Mary Poppins Returns
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All Critics (15)
| Top Critics (10)
| Fresh (10)
| Rotten (5)
Byrd and Jenkins earn the film its critical points, but the screenplay has too many moments that feel network-TV-bland.
There's something sweet about Jonathan Segal's modest high school drama, "Norman," despite the contrivances of its protagonist's predicament and its stacking of the emotional deck.
There's a winning emotional truth in the father-son scenes in this Spokane-shot sleeper, directed with skill and sensitivity by Jonathan Segal.
For first-time screenwriter Wingate and Segal, in only his second feature (2004's "The Last Run), it's impressive work - they never overplay the pity card, opting for insight into the complexities of growing up instead.
The director, Jonathan Segal, skillfully builds on the tension that this situation creates, though he can't quite make Wingate's ending click. Still, Segal is so good with his actors that you may not mind.
Perhaps there was a disjuncture between director Jonathan Segal and screenwriter Talton Wingate, or the two first-timers didn't realize how difficult their movie-world premise makes it to take anything else in the film seriously.
Affecting drama about terminal illness has mature themes.
A small film with nicely etched performances, assembled in a way that is consistently engaging and surprising. How many movies can you say that about?
A disquieting outing with little in the way of honest payoff.
A would-be dark, self-congratulatory dramedy that lacks both transgressive laughter and honest engagement with its themes of death and teen depression.
The trapped animal look in Norman's eyes feels more and more like an appropriate reaction.
For me, Richard Jenkins is the heart of "Norman." How often I've admired him; even in unworthy roles, he has such strength, he never seems the need to try.
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