a gentle tale of modern life during a real estate boom and of the human connection that makes a house a home. It is really about everything; parents, children, regrets, love, work, grief and ordinary people finding improbable salvation.Adelaidey-odlians will find it especially poignant because it involves a nostalgic nod to the ¼ acre block with fruit trees that is rapidly being consigned to history. But with the superb cast, it's a very fine film, regardless. LaPaglia (ex-Norwood High School) and Julia Blake (at 79 years) are note perfect in the lead roles.LaPaglia's real estate agent, Frank, is a sad sack with his rut deeply, sharply cut. All locations are described with his realtor's double-speak, even when he comes home to his Linden Park unit after work; "Needs a little attention, decorator's dream" etc.Mixed with the serious themes, there's plenty to laugh at in Frank's interactions with his newly successful ex-wife played by Justine Clarke, and in his clumsy interactions with his son and potential home-buyers. His boss is played by ex-Kiwi, the beloved comic John Clarke who inevitably steals all his scenes with hilarious dead-pan contributions. There's also a hearing impaired element to the story which can make this film that rare, rich experience for the deaf community (in its closed caption version) and the wider audience.With equal parts comedy, tragedy and heart-warming wisdom, writer director Matthew Saville (Tim Winton's 'Cloudstreet', 'Roy Hollsdotter Live' & Chris Lilley films) has created an understated masterpiece to sit alongside great suburban Adelaide films such as 'Travelling Light', 'Return Home' and 'Look Both Ways'. (Snowtown is in another genre!) Cinematographer Mark Wareham throws our streets and backyards onto the big screen with great understanding and skill, so best get yourself secure housing in Adelaide if you can, before the whole world sees this big-hearted film and comes a-bidding. Andrew Bunney, Let's Go to the Pictures, 9-11 AM Thursday, 3D Radio, Adelaide 937FM, Digital, iTunes