Mary Poppins Returns
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All Critics (21)
| Top Critics (5)
| Fresh (18)
| Rotten (3)
| DVD (2)
"Moscow on the Hudson" lets a potentially wonderful comic hero--and a great deal of thematic suggestiveness--slip away while ostensibly following his process of self-discovery and self-realization in the Land of the Free.
Moscow would be in a lot of trouble without a superbly sensitive portrayal by Robin Williams of a gentle Russian circus musician who makes a sudden decision to defect while visiting the US.
Where it scores so highly is not only in its ability to evoke Vladimir's astonishment at the bizarre, sometimes brutal texture of New York life, but also in the generosity it extends to the musician's sad predicament.
It made me feel good to be an American, and good that Vladimir Ivanoff was going to be one, too.
Mr. Mazursky's fictional conceits do not do justice to Vladimir or to his situation, either in the Soviet Union or this country.
Charming Cold War-era immigrant story has cursing, sex.
Mazuersky's fable of culture collision and assimilation has a certain charm, largely due to the acting of the young Robin Williams as a Russian immigrant.
As a fish-out-of-water comedy-drama, it works well.
Gives patriotism a good name with its plentiful emotional and comic fireworks
Essentially a vehicle for Williams to show off his manic shtick (and display the considerable acting skills that would later propel him into Oscar territory)...
Williams impresses, the script does not
The first good look we got at Williams trying to broaden his horizons. Well done.
An insufferable vehicle for the great Robin Williams, where he portrays a Russian immigrant who defects from his country during a visit to the United States, and attempts to start a new life with his Hispanic girlfriend and African-American best friend. While Williams is spectacular and the movie itself probably has good intentions, it aims to stuff culture and diversity down the viewer's throat in a pretty insulting, juvenile way, which feels more fake and hollow than genuinely authentic. Most of all, this is just a boring movie where you get what it is trying to say about a half hour into it, but somehow this thing goes on for two hours and leaves one exhausted by the time it is over.
I don't usually go for these kind of dramas, but Williams is so loveable, and the story so heartwrenching and heartwarming, with some action and comedy thrown in, that I really enjoyed it.
A Russian saxophone player defects and falls in love.
In this film the Declaration of Independence is quoted two separate times, the oath of citizenship is fully recited, and there are more American flags than at a political rally. Released in 1984, this film seems more like Cold War propaganda than a serious drama or comedy. The film's thesis valorizes American multiculturalism, featuring African-American, Cuban American, and Italian American (played by a Venezuelan) supporting players, and the notion that America is a tough but ultimately free refuge for people all over the world. Vladimir's immigrant experience isn't unfettered; he experiences his share of difficulties. However, the film is ultimately blindly romantic: none of Vladimir's troubles is institutional as he finds the wait time to take his citizenship oath the only impediment and the U.S. government more than accommodating. While I'll mention that most immigrants find their integration into American culture and society far more rocky, this is not the place to debate immigration policy. What is at stake is that the film comes off as wildly idealistic and myopically patriotic.
Overall, within its time, Moscow on the Hudson clearly served a specific political purpose, but now it's merely frustrating, the chronicle of a dream you have to be asleep to believe.
Annoying and unfunny Williams vehicle that fails to either make any coherent political point or entertain in any way.
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