Mary Poppins Returns
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All Critics (14)
| Top Critics (2)
| Fresh (9)
| Rotten (5)
The documentary's heavy emphasis on the early-to-mid '90s has the marked feel of someone taking stock of their memories and curating their desired legacy. Which, of course, is the prerogative of an authorized, posthumous, hour-and-a-half documentary.
Essentially a glorified sizzle reel stringing together interviews and TV performances any serious fan is likely to have already seen, the documentary does little to deepen our understanding of Michael or his music.
[Viewers are] familiar with the art of doing several things at the same time; in this case, wiggling the shoulders to a beat while padding down memory lane, totting up how many terrific songs Michael had written and performed.
It was a full portrait of the artist, if not of the man.
The end result is a documentary about Michael's life which seems hurried and incomplete.
I tried to watch without prejudice, but in the end I felt I'd just been watching a supersized commercial.
Freedom is a great work of documentary filmmaking: stylishly shot, narratively gripping and backed by string arrangements composed by Michael himself
The film wanted for grit, and for context. Where we needed Johnny Marr, we got only James Corden. Where we could have done with a Simon Reynolds-style figure, we had to make do with a nodding Mark Ronson.
For all of Freedom: George Michael I just didn't know what I was watching.
[George Michael: Freedom] may have embraced hagiography at times, but it showcased a rare, compelling, self-effacing talent
It skirted around George's chronic drugs problems, and made no mention of the circumstances surrounding his death. But it also neglected to mention that he was an endlessly generous man, who gave away millions without asking for recognition.
As a narrator, Michael was as you'd expect: smart, self-deprecating, with an underlying melancholy.
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