Critic Reviews



Based on 37 critic reviews provided by Metacritic.com
It can’t quite match the power of Östlund’s film, or its bemused, clinical (dare I say Scandinavian?) sensibility, but it has an awkward, American charm all its own.
While the material they’re working with may not be great, it is fun to see Louis-Dreyfus and Ferrell go head-to-head. Maybe they can try doing that again sometime in the future. With a better script.
The story worked brilliantly before. In Downhill, it works…well enough. The new movie is a teasing trifle with something real on its mind.
Downhill brings its characters to the brink of somewhere exciting but never commits to a full descent.
The value of Downhill comes from merging this story with these two distinct comic personas, and seeing what they do with it (and each other). That’s probably not enough of a reason for it to exist. But it’s not nothing, either.
Downhill is a clever movie when it could have been profound, had, perhaps, Faxon and Rash been willing—or capable—of digging deeper.
It’s hard to ever shake the sense that everyone would be much better off just queuing up Östlund’s film and moving on.
Anyone who sees this new movie without having watched the original will certainly enjoy the lead performances, but they’ll be getting the frozen-watered-down version of the story.
There’s a lived-in chemistry that’s missing from the pairing and the film’s great many awkward moments between them don’t feel quite as cutting or as uncomfortable as they should. It’s a dark comedy that feels too light.
This is not only one of those cases in which a U.S. makeover adds nothing to a memorable foreign-language film, it's the doubly dispiriting variation in which the more commercially minded overhaul relentlessly drains everything that was distinctive, edgy and original about the source.

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