Mary Poppins Returns
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All Critics (37)
| Top Critics (12)
| Fresh (32)
| Rotten (5)
Tipping, who also co-wrote the polished script, captures this unique mix of adolescent anxiety, urban decay and societal friction in a remarkably confident fashion ...
The motif of a faceless, imaginary spaceman following the boy around is overly precious, but what does work is Tipping's focus on sensitive boys hardening in reaction to their father figures (or lack thereof).
Tipping throws all sorts of tricks at the screen, most of which don't work.
Tipping's admittedly artful style is relatively ambiguous, focusing mostly on cheap visceral thrills, to the point where it's impossible to glean what he thinks about the depths to which Brandon will go.
Kicks is not without its flaws, but even the flaws show Tipping's willingness to take risks, to go for the big gesture and to go for it honestly.
The characters have enough dimension to avoid appearing to be symbols of a social tragedy, and the movie's relative gentleness makes the harsher realities of Brandon's world all the more distressing.
The movie just never stops being intense and engaging where it constantly have you both laughing hard and gasping in shock.
Much like the new Jordans that drive the plot, Tipping wants to show off his stuff, and a lot of what he has in the trunk is pretty great.
Ali is the highlight of the film as his presence and words to Brandon provide the film with a bit more focus.
When Kicks is able to find the right balance between narrative emotion and spectacle, the result is one powerful piece of work.
Kicks captures the look and feel of specific East Bay neighborhoods by examining their geographical and emotional microclimates.
Still, what Tipping masters perfectly in the film is the constant ebb and flow of humor, and darkness, that runs through the narrative that is inner city boyhood.
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