Mary Poppins Returns
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All Critics (11)
| Top Critics (1)
| Fresh (7)
| Rotten (4)
Much as one wants to root for indie cinema, this just isn't in the same universe as Mike Leigh or Joanna Hogg.
A lumbering, tiresome arthouse.
All the dialogue is improvised, which gives the film a raw, honest feeling of actors digging into their shared creations but inevitably engenders a static, theatrical air.
There is something uncompromising in its pessimism, something that another kind of dramatist or film-maker would have tried to dissolve, or sweeten, or explain away.
If the ending is quietly harrowing, it is only because what goes before, so painstakingly put together, gives power to the coming apart of the key characters' lives and dreams.
Very much in the Joanna Hogg vein of excruciating bourgeois discord, Jon Sanders's low-budget drama about unhappily married Brits draws plenty of blood.
The composition is occasionally so static that one occasionally fears the screen has frozen.
A micro-budget Brit flick with an experimental flavour that generates real insights into married life.
The cast cut into the tough truths of late-life relations. The Best Exotic Marigold Hotel it ain't.
A delicate study of complex relationships, Late September is a thought-provoking and insightful drama about the deep, underlying problems of a marriage, containing authentic performances from its unknown cast.
The attempt to capture the minutiae of everyday life is brave, but the activity Sanders actually portrays turns out to be disappointingly mundane.
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