Mary Poppins Returns
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All Critics (11)
| Top Critics (5)
| Fresh (10)
| Rotten (1)
Skwarna and Armstrong's quirky chemistry keeps the lights on in this overlong debut.
Fluorescents' showy camera moves and full-jazz-hands theater-kid dorkiness are a tonic against the excessively muted naturalism that has come to define indie style.
Mr. Warth, who wrote the screenplay with Miles Barstead, creates a flawed tale of female friendship and the artist's everlasting struggle. Unfortunately, "Dim the Fluorescents" can't keep its story together.
Warth has created an astonishing calling card - an earnest and entertaining celebration of process and performance, not to mention a tremendous showcase for two homegrown actors on the cusp of greatness.
The two lead actors, along with Toronto writer/director Daniel Warth and co-writer Miles Barstead, make a virtue out the film's unsteady tone.
A playwright and an actress living together should complement each other, and these two women have remarkable chemistry throughout; in a movie with empathy for individuals who choose theater as a profession regardless of limited job openings.
It's uplifting to discover a debut film so open to showing both its artifice and heart on its sleeve.
And the final scene is a powerhouse; it jolted me out of my somnolence. But if the movie were 30 minutes shorter, I wouldn't have been so sleepy to begin with.
At the very least it has something to say, which makes spending two hours with these two ladies interesting for anyone who's been in their shoes.
Dim the Fluorescents is the kind of dynamic, entertaining debut feature that hopefully puts its cast and crew on the map.
I could write another thousand words about why I love Dim The Fluorescents, but it's the kind of thing you need to see for yourself - a singular, fully engaged cinematic work and a cockeyed delight. Just go.
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