Variety
Perhaps not the most original film you’ll see all year, but very possibly the most instantly lovable, first-time filmmaker Darren Thornton’s beautifully performed, warm yet melancholic “A Date For Mad Mary” proves that “Sing Street” director John Carney does not have the Irish monopoly on highly exportable rite-of-passage dramedies. And in Seána Kerslake’s performance as the eponymous Mary (“mad” being used in its semi-admiring, semi-cautionary Irish vernacular form) he may even have an ace that Carney’s ensemble picture lacks: a barnstorming central performance, full of light and shade, that should by rights be the breakthrough Kerslake has deserved since her debut in Kirsten Sheridan’s bafflingly underseen “Dollhouse.”
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