(I) (2011)

Critic Reviews



Based on 27 critic reviews provided by Metacritic.com
And though not all of Lonergan's conceits work on a scene-by-scene basis (an upper-crust womanizer played by Jean Reno skews a bit too close to caricature), the film has a cumulative power-solidified by a devastating opera-house finale-that's staggering. This is frayed-edges filmmaking at its finest.
It's not a film that's easy to love, but like a song you at first can't stand but then end up humming all day, it works its way past your defenses and curls in close.
Village Voice
It's less successful as a human drama than as a near-Brechtian exercise in what human drama looks and sounds like - a distanced but often car-crash compelling portrait of a teen as an unfinished being.
Lonergan didn't bite off more than he could chew with Margaret - this is his personal moral gymnasium - but he did bite off more than others might want to chew.
Lonergan's dialogue can sweep you up in a whoosh of personality and ideas, but it's hard to see what, apart from ego, convinced him that this story was so epic.
Fine performances and bristling language compel in this overlong, often off-putting but well-observed New York story.
A 2½-hour art film that is something of a well-intentioned mess.
This unwieldy drama of conscience in the wake of tragedy is hyperarticulate but rarely eloquent, full of wrenchingly acted scenes that lack credible motivation or devolve into shrill hectoring.
This is the first bad movie that has ever made me call for a sequel - to get it all right.
Rarely has a film with such a great cast and so many moments of terrific writing and such high dramatic goals been so messy and disorganized and fundamentally bad.

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