Mary Poppins Returns
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All Critics (10)
| Top Critics (3)
| Fresh (9)
| Rotten (1)
Polished and lively, with just enough fresh angles to avoid feeling like a rote recycling of gay cinema tropes.
The film belongs to Wiggins, who brings an openness and sincerity to Franky's struggles that help suggest to what extent his character's specific story has elements that everybody will be able to relate to.
[A] tender but untimid drama.
By intentionally withholding any concrete answers, Behrman lends [these kids'] adolescence an authenticity rarely seen.
As characters start letting their guard down, the film's cool sheen starts to ebb away and "Giant Little Ones" grows more intimate.
[I]t feels built on the backs of its predecessors both straight and not.
Giant Little Ones is a beautiful story and serves to remind us that people should be celebrated and not bullied for who they are.
Giant Little Ones has a sharpness about it that seems at odds with how tender much of its storytelling is. It captures that unique dichotomy of adolescence where everything is simultaneously the best and worst it will ever be.
Behrman delivers a first act that's positively writhing with hormonal energy, and Wiggins exudes star quality as a kid who's trying to figure things out. But the film's tone lurches between earnest after-school special and dark, knowing comedy.
[Behrman] tries to capture something more elusive and fluid, at the risk of doubling down on the swimming and sexuality metaphors that lie just barely under the surface.
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