Mary Poppins Returns
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All Critics (9)
| Top Critics (4)
| Fresh (7)
| Rotten (2)
It's easy to mock some of these platitudes, and it's to Mr. Mettler's credit that he never does. His questions are answered with more questions, because words seem ultimately useless in his query.
It leaves you without the net of linear temporality, frightened and freed by the implications.
"We all see our own unique rainbows," he reflects, with an absence of irony that in its own way is sort of endearing. The film goes on like this, glacially, for two hours.
Funny how a film that explodes our conventional notions about time should be so up-to-date with the news.
At the end of these many and varied travels, we arrive at a film that is Mettler's most readily engaging since Picture of Light...
[I]t's about a series of seemingly disconnected topics linked by an abstract idea, and by a certain exploratory spirit.
A scientific/philosophical/religious meditation on Time. That's something you don't see in a movie theater routinely, all the more compelling since it is visually rewarding as well.
Mettler is fascinated by the slow process of natural decay, and how much of it is caused by human neglect or interference.
In painting such a densely existential picture of us all, [Mettler] ultimately engages no one.
Documentarian Peter Mettler interviews various people (scientists, artists, hermits, mystics) about their thoughts on time, using poetic footage of lava flows, particle accelerators, and digital mandalas as a visual background. A meditative but unfocused experiment that at times gets a little too hippie-dippy-acid-trippy for its own good. At two hours of plotless visuals, it's obviously not for everyone, but it earns points for earnestly exploring serious philosophical concepts that most movies shy away from.
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