Mary Poppins Returns
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All Critics (12)
| Top Critics (11)
| Fresh (2)
| Rotten (10)
Lipsky tries to use dialogue to cover up weaknesses in other areas - such as why these people behave the way they do. Some of the movie is inviting, some of it off-putting.
It doesn't work but I doubt you'll regret seeing it.
Reiners and Gummer have respective moments where their talents shine, but there's not enough here to keep any but the most masochistic even moderately interested.
This sort of emotional-chaos-in-suburbia (it all takes place in Iowa) has been done well, of course, and at times it is here. But Lipsky's overly arch and tangential dialogue has too many curlicues, and everyone's emotions seem just this side of affected.
For all the promising fodder, the talky, acrid "Twelve Thirty" feels soulless, an emotion-free zone that deals its darkness in a shockingly flip manner.
It is a film that gradually draws the viewer into its thrall and builds to an unpredictable but effective climax.
While movies with a gay look at hetero mating habits may not be sympathetic, at least some authenticity is a must. And this film dodges just that, as a closet gay spouse self-liberates from his dysfunctional family, fleeing the all-female Cuckoo's Nest.
Wrongheaded, off-putting portrait of Midwestern family dysfunction.
The paradox of aggressively pursuing intimacy and discovering the idiosyncratic chaos inside everyday people runs to the heart of Twelve Thirty.
It wears out its welcome well before the two-hour mark.
A film more satisfying in occasional isolated moments than as a coherent dramatic entity.
Despite a few moments of surprising insight, Twelve Thirty comes off as more mechanistic than organic; it's composed rather than truly lived.
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