Mary Poppins Returns
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All Critics (13)
| Top Critics (8)
| Fresh (10)
| Rotten (3)
[A] minimalist, rule-breaking exercise in head-scratching human behavior.
Zellner handles the material delicately, treating her apparent psychosis like an ill-fated by-product of growing up. This strange yet wistful dynamic suggests Harmony Korine adapting Judy Blume.
The film is, if nothing else, an interesting meditation on how a child who grows up without guidance might react to a situation that requires judgment.
Aguirre is a find-she has none of the precociousness of the typical screen tween-but the movie's magical-realist elements don't jibe with the unstudied naturalism of her performance.
Like Days of Heaven on paint fumes, a languid, occasionally hilarious, occasionally poetic coming-of-age story.
Spearheaded by phenomenal pint-sized lead Sydney Aguirre, this challenging third feature from the Zellner Brothers retains much of their provocative trademark idiocy but navigates darker waters.
Its main character's moral predicament with a woman inside a pit becomes a muddle of confused symbolism and trite psychoanalysis.
Beneath the affectations, there's poetry in Kid-Thing, and truth in its depiction of how absolute freedom can be a kind of trap.
Without a compelling narrative to hold the scenes together it's hard work with little reward, even for a committed audience.
If Spirit of the Beehive took place in Napoleon Dynamite country, it might turn out like David Zellner's absurd and wrenching coming-of-age tale.
Fans of mindlessly smashing things to pieces with blunt instruments will go crazy for Kid-Thing.
Beneath the affectations, there's a real poetry to Kid-Thing, and a deeper truth in its depiction of what The Simpsons once dubbed "horrible, horrible freedom."
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