So when's the shitty Paul Feig remake with like Pacino and Rose Byrne?

[puts in goofy dentures]

Don't you dare steal my idea.

it's true.

all of it.

(i have some major misgivings about the last 15 minutes, which feel — at least on first viewing — that they blunt out what could have been one of the great movie endings in recent memory, but everything you heard from Cannes about Maren Ade's shaggy epic is right on the money. the shortest 160 minutes you'll spend at the movies this year).

Almost everyone in my theater was laughing for about three hours straight. I think that speaks for itself; I've never quite had a movie-going experience like seeing this film with an audience.

“He was on old dog”.
That the humanist ideal of reconstruction Europe and the current European community can’t be reconciled is old news, but it takes an Andy Kaufmanesque prankster in a very old fashioned sentimental mission to, if not exactly exhume the corpse at least bring it into sharp relief. You'll laugh, you'll cry and things will just pass away. And it is really very very funny. Experimental human behavior played with broad Cassavetian exuberance at its best. Also, in the age of bloated festival film, it is always joy to get a 160 minutes one that needs every second of it to count.

i mean... this sure was... i guess

Whoever made those teeth is truly an architect

I never want to see a man wanking over a cake ever again

85

A particularly confounding experience of joy and pain, made up of a variety of screwball antics and realist put-downs let loose within involved spaces. Location is key here - how the modern influences the old and casts it aside, how humor dissipates in an laborious environment, how nakedness is even more of a shock against a transnational world. That its comedy extends so far is a testament to Maren Ade's observational tale being doused in sadness. "Never lose the humor." Winfried says, but the truth rises in cathartic bursts and still lingers hand-in-hand with laughter, culminating in one hell of a hug (one of the greatest in any movie, in fact) and a shaggy, poignant snapshot of a father/daughter dynamic. Fearless, drifting cinema.

"Don't lose the humor."

It took a while for me to get into the rhythm of this movie. But damn, I laughed way too hard in that cheese grater scene!

The saying goes: "german comedy is no laughing matter". But this one is really funny.

???

Great and very unique but the pacing feels at times unjustifiably slow. Still doesn’t take away from the excellent directing and writing of these rare characters.

Very clever, funny (and surprisingly moving) critic on the masks we wear in the corporate world and in life in general. At times, you don't know if you should be laughing or crying, but you end up doing both. Those 2h 42min flew by.

I laughed a lot. I wanted cry several times but didn't quite get there. There is something very of the now in the tone of this film. Hüller delivers an all time performance as the high strung Ines who struggles to connect with her more laid back dad. The first hour is a bit of a slow burn, but by the credits Toni Erdmann has well earned its 2hr45min runtime. Heartbreaking and hilarious, would recommend

All these reviews talking about how their entire theater crowds were laughing their asses off are lies, there is little to no comedy in this

An emotional rollercoaster that constantly intrigue despite its running time, with great resonance of subtle relationship contradiction.

No moralizing still full of morals, a cute piece of cinema

miraculous. I don’t remember the last time I laughed during a movie as hard as I laughed at the brunch party scene.

don't lose the humor