Mary Poppins Returns
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All Critics (17)
| Top Critics (3)
| Fresh (15)
| Rotten (2)
Some of the gags crumble on impact, others are stretched out like taffy, but there is enough fun left over to leave most moviegoers happily wallowing in greed, sex, homicide, body snatching and other nefarious diversions.
Mills amusingly hams his way through two or three sequences as one of the dying brothers. Richardson, bland, imperturable old bore, is superb. He and Wilfrid Lawson, portraying a decrepit butler, virtually carry away the acting honors.
Some sections and bits are funnier than others. Some are labored and dull. It is that sort of story, that sort of comedy. But it adds up to a lively lark.
It is a farce with a lot of class and style, carried off with some brilliant acting. It also has what most films with idiot plots lack, restraint, subtlety and sly wit.
All of the smaller roles are deliciously cast, with several of the best comic actors England had to offer in that decade, a heyday of British humor.
Mildly amusing silly black comedy set in Victorian England.
Funny farce with an all-star cast.
Hilarious black comedy.
Black comedy featuring great British comedy actors
Review Immense, undisciplined, all-star period comedy of a sort that, in the 1960s, was a common feature of American and British cinematic output.
He only has two scenes, but those two scenes, for my money, are the finest things [Peter] Sellers ever did.
An inspired English farce; Ralph Richardson is irresistible.
Not often bwa-ha-ha funny but a collection of skilled British comedians poking fun at conventions of manners. And at dead bodies. The great opening bit of how members of a money-awarded-to-last-survivor pact called a tontine met their demise was an admiring homage to Kind Hearts and Coronets. An extra half-star for Peter Sellers' contribution in one of his funniest small roles as the unethical addle-brained cat fancier Dr. Pratt.
Really really funny. Seeing Peter Cook and Dudley Moore ham it up is just icing on the cake. :)
A classic and hilariously convoluted comedy of errors, which plays expertly on Victorian morals and mores. It might fall a bit flat for modern audiences due to the lack of throw-away jokes and punchlines. Instead, it offers a never-ending series of sight-gags, plot twists and general comedic mayhem. They just don't make 'em like this anymore.
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