Mary Poppins Returns
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All Critics (11)
| Top Critics (3)
| Fresh (8)
| Rotten (3)
Filmed in black and white, with extraordinary delicacy and reserve, this is one of Fassbinder's best films.
It's visually beguiling -- its cameramen having found shades of gray between black and white I'm not sure I've seen before -- and it is performed by the Fassbinder stock company with the precision and style one seldom finds outside the legitimate theater.
The slow, deliberate pace is sometimes taxing, but this story of a 16-year-old girl locked in the boredom of a loveless marriage is perfectly suited to Fassbinder's stifling mise-en-scene.
The best collaboration between Fassbinder and frequent star Schygulla, who delivers a truly affecting turn in the title role.
It's so visually boring, insanely talkative, arrogantly formalistic.
Compelling viewing for the delicate way it unfolds and leaves a tingling feeling there's a lot more going on than it seems.
In spite of achieved small-budget period flavor, the film is ponderously top-heavy in its setting up and complication.
One of the finest films to come out of postwar Germany.
The film demonstrates not only Fassbinder's usual superb technical control and ability to elicit superbly nuanced performances from his actors, but also an unprecedented affinity for literary adaptation and historical sensitivity.
It's Fassbinder's arm's-length direction that makes Effi Briest come off as cold and detached instead of calculating and sad.
Gave up half way through, definitely not one of Fassbinder's best works.
Fassbinder directs this period piece with an impressive technical sophistication, something evident in the exquisite mise-en-scène and cinematography. And he finds in Fontane's criticism of society a perfect material to be adapted by him, although the result is a bit too long.
My readers know that I am not usually a fan of period pieces but this one works well.
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