Mary Poppins Returns
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All Critics (12)
| Top Critics (1)
| Fresh (7)
| Rotten (5)
A film which is desperate to make a grand statement about the awful toll of isolation but falls short of its ambitions.
Gillen portrays Carver as a somewhat latter-day Hamlet; an essentially benevolent man who struggles to retain his sanity as he seeks to apprehend his bizarre, fragmented reality through grief and psychological hostility.
Writer/director Simon Blake's provocative debut feature taps into society's collective fear of young people in a way that will resonate with anyone who has ever lived in a major city.
Still marks a creatively inclined project for Simon Blake, who cannot be faulted for his aptitude for ingenuity, with a palpable attempt to be experimental in his means of storytelling.
Not only is Still an intense look at a father's tragic descent into madness over losing his son, but it's also a surprisingly, extremely competent film from first-time director Simon Blake.
Strong performances and vivid production design buoy up this evocative, troubling film that shows flashes of brilliance from writer/director Simon Blake, making his feature debut.
Blake - who also wrote the script - has ideas with potential but he needs to get a firmer grip on his genre and pacing in future projects.
We are so used to seeing Aidan Gillen playing power-wielding politicos that it's almost disconcerting to see how comfortably he inhabits the skin of a character hurtling towards rock bottom in Still.
The film, set in north London, is stylishly shot and Gillen plays the troubled lead with a mercurial mix of swagger, self-loathing and self-pity.
The title is about as forgettable as the film.
Perhaps this is entirely the point, but Still ultimately feels like an interesting idea that's been beaten into submission by a filmmaker looking to make an impact, rather than tell a story.
Why Simon Blake turns to credibility-killing melodrama is baffling enough, but the effect is one of cheek-puffing frustration and emotional disconnect.
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