Critic Reviews



Based on 25 critic reviews provided by
What the film lacks in specificity and interest in taking sides, it makes up for in style, authentic emotion, and terrific performances.
While the schemes occasionally seem strained, their desperate determination is never less than compelling.
Could women stop war through the sedation of sex and drugs and a plot to bury every weapon in their community? Labaki has said she knows Where Do We Go Now? is a fantasy. But it's a good one, and this lovely film seems pertinent far beyond the landscape of the Middle East.
The film's blend of pathos, broad comedy and the occasional musical number is a little lumpy. But with sectarian violence continuing to scar the globe, its light tone provides a refreshing response.
Its occasional entertainment value aside, the picture is also blithe to the point of being flimsy.
The movie gets mired in these deceptive mechanics. It shows no curiosity about the hatred, so the characters seem less than whole.
Slant Magazine
Nadine Labaki's film awkwardly hybridizes somber politizized drama with regional humor in the style of "Waking Ned Devine" and "Calendar Girls."
An absurdist fantasy on a solemn theme, Where Do We Go Now? suffers from a serious clash of styles, but it's also brave and startlingly funny - at one point verging on "Mamma Mia!" - when it isn't bleak or shocking.
By the time the film takes a glib turn into role-switching farce - as Muslims become Christians and Christians become Muslims - the overall toothlessness of the satire becomes damningly apparent.
Village Voice
Like the hashish-laced pastries the ladies make to sedate the male population, the film feels like it has been dosed with sugar to mask its distressingly bitter taste.

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