Mary Poppins Returns
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All Critics (30)
| Top Critics (15)
| Fresh (27)
| Rotten (3)
| DVD (1)
Needless to say a must-see for Wongcolytes, Days of Being Wild is also an excellent entry point for people who haven't yet caught this most exotic and habit-forming of cinematic bugs.
Every shot is perfectly composed and compelling, with light and shadow manipulated to maximum effect.
It now seems like a promising apprentice work, almost a blueprint for the writer-director's most acclaimed and famous film, In the Mood for Love.
There are images in Days that can make your heart stop for no other reason than that they're perfect.
It may have been released in the olden days of 1991, but Wong Kar-Wai's Days of Being Wild remains pulsatingly contemporary.
A triumph of movie pop poetics.
These days are both electric and exhausted.
A dark moody period piece about unrequited love.
Twelve years after first seeing Days of Being Wild, I'm finally developing some fondness for it.
The '60s were a time of alienation and sadness, which I suppose Wong was trying to reflect here. But he's chosen characters so monumentally self-destructive that it's difficult to care about them.
Unless the film is pure homage, the film lacks authenticity
Wong has a reputation for slow-moving mood pieces in which very little happens, but that's not the case here.
Wong Kar Wai's somehow reaching his unique style in here
Wong Kar Wai and Maggie Cheung. Together, a project couldn't possibly go off the ropes and it doesn't here. Those who saw In the Mood for Love should treat themselves to early Wai.
In the Mood for 2046. Only just hints at what is to come from Wong Kar Wai. Heavy with atmosphere and loathesome characters.
Wong Kar Wai sets up his template for his future masterpieces. Doyles cinematogrophy adds a great layer and texture to the piece. This isn't a tale for everybody the pursuits for companionship only end in sadness and heartbreak. While not Wais best it has echoes of the greatness to come.
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