Mary Poppins Returns
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All Critics (10)
| Top Critics (6)
| Fresh (4)
| Rotten (6)
Fassbinder's energy and imagination, in tandem creating strong, visceral images, justify and vindicate his excesses. He is, simply, one of very few directors in the world today who seems to be pouring everything he has into his medium.
Fassbinder repeatedly depicts the song comforting lonely soldiers and then accompanying scenes of carnage. The devastating effect boomerangs.
What is new for a Fassbinder work is that the film is far more entertaining to watch than it is interesting to speculate about. That means it's a disappointment.
It has a wicked sense of humor, displayed in Fassbinder's two favorite opposites, understatement and hyperbole.
The meanings are banal and the pace is heavy, but Fassbinder's use of color -- as throughout his late period -- is superb.
Elaborate proof that the devil really does have all the best tunes.
One of Fassbinder's most dazzling efforts.
Fassbinder at half speed is still good, but this film... is still a disappointment.
Though Fassbinder's camerawork is excellent, including some allusions to the famous German studio UFA, his themes are never really developed.
It's the kind of love story Hollywood wishes it could make.
One may wonder why Fassbinder decided to indulge himself in an unimpressive, seemingly underdeveloped Hollywood-like movie made only for entertainment, and it loses its way in the last act to the point of even including a completely pointless self-reference.
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