Mary Poppins Returns
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All Critics (22)
| Top Critics (10)
| Fresh (14)
| Rotten (8)
It's Lynch who carries the movie, delivering a quiet, contemplative performance as a man trying to rebuild his life after losing everything.
An implausible romantic drama with good intentions that can't overcome its silly contrivances.
McNeil plays it way too safe. Trying to have it both ways, he satisfies no one.
It's sensitively written, humorously human, warmly acted, and admirably resistant to most of the obvious drag-queen cliches.
Anything is one more casualty in Hollywood's long history of ransacking transgender stories, which it does under the guise of paying homage without paying coins to those it claims to represent
Writer-director Timothy McNeil...crafts a fairly moving tribute to the notion, as Lin-Manuel Miranda once put it, that "love is love is love."
... suffers from an abundance of distracting contrivances, although the film mostly provides a heartfelt exploration of grief, inclusion and starting over.
The convincing performances by Lynch and Bomer push the film past incredulity while delivering a message of tolerance.
John Carroll Lynch: his every role is a reward, which should also reward of one American film's greatest assets with greater and greater roles.
Bomer is fine, for the record, though the character is a little overly refined and well-put-together to feel completely plausible.
An incremental narrative that's tightly focused on the pain of loss and the need to find something to replace it, "Anything" is a real showcase for acting talent principally that of Lynch and Bomer, but Tierney is mighty fine as the doubting sister.
As an actor, Lynch exudes authenticity, whether the role calls for sensitivity or terror. If nothing else, Anything affords this character actor a proper leading man's time in the spotlight, and that alone is enough reason to celebrate the film.
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