Mary Poppins Returns
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All Critics (12)
| Top Critics (3)
| Fresh (9)
| Rotten (3)
Szumowska, who co-wrote the script with the film's first-rate cinematographer Michal Englert, effectively imbues this haunting, deeply reflective tale with equal parts tension, dread, desire and inevitability.
The whole movie suffers from a lack of narrative momentum and a surfeit of wordless shots of men exchanging deep, meaningful glances.
The exogenous factors contributing to his turmoil are the ones in which he's most indoctrinated, and by humanizing this broader struggle, Szumowska's institutional denouncements are even more heartbreaking and scathing.
While the topic is dark and heavy, it's hard not to get caught up in the beauty of Michal Englert's sun-drenched cinematography coupled with moving music by Pawel Mykietyn and Adam Walicki
In the Name Of is yet another example of excellent gay cinema that, while perhaps dealing with subject matter that is bleak and that has probably been seen before, still feels necessary.
A somewhat unfocused but still compelling expose.
This Polish "gay priest tempted" drama is almost as confused about the moral quandaries of its characters as they are.
A thoughtful perspective on attitudes to homosexuality in the church and Polish society and Chyra's strong performance make this a poignant drama.
This quiet provocation from the Polish arm of Lars von Trier's Zentropa Entertainments falls into that conflicted-cleric subgenre encompassing everything from The Thorn Birds to Antonia Bird's Priest.
Leaves you with a handful of scenes rather than a robust story.
A provocative and poetic piece of filmmaking from Polish Director Malgorzata Szumowska which follows a priest as he struggles to find peace between his sexual desires and religious vows.
An intriguing mixture of almost mythically stylised imagery and doc-style realism makes this deeply internalised Polish drama both engaging and urgent.
A stupid little tale of a priest who falls for a guy who isn't quite there. Meant to be profound, this tale falls very flat.
It takes long to shape a premise and focus on its intentions, with the character's sexual and moral conflict not so naturally explored and made clear only too late, and it is hard not to feel uneasy with a film that wants us to understand a pedophile, which is what he is after all.
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