Mary Poppins Returns
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All Critics (11)
| Top Critics (2)
| Fresh (5)
| Rotten (6)
'The Adopted' serves as a calling card for Laurent, who displays a flair for character-based humour as well as strong visual direction.
Never develops into an engaging portrait of love and loss among a trio of thirty-something Frenchies.
Has all the hallmarks of a trying-too-hard-to-be-playful indie: freeze frames of characters posing glumly in playgrounds, slo-mo hospital sequences, along with a few too many close ups and cute kiddie scenes.
The longer The Adopted runs for the lazier and more mawkish it becomes, ending at last on what has to be a very, very strong contender for the year's worst final shot.
It's a wispy, tasteful, mildly touching, very French affair.
It's a commercial movie rather than an art film, but a great deal less compromised than most of its ilk.
Sadly it doesn't quite come off, despite interesting moments.
The film is harmless, whimsical, a little long-winded: While You Were Sleeping without Sandra Bullock but with extra Gallic chic.
Mixed messages forge a forgettable outcome.
Mélanie Laurent's sweet but schmaltzy debut establishes her credentials as a capable director, and she does good work with old Inglourious Basterd Menochet, too.
It's glossy but saccharine, hammering home its coming-to-terms-with-life message as Laurent steers the story into contrived tragic waters.
Current French Belle Du Jour Melanie Laurent makes her directorial debut with this turgid melodrama. It has more in common with those awful English indie dramas of the noughties than contemporary French cinema. A highly unlikable bunch of Parisians with fantasy bohemian careers mope around while one of them lies in a coma. You'll be wishing for the plug to be pulled yourself.
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