Mary Poppins Returns
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All Critics (18)
| Top Critics (9)
| Fresh (5)
| Rotten (13)
The resulting film has the integrity and the ugliness of the truth. It's not true because it's ugly; no, it's ugly because it's true.
There's no colorful Boschian absurdism here, only soulless banter and projectile vomit.
One of those exercises in masculine self-pity and glib misogyny that frustrates because of its shortsightedness.
Yes, it feels true. But why bother?
This slovenly, self-indulgent riff on Charles Bukowski-like fringe-livers has all of the naked harshness of Bukowski with none of the poetry.
Sherman's feature turns out to be enamored of the kind of reality that gets left out of movies not because it's provocative or controversial, but because it isn't particularly interesting.
Hedonistic playboy tries Platonic relationship in offbeat romantic romp.
A rare example of the "decadent LA" movie, once thought extinct.
A hard sell unless you've got an appetite for self-destruction. Haas makes Crazy Eyes surprisingly digestible.
Just because the main characters are in a constant state of depression and angst doesn't mean the audience should have to wallow in their misery as well.
The film seems to aim for a gritty and real depiction of a drug- and drink-fueled not-quite romance, but it's in fact just your worst fears about the kinds of people who populate L.A. brought to ugly, misogynistic and sometimes maudlin life.
The only audience likely to respond favorably to this vanity production about the slow, painful self-discovery of a rich, young Hollywood filmmaker would be other rich, young and screwed-up Hollywood filmmakers. But even they might be put off.
As unrewarding as the main character's sex life, "Crazy Eyes" is an attempt at being trendy and clever all while completely missing its mark. Repetitive and completely unbound from any sort of cohesion, the talented young cast of Luke Haas, Jake Busey, and the exceptionally sexy Madeline Zima are completely wasted in their weak, paper thin roles that do absolutely nothing for them, both in the Indie world and in their long futures ahead.
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