Mary Poppins

The problem-solving is so brilliant, the songs are so great and Julie Andrews is so utterly, utterly perfect.

I have to admit that I find the real brilliance of the film is in the first act and things have wound down by the end, but what an entertainment sugar rush.

Shot entirely indoors in a Hollywood fantasy version of late Victorian London, Disney’s evergreen family classic is arguably Walt Disney’s finest moment

There is nothing wrong with good, clean fantasy, if there is some sort of explanation to make it more than just a succession of camera tricks.

Mary Poppins is a picture that is, more than most, a triumph of many individual contributions. And its special triumph is that it seems to be the work of a single, cohesive intelligence.

As the magical nanny who turns life upside down for her charges in Edwardian England, Julie Andrews maintains a stiff upper lip that dries out some of the Disney schmaltz.

It mixes over the top, fantastical humor with genuine observations about the importance of really listening to your children.

Mary Poppins is of a piece with the classic art-film archetype in which a mysterious stranger helps each member of a family through unlocking their emotional blockage, for better or worse...

Mary Poppins is a product instead of the wholly enchanting children's art it so easily could have been.

Mary Poppins is a rocket ride to euphoria and fun all the way.