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A decidedly hollow offering (with so much histrionic rage).
I hoped for someone or something with which to engage
(But found no traces).
Its only saving graces:
Some interesting visual elements (though these served to upstage).

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Vile, damaged March (full of poison, and new to town)
Brings on an event that’ll require the rep of the Crown.
From Thornton: extraordinary storytelling
Visually commanding, and so compelling.
Doolans: brilliant work (as a boy used to being pushed down).

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Nebraskan Safraneks (Audrey and Paul)
Are slated for a new life as Small.
Interesting concepts, but executed
In a way that often diluted
Potential depth. Plot ideas: too much sprawl.

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First school for Auggie, and first experience of friends
In this sweet, moving film that never descends
Into schmaltzy manipulation.
Sincerity: its foundation,
Led by strong Tremblay. Lesson: kindness transcends.

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From once-secret art during post-war repression
To open appreciation of Tom's artistic expression.
Well-acted, but too safe/clean.
Favourite/clever scene:
Pool party cops (subverting our assumed impression).

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A heavy burden hangs over Conor's head:
Impending loss; an existential dread.
Enter: an anthropomorphic tree.
Can its fables set him free?
Impressive (dark) visuals. Tears to be shed.

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Artistry in the choreography (soundtrack with scene).
Elgort: charismatic; battling demons re keeping 'clean'.
Such questionable character motivations
Relating to some third act situations.
Jones stands out, with the best performance on the screen.

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As before: big laughs, majestic scenery, lots to eat.
New: added melancholy for Steve (kept discreet).
Highlight: the guys out-swaggering
Each other when Jagger-ing.
Only letdown: dubious end scene (an odd conceit).

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Here in the Civil War's South, seven women and girls reside. Enter wounded Corporal John, who otherwise would have died. Both dark and funny (an abundance of wit). Stunning performances. Gorgeously lit. Reflections on vengeance, survival, strength and pride.

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