Mary Poppins Returns
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All Critics (10)
| Top Critics (7)
| Fresh (9)
| Rotten (1)
Piñeiro's bold but graceful camera movements, exploring space with unselfconscious joy, speak to a young filmmaker's emerging mastery.
A Buenos Aires production of "Twelfth Night" is point of departure for a buoyant examination of love's labor's lost offstage.
It's a pleasant, negligible wisp of a movie, notable mostly for what it suggests of its director's potential.
You have been privy to a series of seductive, ephemeral moments, drawn into the eternal rhythm of youth and connected with something old and durable, one name for which is art.
A movie that leaves us with a smile on our faces but also more than a few thoughts in our heads.
Piñeiro unearths every bit of thought and feeling contained in this mercurial feature's brief running time ...
If many recent art films have made prominent use of nonactors, typically cast as some version of themselves, Pineiro's beguiling, hyperverbal movies revel in the transportive potential -- and sheer pleasure -- of actors acting.
Much like the way Jacques Rivette does it for the French, Piñeiro does it for the Argentinians.
With its endless, uninvolving chatter, this 63-minute movie feels like a small eternity.
Piñeiro gracefully layers a melange of Spanish-translated Shakespearean dialogue atop snatches of original conversation without clarifying his citations, blending characters and performances so that the texts intermingle ...
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