Mary Poppins Returns
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All Critics (17)
| Top Critics (6)
| Fresh (13)
| Rotten (4)
There are bits of the three-episode Rendezvous in Paris that are, if not like watching paint dry, like watching the painter spackle the picture-hook holes and edge around the windows.
Rohmer proves that sometimes shriveled fruit yields the strongest juice, provided you squeeze hard enough.
Somehow Rohmer keeps it fresh, if only because, after more than 30 years of making the same movie, there can be no doubt he's sincere.
One of the best of his works.
As with many of his other films, Rohmer proves that social intercourse can be as delightful as the sexual variety.
Precise, simple and deeply serious beneath their breezy and seductive surface, these stories enchantingly explore love's little treacheries and the stubborn immutability of human nature.
Time for Rohmer to retire.
Three enchanting vignettes on the tricky role of coincidence in romantic relationships
Each vignette is fine, as far as it goes, but none go very far.
It's a film that stands as one of the New Wave director's most enjoyable, and a beautifully frank take on the highs and lows of that foolish little thing called love.
What a wonderful world. Sure, people cheat on each other. But they also act honorably and speak honestly and admit the darkest secrets about themselves. This sort of movie might bore you to tears, but it also might be just what you've longed for.
Besides the wonderful scripting, there are quite a few winning performances, especially from Bellar, who's utterly charming in both her vulnerability and optimism, and Rauscher, an acting newcomer.
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