Mary Poppins Returns
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All Critics (24)
| Top Critics (10)
| Fresh (23)
| Rotten (1)
Sarnet elevates his Rabelaisian folktale into a tragedy illustrated by haunting, metaphorical imagery.
November is one of those films you can enjoy staring at from a perspective of visual-arts appreciation, even if the story gets thin (and it definitely does).
Sarnet's earthbound fairy tale occupies a dreamscape somewhere between the teeming canvases of Brueghel and the existential agonies of Bela Tarr's films. And it's funny, with a sly salaciousness all its own.
This midnight-movie classic in the making uses ancient Estonian folk tales to create something shockingly unexpected. Both gravely serious and demonically funny, it's meant to knock audiences off balance. Mission accomplished.
November never stops being a visual trip.
The movie's central story, a tortured-love triangle, is slight. But the context is fascinating and the visual style bewitching.
I wish we had more films about Baltic folklore, because some of this stuff trumps a lot of what we get in North America.
In the darkened woods of November, a narrative tradition is kept alive going back to the great Medieval poets. Sarnet links us, the audience, to characters from a distant time through universal sufferings and desires.
A fairy tale, a cautionary tale, a magical dreamland, a dark comedy, a feverish yet cold nightmare.
If Canada's Guy Maddin collaborated with Czech stop motion animator Jan vankmajer using an abandoned location from a Bela Tarr film, the result might be something like this strange (and often strangely humorous) gothic fairy tale.
A brilliant and dark fairy tale that will undoubtedly delight the most daring palates. [Full review in Spanish]
November is all-caps CRAZY in the best, funniest, most exhilarating way possible. A mere description cannot, I recognize, do its out-there-ness true justice.
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