Ralph Breaks the Internet
Mission: Impossible - Fallout
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All Critics (68)
| Top Critics (21)
| Fresh (65)
| Rotten (3)
What a beautiful and desperate film.
[An] absorbing French drama.
The movie takes a refreshingly low-key, observational approach to storytelling ...
"Sister" avoids sentimental indulgence. There's no room for wallowing in this spare, almost ascetic exercise ...
Seydoux perfectly captures the anger and self-defeat of ill-educated, hedonistic, man-chasing young women who live on the fringes.
Léa Seydoux fulfills Louise, and Kacey Mottet Klein, as Simon, is one more to join the pantheon of film's excellent child actors.
The performances, both from Klein and Seydoux are nothing short of exceptional. Each in their own noteworthy ways manage to navigate the concentrated fashion of the screenplay in tremendous, deeply praiseworthy manner.
Agnes Godard's lovely cinematography captures the look and feel of a Swiss winter, as well as the subtle changes over the course of a season.... [Director Urusla] Meier's direction is self-consciously beautiful.
Aside from the strong performances, there's beautiful, saddening cinematography, too.
It's a Dardennes-like move that Meier makes here, plunking us down, without judgment, in the middle of a low life. Just 13 here, Klein, who debuted in Meier's Home at 10 as the son Julien (a name he uses here as an alias) is remarkable.
The pair [Klein & Seydoux] artfully weaves the ties that bind, crafting something that is both fragile and tenuously hopeful.
Strong, pungent, snow-laden contemporary Swiss drama...Director Ursula Meier fills the film with unspoken desperation that is almost tear-inducing.
Meier shows that she can manage a sad subject with sensitivity while Klein shines as the adorable and charismatic young protagonist, but the film doesn't seem to know how to end and the two only English-speaking characters added to the story are superfluous.
At the tender age of 12, Simon(Kacey Mottet Klein) is the man of the house and has all the responsibilities that go along with it. That has a lot to do with his older sister Louise(Lea Seydoux) not being to hold down either a job or a boyfriend. So, Simon travels up to a nearby ski resort where he steals anything that is not nailed down which he sells later to support them. While there, he finds an unlikely business partner(Martin Compston) and meets a friendly tourist(Gillian Anderson).
Even without much of a story to speak of, "Sister" is still a harrowing tale of survival on the edge. As such, sometimes it is a little hard to watch but in the end is quite worthwhile. That is set around a classic separation of the classes who only rarely meet on personal terms. But in this fictional world, things are rather topsy turvy, encapsulated in the enigmatic final shot and symbolized by a huge plot twist 2/3 of the way through that while maybe a shock is actually not all that surprising.
Really well done movie. I wanted to feel sorry for the pair of them, but I just couldn't, they were too unlikeable with their actions. But then part of me understood why they were both like that.
Very subtle film that does challenge you a little.
Gillian Anderson is barely in it. Not sure why she has top billing. Her character is really nothing here and could easily have been omitted.
Switzerland as you've never seen it before. Sure, there is the postcard image of a ski paradise against the backdrop of grandiose mountain tops. Luxury and adventure, for whoever has the wallet. But behind the picturesque facade dwells a contrast; a story from another reality, filtered through the daily life of the 12-year-old Simon and his older sister Louise.
She's the passive of the two: self-dismissed from her job and brazenly foul-mouthed. Disappearing every once in a while to meet an array of fleeting boyfriends. We recognize the archetype.
Simon, a miniature criminal, makes a living on stealing skiing gear from unsuspecting tourists. He is handy and self-taught; have become mentally adult far too rapidly. At some points also caught in the act, which manifests inter alia in a scene where he is lightly assaulted by one of his victims. In broad daylight, in front of lunch-eating guests. That no one steps in between when a fully-grown man beats him bloody in the snow, ought to say something about the Swiss perception on child abuse.
Bittersweet it is, however, to see how Simon and Louise yet allow themselves to smile, with misery hanging on their shoulders. Broken souls, whose background really spurs more questions than provide any satisfying answers. I wanted to know more about how it came to be this way. How it went from point A to point B. But the narrative mostly just scratches the surface. At any rate refreshing in its unforced approach, but more depth and less money quarrels and it could have gone from good to brilliant.
Nuanced and well-written, we nonetheless receive an earth-shattering twist which changes everything we've taken for granted about the characters' established relationships. Thought-provoking in its originality, about situations you know are out there, but are seldom depicted on celluloid.
Sister, in its essence, is mercurial love-hate dynamics on the slithery uphill of life. Where the precocious Simon doesn't just steal boots and goggles, but also our undivided attention. That we are furthermore treated to an appearance by "X-Files"-star Gillian Anderson, adds additional icing to this uniquely concocted pathos-cake.
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