Mary Poppins Returns
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All Critics (9)
| Top Critics (4)
| Fresh (2)
| Rotten (7)
Writer-director Kenny Riches lays on the whimsy pretty thick, and his sub-Jarmusch deadpan style (inert camera, intentionally flat line readings) adds another layer of affect to the story.
Although Beef and Conan are far from stereotypical, the quirkiness and eccentricities ascribed to them by writer-director Kenny Riches harp on their otherness all the same.
The kind of indie doodle of a movie in which several potentially interesting ideas co-exist but never quite come together and where supporters will call the narrative "freewheeling" while naysayers will insist on "rambling."
Another stab at that school of comedy in which adult losers acting like particularly dweeby 13-year-olds in nonsensical situations is assumed to be automatically hilarious.
It's definitely an acquired taste, but it's most helpful to view the film as a fairy tale.
Like the waves of the ocean its characters occasionally and semi-fearfully embrace, The Strongest Man continually goes in and out, connecting and drifting away.
It's uneven, goofy and personal, in all the ways that independent comedy can be both delightful and occasionally befuddling.
Doesn't piece together as an experience, just random points of tonal triumph in picture that seems perfectly comfortable adding up to very little.
Weird and honest about the malaise that can settle into driftless adulthood, "The Strongest Man" suggests that the only way to way forward is to accept where we are first.
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