Critic Reviews

51

Metascore

Based on 25 critic reviews provided by Metacritic.com
88
I laughed all the way through, in fact. This is the best comedy since "The Hangover," and although it's almost a scene-by-scene remake of a 2007 British movie with the same title, it's funnier than the original.
75
Death at a Funeral does what a good comedy is supposed to do: generate laughter. The humor gradient is lopsided - the second half, which builds comedic momentum, is significantly funnier than the first half, which is mostly set-up. Still, any such unevenness aside, the overall impression is one of enjoyability.
63
Orlando Sentinel
The new Funeral, directed by social commentator-director Neil LaBute ("Lakeview Terrace") doesn’t improve on the original, which wasn’t exactly a classic despite its classic structure.
63
The new version is completely unnecessary and sloppier than it should be. It’s also still funny, partly thanks to smart casting in a few key roles and partly because farce this ironclad cannot be denied.
63
Verdict? Mixed. Loved the slapstick, winced at the toilet humor, and mourned that the female performers were given so little to do. Funeral is funnier the second time around.
60
Proving that a comedy’s performers are sometimes more important than its jokes, this remake of Frank Oz’s dreary 2007 British farce of the same name livens up the proceedings by subbing in a comic African-American all-star cast.
50
But nothing taps his own particular talents to unsettle audiences with truly edgy material. Funeral gets no more edgy than a potty joke and a corpse tumbling out of a coffin. This is nothing more than juvenile slapstick.
50
The movie version of karaoke. It sings the same tune as the 2007 British underground hit, but it's a little, and at times a lot, off-key.
33
Rock acquits himself nicely as the responsible brother and resident straight man, but everyone else in the cast has apparently been advised to mug shamelessly and yell their lines as loudly as possible.
30
This slavishly faithful update... fails to tap into anything culturally specific or uniquely funny in its Pasadena setting or its theoretically looser, livelier black cast. And because the characters are so flat, we couldn't care less about the blows to their sense of propriety.

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