Paul Clark’s review published on Letterboxd:
"The, uh, pudding is not a sales item." Definitely a turning point for Anderson, as he switched gears from expansive, propulsively-directed ensemble pieces to more precise, expressionistic works about prickly protagonists. Sandler does such a valiant job finding the damaged child in his usual screen persona that one half-wonders whether he was in on the joke, and it's a little disappointing when one realizes that Emily Watson's career has lost steam since this was made ten years ago. Also yikes, 10 years, etc.