Mary Poppins Returns
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All Critics (21)
| Top Critics (12)
| Fresh (17)
| Rotten (4)
It's a story of contained chaos, quietly observed - one that catches fire more in retrospect than in the viewing.
Porterfield's film doesn't offer much in the way of plot, but the ways the characters bounce off one another in small spaces are precisely observed, and the actors have a lot of soul ...
Unfolds like a music album, with emotive songs supplying information that doesn't need repeating in the lean screenplay, which the director co-wrote with Amy Belk.
The couple, both musicians, are in the midst of a bitter breakup, and Porterfield frequently trains the camera on one or the other as each performs his melancholy tunes; this stops the narrative dead in its tracks.
The visual style of third-time director Matthew Porterfield ("Putty Hill," "Hamilton") is emphatically lyrical, beginning with a widescreen shot of a Maryland Ferris wheel that suggests a celebration of Americana.
Nuanced performances by the non-professional cast and a haunting soundtrack help fill in the deliberate narrative gaps.
Jeremy Saulnier's summer-spent cinematography is gentle and nothing shy of exquisite.
Slow scenes at the beginning turn into the pace of life
a celebration if you can call something this downbeat celebratory, of what film should act like and look like when you leave it alone.
Few filmmakers are getting at the substance of contemporary life as effectively.
This delicate, compassionate film has an emotional impact.It unfolds the austere European way, without the heavy baggage of backstory.
...by its end, the film had worked its way under our skin deeper than we expected, and through skilfully unobtrusive editing and camerawork, we felt we had a clear, honest picture of these lives.
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