Another Round (2020)

Simmonds calls the comedy drama conceptually irresistible. She singles out its premise of teachers experimenting with controlled inebriation as especially compelling.

Freer finds the film funny, rich and clear-eyed, praising its nuanced movement between comedy and melancholy. He especially singles out Mads Mikkelsen’s performance and transcendent final moments.

Chang finds the film a persuasive, joyous and melancholic midlife-crisis comedy that treats drinking as both escape and a risky route to renewed purpose. He singles out Mads Mikkelsen’s emotionally subtle, physically exuberant performance and the film’s musical energy for praise.

Kohn finds the film furious and sad but ultimately hopeful, praising the potency of Vinterberg and Mikkelsen’s collaboration. He singles out Mikkelsen’s layered performance and climactic dance as especially compelling.

Kemp finds the film far more than a gaudy comedy, balancing its rousing fun with a sobering warning about holding onto what matters. She particularly praises Thomas Bo Larsen’s heartbreaking performance as Tommy.

The critic finds the film joyful, melancholic and wise, praising its rueful warmth and nuanced portrayal of male friendship. Its ambivalent take on drinking and midlife gives the story life beyond a simple cautionary tale.

Dowd finds the film refreshingly balanced, neither celebrating drinking without consequence nor reducing it to a cautionary tale. He particularly praises Mads Mikkelsen’s subtle performance, which gives the story’s emotional arc texture beyond cliché.

The review finds the film poignant and effective, while noting that its satire of alcohol culture could have been developed further. It especially praises Mads Mikkelsen’s deeply lived-in performance and the camera’s clear-eyed attention to drinking’s allure and damage.

Halligan describes the film as compelling but sobering. The accessible page does not reveal what she singles out for praise or complaint.

Newland finds the film compellingly ambivalent about drinking rather than a simple cautionary tale or celebration. She especially praises Vinterberg’s decision to leave viewers to decide how much is too much.

Lane finds Another Round absorbing and compelling, though its drinking comedy is difficult to watch and its focus sometimes wavers between the ensemble and Martin. He especially praises Mads Mikkelsen’s expressive performance, which draws the viewer into Martin’s melancholy.

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Dalton finds the film an appealing, engaging ensemble piece, though its treatment of alcohol feels conventional and not especially profound. He particularly praises Mads Mikkelsen’s nimble dancing and the film’s bright, irreverent visual style.

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The review presents the film as a tragicomic story of teachers acting out. It singles out Mads Mikkelsen as magnetic.

Bradshaw finds the film provocative but uncertain about what it wants to say about drinking. He praises the persuasive performances, especially Mads Mikkelsen’s, while noting that drunkenness eventually looks ruinous.

Gleiberman finds the film frustrating and muddled, criticizing its shift from a provocative drinking experiment into a familiar cautionary melodrama. He praises Mads Mikkelsen’s final jazz ballet scene as having the life force the rest of the movie lacks.

The review finds the film compassionate and warmly funny, an evocative portrait of everyday life. It praises the intimate direction and emotionally astute performances for giving the teachers’ friendship depth.

Crump finds the film surprisingly joyful and perceptive about how drinking can mask deeper troubles. He especially praises Mads Mikkelsen’s balance of regret and exhilaration, culminating in a dazzling dance-like burst.

Karen Han praises Another Round as a fresh, affecting take on midlife crisis, with a cathartic but not simply happy ending. She singles out Mads Mikkelsen’s subtle, expressive performance as the film’s greatest strength.

Goble finds the film intoxicating, funny, and self-aware, praising its defiant balance of comedy and heartbreak. He singles out Mads Mikkelsen’s warm, nuanced performance as the film’s driving force.

The critic finds the film thoughtful, incisive and empathetic, balancing humor with a clear-eyed view of substance abuse. They particularly praise Mads Mikkelsen’s subtle performance and the finale’s brilliant, bittersweet closing sequence.

Wilkinson finds the film absorbing and admirably balanced in its treatment of friendship and alcohol. She particularly praises the cinematography’s loose, observant style and the performances’ thoughtful energy.

The review finds the film an engaging, funny and ultimately sobering watch, though its resolution may feel slow. It particularly praises the chaotic drinking scenes and Thomas Bo Larsen’s portrayal of Tommy.

Butt finds the film an engaging, bittersweet examination of binge drinking that resists easy conclusions. He especially praises Mads Mikkelsen’s performance and the final dance sequence’s ability to convey both exhilaration and grief.

Nayman finds the film an effective, bittersweet portrait of men chasing the freedom of youth, though its emotional button-pushing sometimes feels excessive. He especially praises Mads Mikkelsen’s graceful, compelling lead performance, which carries the film to its triumphant finale.

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McCarthy finds the film’s promising exploration of drinking ultimately settles for a conventional conclusion. He praises Mads Mikkelsen’s exuberant dance sequence, but feels the film does not sufficiently explore its central theory.

The critic finds the film engaging but structurally flimsy, with an ineffective upbeat conclusion. They praise the realism and strong performances in its scenes of drunkenness.