Mary Poppins Returns
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All Critics (11)
| Top Critics (6)
| Fresh (10)
| Rotten (1)
Replete with superior acting and visual splendor, the film is a fine instance of the overly familiar made fresh.
An unusually delicate psychological thriller that favors suggestion over exposition.
Barker's screenplay demonstrates a conviction that its genre can command great importance, allowing it to transcend the easy shocks associated with the exploitation movie experience and create an entirely fresh rhythm.
Barker leaves the histrionics to other thrill-makers, opting for the excruciating slow boil.
Thanks largely to the exceptional actors, particularly Martin and Meierhans, Barker sporadically infuses fresh life into stale cliches, and even makes a few of them truly compelling all over again.
Punctuating views of the bucolic countryside and sky attest to nature or God's indifference to human suffering, but such formalist touches don't overwhelm the responsive ensemble work in this resourceful, taboo-prodding sickie.
It's actually got a novel idea, a handful of legitimately creepy moments, and an admirable sense of Twilight Zone-style madness
An icy and humorless -- but entirely suspenseful -- film that works mostly because of its unpredictability.
Daylight is a caper full of lechery and unforced twists with strong characters and no pretense.
A slow burn of a thriller that ultimately packs a far greater wallop than many flashier examples of the genre
Perpetually torn between its philosophical ambitions and horror-film roots, Daylight suffers from a debilitating identity crisis.
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