Biting satire. Much to ponder: the absurd; the grave
(Disturbing live exhibit with the power to enslave).
Societal responsibility: well explored.
Some spot-on humour struck a chord.
Running time: could’ve really done with a shave.
The lauded, difficult genius (excused: because of his art)
Meets his new love, and here comes the start
Of their complex game.
Gorgeous detail in every frame.
Enchanting; witty; with a fascinating darkness at its heart.
For us kids of the Seventies: a times, a fun, nostalgic trip:
The lurid colours, unnatural fibres, French Onion dip.
Some of the kids knew the score,
But I’d love to have learned more
About what the parents were thinking pre-The Great Unzip.
In the shadow of theme parks, candy-coloured walls belie
The truth about hard lives, and the struggle to get by.
In portraying Moonee’s situation,
Young Prince is a revelation.
This unflinching, humane film warrants praise most high.
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).
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.
The Marstons' and Olive's fight to simply be free
From convention (to live and love as three)
Is beautifully portrayed.
Robinson's film: skillfully made.
Lie detector scenes: sexy beyond what we hear / see.