Listonixio Fresh and Exciting

InformationRap This is one of the few movies I've ever seen where the whole audience broke into spontaneous, loud applause a third of the way in.

Philippa All of these films share one commonality, that being a kind of emotional center that humanizes a cast of monsters.

Bob This is one of the best movies I’ve seen in a very long time. You have to go and see this on the big screen.

Irishchatter The movie was good, the characters were spot on especially Murray Head playing as the bisexual "hottie" who has an affair with Glenda Jackson and Peter Finch's characters. However, I just think the story dragged on a bit like, I would recommend that this film would be one hour and 30 minutes rather than 1hr 50 mins. It does get you boring easily like I had to skip a few scenes in which were so boring, I nearly fell asleep and that was the truth! Also I found that the ending should've been redone a bit better since like, we want to know where Head's character leaves England for New York. It seems like hes gonna not do anything there but like, you would think the writers would've given the character at least some excuse to go to America. I just don't understand the ending to be honest, it just seem rather unfinished really.I give this movie 6/10..

SnoopyStyle Alex Greville (Glenda Jackson) is a London divorced working mom who is having an affair with modern sculptor Bob Elkin (Murray Head). Daniel Hirsh (Peter Finch) is a traditional Jewish doctor who is suffering from mysterious pains and is also having an affair with Elkin. Both know about the other relationship as well as having mutual friends. Both are willing to live with the situation but it can't really last.For all the affairs going on, this movie is very cold. All three people are a little emotionally dead inside. It's not a fun movie. It does not make this a compelling watch. Their relationships are like slow sleepwalking in sadness. The constant emotional self-destruction grounded me down.

donwc1996 I am a big fan of John Schlesinger because he dares to go places no one has gone before, but, alas, it is quite obvious that he was a pervert at heart because his most memorable films have been studies in modern perversion. Midnight Cowboy, Darling and now Sunday, Bloody, Sunday - all with perverted story lines that would make poor Walt Disney turn in his grave. In the biography about Schlesinger, we are told that the director and the writer, Penelope Gilliatt, despised one another and in fact Schlesinger ended up calling the writer "a c---!" Heavens to Betsy! Surely Schlesinger knew what he was getting into when he was dealing with a movie critic who happened to write a script he wanted to make into a film. She despised the changes he made, could not abide by the fact additional writers were brought in - poor thing - you would think after all those movie reviews she wrote she would know what happens to a script in movie-land. Sorry to say, apparently she did not. Of course no one seemed concerned with the very obvious conflict of interest involved with an individual who just happened to be a major movie critic and now was the author of a movie script. It's almost axiomatic that the fur would fly on this one and apparently it did. It really does not show in the film which is from a script point of view well paced and well written, but the storyline is so depraved that slowly it dawns on the viewer just what he had been taken down the road for and eventually the viewer sits there thinking, "My God! What have I done?" But then that's Hollywood because the very nature of a script is to manipulate the viewer into a point of view he has never had before. And this is the magic of the movies.

st-shot Three of the British Film Industries finest artists are in peak form for this somber tale about uncommitted relationships and coping. Londoners Alex Greville (Glenda Jackson) and Dr.Daniel Hirsh. (Peter Finch) are both intimately involved with an impetuous young artist Bob Elkins (Murray Head). They would both like something more permanent but Elkins prefers his carefree existence as he moves from bed to bed with some but little concern for each partner's feelings. The story moves back and forth from Greville's life to Hirsh's dealing with their everyday existence and the people they come in contact with in 70's London. They are fairly common lives and there is little excitement to this film which ends without resolving much. Yet it is an engrossing and highly polished piece of cinema featuring brilliantly controlled performances by Jackson and Finch. They are wonderfully ordinary, with foibles and bad judgment at times but overall decent and quietly desperate like most of the human race. Director John Schlesinger provides a great stage for his actors but he also manages to nicely incorporate the London scene in which they exist with striking imagery and the same mesmerizing flash back jump cutting that powered Midnight Cowboy. There are times it can be disjointing but overall Schlesinger succeeds with his depiction of decaying society as he did with New York in Cowboy and would with Hollywood in Day of the Locust. In his prime as he was here, Schlesinger was a master of social commentary and blending character to their environment. Sunday is challenging but worth it.