Mary Poppins Returns
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All Critics (25)
| Top Critics (9)
| Fresh (16)
| Rotten (9)
The bizarro plot threads, and dippy characters fail to connect in any rewarding way, resulting in a largely unfunny film that proves as repetitive and tedious as the 1971 Philip Glass snippet that provides its entire score.
Dupieux's movie is all script twists, lacking both the naïve wonder of the films to which he pays homage and the inventive sophistication of grand Surrealist fantasy.
A hilarious and increasingly disturbing series of looping, overlapping and interconnected narratives worthy of Flann O'Brien or Diderot ...
The film will only work for you if you expect it not to make sense, and enjoy jokes that go on and on and then suddenly (and repeatedly) jack-knife off a cliff or two.
Each narrative fissure further thwarts meaning. The most you can ask from a movie as nullifying as this one is that it offer wit and visual panache, which it does.
A viewer can't help but take it as an artistic statement, even though nothing-not even the nods to Mulholland Dr.-suggests that Dupieux's motivated by anything more than a hankering to make something weird and funny.
This is what it's like to go insane.
Too bad no one told Dupieux that this pic is a bad idea before he got it green-lighted.
Quentin Dupieux is doing something few other directors manage these days: making ridiculous movies with their own language and tone, utterly odd, yet strangely entertaining.
As a Hollywood satire of zero-budget horror flicks, Reality is never as fresh or savage as its needs to be.
It's more eerie than funny, like looking into a distorted mirror and realizing there might be some truth there.
It's not that the strangeness is any less appealing, but that there's no more urgency to it - Rubber had a killer tire on the loose, and Wrong had a lost dog...[This] lacks that level of drama
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