Mary Poppins Returns
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All Critics (14)
| Top Critics (6)
| Fresh (7)
| Rotten (7)
The movie is a prime specimen of "the paranoid style."
Despite the wildly uneven plotting, Gordon's atmospheric direction in coastal New London propels the drama, as does her sensitivity to what remains unspoken between people.
The deeper Tom wades into this psychological morass, the more Danny's volatile behavior seems dictated by the screenwriters' convenience rather than by any plausible depiction of a tortured mind.
An obnoxious story about revenge and self-destruction that throws together a bunch of hackneyed observations about humanity.
The film's biggest surprise may come when the credits roll to reveal that this almost perfectly bland, low-intensity mystery is directed by New York indie scene veteran Bette Gordon.
Distinguishes itself by applying a depth of psychological observation that yields a genuinely unsettling vision.
The performances help to create some tension if you can buy the outlandish premise, although the character motives remain cloudy and the contrived third-act twists keep the payoff at a frustrating emotional distance.
The whole affair is a head-scratcher of bloody-scalp proportions.
The Drowning is a film of small, visceral pleasures-its ambiguity is absolutely delicious-but most of its weight rests on Charles.
Gordon is not out of her depth. She knows exactly that she's doing. Working with a story that could easily have become confused, she delivers something powerful.
Josh Charles and Julia Stiles star in a stiff psychological thriller beset by serious lapses in logic.
tackles the weighty themes of voyeurism, altruism, and self-preservation artfully and inventively, subverting clichés and taking the genre in a refreshing direction
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