Mary Poppins Returns
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All Critics (24)
| Top Critics (9)
| Fresh (18)
| Rotten (6)
It's one of the most powerful films about the Arab-Israeli conflict that has ever been attempted on the screen.
"Out in the Dark" isn't a political film by any stretch, but the intrigue and prejudices of the Arab-Israeli conflict certainly fuel the romance and thrills of this entertaining, taut movie.
By the end, Nimr and Roy have become heavy-handed symbols for the ongoing clash of ideologies in the Middle East. "Out in the Dark" fared better when it treated them as people.
Even though the plot defies credibility at several points, "Out in the Dark" is gripping, and Nimr's tearful exile from his family breaks your heart.
Tel Aviv and the West Bank may be worlds apart in terms of culture, politics and religion, but Mayer cleverly merges them into a single claustrophobic continuum of paranoia, violence and corruption that corrodes everything it touches.
Ratchets up the tension on its appealing lead characters in believable, heartfelt ways while spinning out an edgy tale fueled by do-or-die sociopolitical intrigue. It's unique, powerful stuff.
I enjoyed this one quite a bit it was the ending that struck me as the most impressive.
A brilliant exploration of the challenges facing homosexuals in other parts of the developed world.
Intense intimate look beyond tragic premise of Romeo & Romeo across Israel/Palestine wall. . . Suspense thrillingly builds to options the lovers have [for] romantic optimism.
The best gay-themed films I've yet seen this year.
Instead of looking for depth or verisimilar romance, director Michael Mayer turns his characters into mere cogs in a pseudo-suspenseful thriller.
Though it's rather clumsily scripted, formulaic in structure and sometimes contrived, Out In The Dark is strengthened by its subtext and elevated by tender, affecting performances from the leads.
Out in the Dark is easily the most politically important film on my list, and it is with good reason. This Israeli romance film depicts the cultural boundaries of Israeli-Palestinian laws, such as their anti-gay laws and the corrupt ways in which they murder gay men in the Middle East. We first meet Nimr, a Palestinian student studying psychology and attempting to legally acquire a visa to attend a university in Israel. One night, Nimr escapes to a gay bar where he meets a seductive Israeli lawyer named Roy. They spend the night talking, exchange numbers, and are eventually able to meet again after Nimr acquires his student visa. The Middle East feels like a haunting character all its own due to its violent, homicidal laws and hate-groups against gay men. It is for this reason that Nimr and Roy proceed with discretion and cautiousness as they fall deeper and deeper in love. It is not long before outside forces surge against them, and the two fight for what they believe they deserve to the very end. It is passion, painful, and at utmost a noble film. The political standpoints portrayed in the film are frustrating and angering, allowing one to appreciate the freedom we have in retrospect.
From a thematic standpoint this is an always interesting film, but as a narrative it is heavy-handed and ridden with clichés and tacky dialogue - and its romance never feels natural or involving but only contrived and mechanical, with a terrible performance by Nicholas Jacob.
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