Mary Poppins Returns
Mission: Impossible - Fallout
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All Critics (12)
| Top Critics (1)
| Fresh (10)
| Rotten (2)
Not everything works here - the characters' behavior and reactions don't always ring true - but Cardinals mostly succeeds as an efficient, tight-lipped film that does a lot with a little.
Cardinal is the film equivalent of the Southern Ontario Gothic literary genre with its moral decay and realism and the introduction of evil in context of the setting.
Responsibility is the film's watchword, and if you want to know who among the cast and crew is responsible for its quality, the answer is simple; everyone.
There isn't an ounce of fat on Cardinals... Every sequence is in service of the story and themes. Every exceptionally crafted performance is laser focused on the material.
McCarthy's performance literally IS the film. In a script that clues the audience in on a need-to-know basis, she communicates waves of quiet dignity, pain, love, self-sacrifice and resignation.
Despite palpable weight exposing dark horror more atrocious than the known tragedy connecting [them], the characters' ability to make us laugh confirms their authenticity.
A finely wrought feature debut by filmmakers Grayson Moore and Aidan Shipley.
The economical efficiency of Cardinals is impressive. More impressive still is the way it traverses its fragile narrative with a confident understanding of its stakes.
From its opening scenes, Cardinals sets a standard of no-holds-barred storytelling.
[Sheila] McCarthy's performance makes the viewer feel as though anything could happen.
Cardinals closes on an anticlimactic note that's rather emblematic of the narrative's half-baked nature.
Despite an arresting first shot, this debut feature epitomizes Canadian cinema at its most frustrating: great performances in a slim script, only adequately brought to the screen.
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