Mary Poppins Returns
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All Critics (19)
| Top Critics (10)
| Fresh (6)
| Rotten (13)
24 Exposures comes across like a clever idea that never got past the concept stage. It might have been fun for him to make, but it's definitely a chore to sit through.
Some half-baked ideas about representation versus reality emerge in the lax improvised dialogue.
Is Swanberg pre-empting complaints about his methods by making a film about an artist who is, if not a killer, then at least creepy and unreflective? Maybe, maybe not. But the question will only interest people who follow Swanberg's career.
The movie ultimately becomes a queasy bromance, the foundation of which is less than flattering.
Unfortunately, this would-be erotic thriller is just too unfocused and slapdash to satisfy its promise.
Improvised dialogue can work wonderfully if the actors have a solid feel for their characters, but everyone here seems rushed and uncomfortable.
Why do so many indie movies treat women like this?
Yet if, like said before, Swanberg keeps "chiseling" away, he'll maybe, one day, shape his masterpiece, no matter how much hard material there is to still get through.
24 Exposures filters its lurid subject matter through the low-key, DIY aesthetic which Swanberg and his collaborators have cultivated over the past decade.
Like its influences, works better as a familiar turn-on than a riveting cop drama that happens to be steamy.
24 Exposures plays like a self-conscious joke.
24 Exposures has a handful of interesting ideas-and a lot of cute topless girls-but it doesn't add up to much.
Say what you will about Joe Swanberg, but his written and directorial works are never short of original, vulgarly consuming, or a combination of both. 24 Exposures is no exception, as he works with the great Adam Wingard for a vile and semi-intellectual film concerning photography, depression, and the holy trinity: blood, sex, and gore.
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