Mary Poppins Returns
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All Critics (19)
| Top Critics (7)
| Fresh (7)
| Rotten (12)
While the movie itself is an uneven, sometimes preachy affair, it's alive with possibilities whenever [Weston's] on screen.
Initially, this low-budget film writes a lot of checks on the First National Bank of Whimsy, but I was astonished when none of them bounced.
A likably goofy, lo-fi indie propelled by the syncopations of a cheesy keyboard - and the cheesy dreams of its hapless heroes.
Inner child? Open road? No, this film is actually about Mr. O'Nan and his wan, scruffy innocence.
An indie about-tell me if this sounds familiar-a brokenhearted sad sack who travels cross-country with a weirdo and a too-hot-for-these-dorks woman on a road trip of healing and self-actualization.
Offering little more than flat karaoke versions of Sundance-style hits, this is strictly an amateur-hour affair.
An offbeat, hipster-inflected road movie that steadfastly refuses to conform to expectation and sense. A to-scale victory of quirky charm and feeling over sagacity.
O'Nan deciphers in comical yet solemn ways, young characters representing warring sides of himself. While doing battle with joblessness, alienation, working stiff drudgery, and existential redemption through art and the imagination.
This ode to indie legitimacy proves to be too cartoonish to feel real and not outrageous enough to be memorable ...
Do we really need another film about underachieving white men with scruffy beards? Ryan O'Nan thinks so.
It's just a shame about the script, which follows such a prescribed track of Alexander Payne-ish road-trippery that nothing really rings true.
It gets nowhere slowly.
There are no featured reviews for The Brooklyn Brothers Beat The Best at this time.
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