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.

Don't go in with high expectations and you will be pleasantly surprised. Follow the hype surrounding the movie and/or trust the review blurbs, and you will be wildly disappointed.

Sad.
Funny.
Awkward.
Bizarre.

A film which shows real warmth towards it's characters and truly understands their ways.

...also has the best monster costume ever.

This was extremely highly acclaimed and it's in German (well, half of it's in English) so I figured I'd see it, because I watch German movies sometimes. I didn't think it was as great as the critics did but it was still pretty good. It moves very slowly but manages to not be boring.

A cringe-fest in the best possible way. I suspect it would have been more fun to see in a full theater than it was for the two of us and the cat. The discomfort with an audience would probably get defused with laughter more often.

What makes it good is that the things you're cringing about are real life things that we generally accept unthinkingly that if we pondered them for a minute would be just as uncomfortable as they are in this movie.

Part of our discomfort was in worry that it would stray into darker territory than it ever did. So there's that. I'm not sure that it really needed to be 2 hours and 42 minutes long.

Toni Erdmann is a one-off. A truly unique film for a truly unique character. I've never seen anything quite like this on film before.

However, at 3 hours long it does test the patience, and with the amount of cringe in the film, becomes something of an ordeal in some of the more bizarre sequences.

However, I am recommending it, as it's pretty funny throughout, even when at it's weirdest.

This was really touching and heavy and funny and ridiculous...also very very uncomfortable at points.

Now that I think about it, this movie has a ton in common with the best aspects of The Office...and sort of ends with the same moral. Not to spoil anything.

Yeah, the more I think about it, this was really fantastic.

A bizarre, funny tale about a father who pretends to be someone else to be near his daughter. I totally dig the long takes and slow pacing of this film. It's a study in natural and realism. I shudder to think what the American remake would look like.

"No podemos cambiar de estrategia en el último momento" le dice a Ines Conradi su jefe.
No podrás tú, Gerald.