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All Critics (15)
| Top Critics (4)
| Fresh (4)
| Rotten (11)
Resonating with layers of personal and political meaning, the messy aftermath of the Egyptian revolution is captured with immediacy and excitement.
Despite its topical urgency, After the Battle plays like a daytime soap, with characters taking turns shouting on-the-nose dialogue at each other...
Working on multiple levels, helmer Yousry Nasrallah mines popular cinema and artier forms through a seemingly simple story of two worlds, exposing hypocrisies in each.
As a film, it's an indecipherable, chaotic blitzkrieg of half-baked ideas and hot-headed dramatisations of reality.
The film requires a lot of perseverance to sit through and with very little pay off at the end
The female protagonist, an economically privileged young woman turned workers'-rights organiser and something of an animal activist, makes the film both satisfying and uncommon.
One of the weakest films in 2012 Cannes Fest, this Egyptian political melodrama about the 2011 uprise is misconceived and poorly executed.
A heavy-handed, visually insipid take on the Arab Spring and its impact on various segments of Egyptian society.
A hyperbolic tone, some dire over-acting and much verbose political debate made this a leaden trudge, resembling a rendezvous between Ken Loach and Barbara Cartland on the banks of the Nile.
With the level of its visual storytelling and rhetorical content hovering perilously around the daytime-TV level, Cannes selectors clearly had their diplomat hats on when admitting this one into Competition.
Good intentions and limited production timeframe aside, the film is a shambolic soap opera that layers on subplots and secondary characters while seldom offering any reason why we should give two figs about anyone or anything on screen.
After the Battle is such a useful corrective to the romanticisation of the Egyptian revolution that forgiveness is easy. It deserves to be seen more widely.
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