“There’s an underbelly to Mary Poppins,” said Blunt, who embraced the duality of the P.L. Travers character as she sang and danced and cried through Rob Marshall’s musical sequel.
The weekend’s only new wide release, “Escape Room,” underperformed compared to last year’s “Insidious: The Last Key.”
“Aquaman”‘s real strength is overseas. And Clint Eastwood delivers yet again.
Thanks to “The Grinch” and “Green Book,” Universal will have more than “Marwencol” in its stocking.
Even before “Hamilton,” Lin-Manual Miranda was on the road to a career in Disney musicals.
Many are called but few are chosen in the holiday movie awards sweepstakes.
The year-end contenders have much to offer in anticipation of Monday’s Oscar shortlist announcement.
Emily Blunt is spectacular, but the dull “Mary Poppins Returns” is too high on nostalgia, and too low on imagination.
Production designer John Myhre coined the term “London-y” for embracing Rob Marshall’s new take on the Disney classic.
Three-time Oscar winner Sandy Powell went from black-and-white in “The Favourite” to bolder eccentricity in “Mary Poppins Returns.”
In addition to her charismatic portrayal of the beloved nanny, the Disney re-imaginging should also raise Oscar hopes for a wide range of crafts.
Lin-Manuel Miranda co-stars in Rob Marshall’s Christmas family tentpole.
