His detractors paint much of his oeuvre with the broad brush of kitchen - sink miserablism, ignoring the considerable tonal and structural differences between a «Naked» and, say, an «All or Nothing» — but then overestimating the radicalism of a «departure» like the aforementioned «Happy - Go - Lucky,» a tarter and more searching film than the feel - good breeze many pretended it was. (incontention.com)