Mary Poppins Returns
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All Critics (20)
| Top Critics (2)
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This isn't a story of rock 'n' roll bad behaviour or larger than life characters, and in some ways that's refreshing.
Even its most audacious device - the undifferentiated braiding of pure documentary and narrative footage - feels a tad old hat relative to newer hybrid forms in nonfiction filmmaking.
The dramatic elements seem awkwardly soldered on to the narrative, as if the director couldn't make up his mind what sort of film to make, and opted to have his cake and eat it, without ever really savouring either experience.
Occasionally a delightfully intimate filmic device, it soon wears thin and will frustrate Wolf Alice fans since the band mainly waft about in the background.
This doesn't shake up the usual practices of Winterbottom films - in that context, the casual style is thoroughly familiar - but it does yield a movie that might appeal to lovers of the rock ethos in general.
The love story pads out the running time to a baggy two hours; fans of the band might prefer to see them On the Stage instead.
An awkward hybrid of cinéma vérité documentary and drama.
This is the no-frills reality of the road, with none of the usual rock and roll clichés and histrionics.
In trying to make a movie to appeal to wider audiences, Winterbottom is likely to alienate everyone.
It's soft, wrong and very, very long.
A subtly engaging look at the way a fast-forged relationship can sometimes be as brief, powerful and magical as the music that soundtracks it.
If you're looking for a film to dissuade people from joining a band, this is it.Michael Winterbottom's docudrama explores the dark side of touring -- not the sex and drugs (oh, for more of that) but the utter tedium.
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