Mary Poppins Returns
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All Critics (20)
| Top Critics (6)
| Fresh (9)
| Rotten (11)
If only Di Giusto more ambitiously broadened her scope, she would have made a fleet-footed tribute for the ages instead of stumbling over such rich possibilities.
Uses much creative licence in retelling Fuller's life.
"The Dancer" seems genuinely hostile to its subject, whose real-life accomplishments deserve better.
Evasions of fact render the project suspect, but the chance to observe Fuller's genius realized onstage almost redeems it.
Ground-breaking dance innovator Loïe Fuller gets a near-complete fictional overhaul in this unnecessary, formulaic biopic.
An airy, prettily accoutered but essentially vapid feature debut for writer-director Stephanie De Giusto.
While the story of The Dancer and Loïe Fuller is a fascinating one, the story we see onscreen may not be the best representation of the artist's full life.
The Dancer doesn't venture from patterns of traditional biopics far enough to be called inspired, but it delivers a spirited, fully committed portrayal that allows you to observe a quintessential artist from the outside in.
By the end of the performance, she collapses from exhaustion. So may the viewer. It's an awe-inspiring spectacle, and it helps anchor what is too often a somewhat staid biopic.
The Dancer is so dreamily shot, with such nakedly committed acting by music artist SoKo, that you can almost forgive its narrative gaps-and the considerable liberties it takes with historical fact.
Those interested in dance history-or who appreciate unconventional heroines and like to luxuriate in transporting period dramas-will absolutely love The Dancer.
Like Loïe Fuller's serpentine dance, the film is structured on repetition: spinning and spinning but never actually taking us nowhere.
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