1,000 Times Good Night

Binoche does an excellent job showing her character’s conflict, though it is not until later in the movie that we learn why she so eagerly runs into danger.

What makes 1,000 Times Good Night more than a dramatic essay on wartime journalism is Ms. Binoche’s wrenchingly honest portrayal of a woman of conscience driven by a mixture of guilt, nobility and self-importance, reckoning belatedly with her destructive impulses.

The first English-language film from Norwegian director Eric Poppe is a conscientious and beautifully shot movie that ultimately bogs down in its own disinclination to come to any kind of dramatically useful conclusion about its subject.

Binoche's potent performance [cuts] to the quick of the struggle to balance a passion for work with a commitment to family.

A compelling, if well worn , topic — work/life balance — is brought vividly to life by a great Binoche performance.

Sadly, this gorgeous-looking adult movie plays out the same theme over and over, never going anywhere surprising. At least we have Binoche to guide us to hell and back.

The movie is about a situation, not a story — there’s little narrative momentum — and as is often the case with movies about journalists, the mood of smug sanctimony becomes unbearable.