Mary Poppins Returns
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All Critics (30)
| Top Critics (13)
| Fresh (20)
| Rotten (10)
| DVD (1)
Sade is Quills without the hyperbole and melodrama.
In Auteil's less dramatic but equally incisive performance, he's a charismatic charmer likely to seduce and conquer.
It's a rosy coming-of-age romp that refuses to see the horror even in the severed heads from the guillotine.
This Sade is hardly a perverse, dangerous libertine and agitator -- which would have made for better drama. He's just a sad aristocrat in tattered finery, and the film seems as deflated as he does.
If you're looking for a smart, nuanced look at de Sade and what might have happened at Picpus, Sade is your film.
Lacks dramatic punch and depth.
[A] treacherously seductive and highly disturbing film...
A fiercely clever and subtle film, capturing the precarious balance between the extravagant confidence of the exiled aristocracy and the cruel earnestness of the victorious revolutionaries.
This time out, [Sade] is an unsettlingly familiar figure -- in turns loyal and deceitful, responsible and reckless, idealistically selfless and coldly self-interested.
The Marquis de Sade couldn't have been as dull a person as this film makes him out to be.
The reason to see "Sade" lay with the chemistry and complex relationship between the marquis (Auteil) and Emilie (Le Besco).
Featuring a dangerously seductive performance from the great Daniel Auteuil, "Sade" covers the same period as Kaufmann's "Quills" with more unsettlingly realistic results.
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