Mary Poppins Returns
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All Critics (25)
| Top Critics (9)
| Fresh (21)
| Rotten (4)
In his first film Coimbra already appears to be a master of the cinematic tightrope walk, weaving flashbacks and detective work in an energetic and pleasingly sleazy manner (this is, after all, a modern noir).
Though a strong director of actors, Coimbra is significantly less assured as a visual stylist.
Surprisingly extracting humor out of a incredibly serious and dramatic situation, the film is especially benefited by the flawless performances of Leal, Cortaz and Nascimento.
As a piece of storytelling, "A Wolf at the Door" may be a tawdry little shocker. But on a visceral level, it is a knife to the gut.
Potent sexual attraction can be a wonderful thing, but it can also bring out the absolute worst in the people involved, as the bleak, disturbing Latin American noir "A Wolf at the Door" convincingly demonstrates.
Coimbra's overambitious use of a complex narrative structure can feel clunky, and worst of all, the kid at the center is practically forgotten in the assemblage of flashbacks, significantly diminishing the emotional pull.
The structure of the film, made through flashbacks through the police interrogation, capture the interest of the viewer since the first minute. [Full review in Spanish]
The brilliant humanization of a noir tale, leaving sensationalism out to favor your identification with this cheated, rejected and obsessed woman. [Full review in Spanish]
The script by debutant director Coimbra is a perfect balance of humor, suspense, and surprises. But it's Leal's intriguing performance that steals the show. [Full review in Spanish]
Its hook is a kidnapped kid, who promptly gets lost in its shuffle. And maybe this inattention is part of Coimbra's point, but if so it's mismanaged, diluting our emotional investment right when it needs bolstering.
It's a huge testament to the actors that you can sympathize with a character one minute and hate him/her the next.
The way Coibra looks at infidelity and the disastrous ramifications of it is closer to Gillian Flynn's Gone Girl, albeit in a less sophisticated manner.
An engrossing film made by a filmmaker in absolute control of the story he wants to tell (it doesn't have a single shot or camera movement out of place), moving with a careful, deliberate pace towards a shocking conclusion and with Leandra Leal in a top-notch performance.
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