Mary Poppins Returns
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All Critics (15)
| Top Critics (7)
| Fresh (14)
| Rotten (1)
A well-crafted, deliberately uncomfortable first feature from Canadian-born writer-director Mark Raso.
Raso and his actors sensitively handle a topic that could be toxic in the wrong hands; they're all worth watching now and in the future.
The tension between the expectations that arise due to the familiar genre and what is actually happening onscreen makes "Copenhagen" special, and a bit strange.
[Raso's] absorbing film has a delicate nuance that will linger after the popcorn's gone.
A flighty Peter Pan meets his grounded Wendy in Copenhagen, Mark Raso's tender romance about the sliding scale of maturity.
[Director Raso] gets a pitch-perfect performance from Danish up-and-comer Hansen, who greatly impresses with her unaffected spontaneity.
Copenhagen challenges our notions of what is meant to be in film, and I'm glad it exists.
Copenhagen is a revelation.
It's a small film -- almost self-consciously so -- but it lingers in a very pleasant way.
Plays out like Before Sunrise if one of the central characters was too young. Even when it is sweet, it's hard to break the creepiness of that.
Copenhagen is one of those films that shimmer after they've ended.
No one is who they seem in the melancholic drama Copenhagen.
William is a jerk. After travelling across Europe, he has reached the city of his father's origins and he wants to find his grandfather. Effy is a teenager - half of William's age, but wise beyond her years. Together they track down William's relatives, but during the process, both William and Effy grow and perhaps fall in love with each other.
I really enjoyed this film, which I saw at the Cleveland International Film Festival 2014. Writer-director-editor Mark Raso has created an energetic, seductive, revelatory, romantic film. Gethin Anthony plays William, a 28 year old jerk who is visiting Denmark to deliver a letter from his estranged father to a grandfather he never met. Copenhagen serves as a visually striking setting whether in the daytime or the night. Frederikke Dahl Hansen plays a local girl, half William's age named Effy, who appears to be quite mature. In fact, within a month she will have reached Denmark's age of consent. So, there is a bit of a culture clash between the characters and probably between American audiences and European audiences when it comes to the age difference and what constitutes "underage" in relation to drugs and sex. Effy, innocently enough, helps William find his grandfather, trace his father's childhood, and do some self-discovery. Frederikke reminded me of Adèle Exarchopoulos from Blue Is the Warmest Color with her stunning beauty and natural delivery. The two main characters' relationship is tested and the conclusion shows real growth in this coming-of-age tale.
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