Mary Poppins Returns
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All Critics (28)
| Top Critics (10)
| Fresh (23)
| Rotten (5)
A character study of this relationship, casually yet carefully sketched out by Kim in subtle but meaningful gestures and glances. Much is communicated through the eyes, searching for answers in the void of what's not said, but felt.
There are glances and nervous hands, longing gazes, and downcast faces needing explanation or consolation. Malone and Keough, perfectly cast and perfectly in sync as people who should be - but probably never will be - lovers, make sadness seem enticing.
Kim's latest -- like Carol made on an indie budget -- is split in two exquisite halves.
The overall effect is one of a disjointed love story that can never quite find the tune, no matter how skilled its players.
Kim has wisely provided her two stars with enough breathing room to bring her movie to life.
Little is resolved, and it will leave you contemplating the mysteries of relationships.
Every bit as elegant and beautiful as its title implies, yet so much more complex.
There is no melodrama, no flare or theatrics, just one substantially powerful and honest film.
...by staying faithful to its characters-women who make, break, and alter an intimate connection-it expresses a refreshing freedom from sexual-identity dogma and narrative formula.
Kim shows this conflict with remarkable restraint, with meaningful glances and pained half-smiles conveying much more feeling between Sarah and Mindy than the cheery things they say to each other.
Riley Keough and Jena Malone excel in director So Yong Kim's achingly ambiguous portrait of an intimate female friendship.
So Yong Kim's Lovesong is a minimalist, strikingly formed small-scale drama about two female friends slowly falling in love.
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