Downton Abbey: The Grand Finale (2025) - Film Review

      Downton Abbey: The Grand Finale, 2025.

      Directed by Simon Curtis.

      Featuring Hugh Bonneville, Laura Carmichael, Phyllis Logan, Robert James-Collier, Jim Carter, Michelle Dockery, Elizabeth McGovern, Joanne Froggatt, Brendan Coyle, Allen Leech, Michael Fox, Penelope Wilton, Harry Hadden-Paton, Raquel Cassidy, Sophie McShera, Kevin Doyle, Lesley Nicol, Douglas Reith, Paul Copley, Paul Giamatti, Joely Richardson, Alessandro Nivola, Simon Russell Beale, Arty Froushan, Dominic West, Fifi Hart, Nathan Wiley, Lorna Nickson Brown, Rose Galbraith, Lisa Dillon, Sarah Crowden, Lucy Black, Oliver Barker, Nathan Hall, Eva Samms, Karina Samms, Zac Barker, Archer Robbins, and Robert Paul.

      SYNOPSIS:

      As Mary becomes embroiled in a public scandal and the family encounters financial difficulties, the household confronts the threat of societal disgrace. The Crawleys must adapt to change with the next generation guiding Downton Abbey into its future.

      As with previous installments, it should be noted that despite having critiqued the earlier two films, this reviewer has not watched Julian Fellowes’ television series. Therefore, if you're seeking a critic who can provide a deeply informed commentary on Downton Abbey: The Grand Finale—covering every character, subplot, fan service nod, and detail of an ending that simultaneously feels like a proper sendoff (accounting for nearly 25 minutes of the two-hour runtime), infused with just enough skepticism to suggest a reboot will follow these characters deeper into the 1930s—you may want to look elsewhere. However, if you appreciate American film critics penning pieces for British publications about the conclusion of a fundamentally British narrative, then you’re in the right spot, though you may find some confusion.

      Fortunately, familiarity with the series background is not essential to engage with this material; this finale revolves around change as the Crawleys step into a new decade, facing some resistance. Central to the story are two key narratives, the first being that the eldest daughter, Lady Mary Talbot (Michelle Dockery), is now divorced from Henry, which has significantly diminished her social standing to the extent that Royals and other elite families are reluctant to associate with her, much less visit the Abbey. This scenario provides an intriguing glimpse into the contrasts between British and American cultures, where such a circumstance is not looked down upon to the same degree. Uncle Harold Levinson (a returning Paul Giamatti) comes from abroad to assist the Crawleys in settling debts, accompanied by a suave businessman associate, Gus Sanbrook (Alessandro Nivola), who complicates things further by attracting Mary’s interest.

      As this narrative unfolds amidst an unexpected newfound freedom juxtaposed with a controversial social status, Robert Crawley, Lord Grantham (Hugh Bonneville), collaborates with Harold to strategize on settling debts and maintaining stability after Violet Crawley’s (Maggie Smith) passing. This introduces an element of mystery, while the film includes a multitude of returning characters, regardless of whether they are currently serving at the Abbey. Even the role of the butler is entering a transitional phase.

      Similar to a Marvel movie, there's an unmistakable excitement when a beloved character reappears (usually marked by a familiar face exclaiming, “Oh, it’s you!” or a shared inside joke that might fly over some heads). This approach remains effective, as returning director Simon Curtis (again working from a script by Julian Fellowes) succinctly conveys the main plot points and themes, including some universal humor and a reasonable grasp of each character's personality. While the editing retains a distinctly television feel, the pacing remains agreeable, and the Abbey's budget appears to be utilized efficiently. Most importantly, the dialogue retains a lively quality even for those unfamiliar with half the characters.

      Overall, Downton Abbey: The Grand Finale manages to be engaging for non-fans, not just because it addresses something universally relatable—battling change—but also because it showcases those struggling to adapt and the obstacles they face. Regarding the social class element (which sometimes intersects with the previous theme), it’s not necessary to know everything about Mary to appreciate her unjustly shamed journey toward freedom and acceptance. It also evolves into a narrative less focused on miraculously saving the Abbey and more on using the current financial challenges as a catalyst for embracing change. Downton Abbey: The Grand Finale serves as a satisfying conclusion, even with limited prior knowledge of the series.

      Flickering Myth Rating – Film: ★ ★ ★ / Movie: ★ ★ ★

      Robert Kojder