Entertainment Weekly

By Lisa Schwarzbaum
The Big Apple of this evanescent tone poem is an invented nocturnal landscape featuring speechifying eccentrics and absurdist moments that feel northern European in sensibility.
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By Michelle Orange
Kári relies too heavily on the fleeting rewards of situation for the film to come together as an involving story.
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New York Observer

By Rex Reed
One of the least likable characters (Cox) in recent memory--irascible, but with moments of real tenderness--he’s the reason this strange movie takes on a perverse charm that is uniquely its own.
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New York Post

By Kyle Smith
The movie begins to wear out its welcome even before a conclusion of breathtaking corniness.
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By Ian Buckwalter
The movie's two bright spots are Cox and Dano, who perform excellently despite the dull inevitabilities the script forces on them.
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New York Daily News

By Elizabeth Weitzman
Dagur Kari both wrote and directed, so he has no one else to blame for so little originality. Neither does his hard-working cast, all of whom deserve better.
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Chicago Tribune

By Michael Phillips
As robust and clever an actor as Cox is, he can't make Jacques any less of a blowhard; Kari's wit simply doesn't come through in English, at least with this script.
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Boston Globe

Cox doesn’t so much chew the scenery as inhale it. Dano looks on in awe.
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Chicago Sun-Times

By Roger Ebert
The actors cast themselves adrift on the sinking vessel of this story and go down with the ship.
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San Francisco Chronicle

By Mick LaSalle
It's a strange thing, this type of whimsy. Kari offers us ideas in place of characters, and yet he expects us to see through these ideas to the real-life conditions they represent - and then to respond to them in kind.
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40 out of 100
Mixed or average reviews
Metascore® based on all critic reviews. Scores range from 0 to 100, with higher scores indicating more favorable reviews.