Mary Poppins Returns
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All Critics (11)
| Top Critics (8)
| Fresh (3)
| Rotten (8)
Sadly, Confessions, based on a graphic novel and a play, seems a collection of parts rather than a whole, but some of those parts are affecting.
It has some very funny moments (Van Peebles floating up the Hudson in an inner tube, for instance), although it goes on too long. Still, it confirms Van Peebles' reputation as a one of a kind.
It's disappointing, though, to see that his work, while it's become more polished, has remained essentially self-indulgent and superficial despite the big themes of racism and identity that it takes on.
There's a temptation to "give" this to Van Peebles, but any scene in which actors get to interact is deathly awkward, and 100 minutes should never feel this long.
Spinning a wry, tall-tale version of his autobiography, the septuagenarian audaciously plays himself at every age and every stage of his improbably picaresque adventures.
A public-access ugly, unintelligible, inconsequential adaptation of [Melvin Van Peebles'] quarter-century-old Broadway show, Waltz of the Stork...
Strikes one as the amateurish ramblings of an old nihilistic filmmaker engaged in a detailed self-reflection-which it is-but closer inspection reveals not only a coherent narrative but some very clever filmmaking involving elements.
This is the kind of movie that really does separate the wheat from the chaff among film critics. It isn't just bad, it's gawdawful.
This patchwork quilt of slapdash sketches is less a fully fleshed-out cinematic concept, than a mediocre piece of performance art.
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