Downsizing (2017)

The critic calls it a captivating, funny and deeply humane film that transforms a sci-fi shrinking conceit into a timely yet timeless exploration of humanity's long-term viability on the planet without preachiness.

The critic praises Alexander Payne’s sci-fi comedy for its surprising compassion and kindness beneath the satire, noting that it moves beyond typical misanthropy to show the emotional education of its everyman hero. It highlights the credible layering of fantasy with social satire and strong character work.

Payne blends satire, sci-fi and emotion in an ambitious high-concept film that wrings comedic, political and emotional gold from the miniaturisation premise, with strong visual effects and inventive details. Hong Chau delivers a terrific, scene-stealing performance, though some big intentions remain unrealised.

The critic praises the brilliant premise of shrinking humans but finds the film hard to pigeonhole as it zigzags between genres and meanders thematically. Hong Chau's intense performance as Ngoc Lan stands out as the emotional heart, and the story ultimately resolves as a simple tale of altruism and romantic love.

The critic praises Payne’s whimsical sci-fi take on inequality and capitalism, highlighting strong visual storytelling and social critique through intricate jokes and character work. It notes some imperfections but commends the film’s commitment to real-world issues.

The critic notes Payne's gentle satire on the state of America and planet's future, praising the scope and double narrative despite bumpy tone and not fully convincing on climate issues.

The critic praises the film's purposeful unpredictability and tonal range as it ditches its high-concept premise multiple times, highlighting the sense of scale and social observation in Payne's high-concept drama about miniaturization.

The critic calls the film a ticklish and resonant crowd-pleaser for grown-ups that unveils a playful, spectacular, mischievous and audacious new side of Payne. He singles out the ingenious comedy of scale and the touching tale of a man whose problems grow bigger as he gets smaller for praise, while noting it risks becoming a little too much at times.

The critic views the film as an ambitious but ultimately modest satire on ecological catastrophe and consumerist self-delusion, suggesting laughter as a palliative rather than a full remedy. He singles out Payne's concrete logistical sense and eye for amusing incongruities in the shrinking process for praise, while noting the movie's faults are proportionate to its insights.

It begins as tasty satire but retools into sentimental comedy; the two parts don’t mesh tonally but works thanks to Damon's performance.

The first half delivers inventive ideas and sharp satire on lifestyle envy and consumerism with clever sight gags, but the second half loses momentum, turning preachy with a passive protagonist and diminishing returns. Hong Chau's character is a surprising highlight despite initial stereotype concerns.

The critic finds the premise delightful and the early sections sprightly and comic but laments that the film lets its central conceit of smallness glide away in favor of familiar social satire and moralizing. He praises the detailed, funny depiction of the downsizing process and Waltz's energetic performance as a highlight amid the story's later orthodox turns.

The critic describes the film as an initially inspired but increasingly rudderless and fascinating muddle that literalizes Payne's tendency to look down on characters while venturing into uncharted sci-fi territory. He praises the rigorous and nonsensical whimsical conceit along with the production design for the first hour, while complaining about the unproductive tension and tone-deaf elements in the later narrative.

The review finds the social satire offers uneven charms overall, with strong elements in its big-thinking premise and performances but not always delivering consistent results.

The critic finds it a boldly executed sci-fi premise that addresses inequality but ultimately trips over its own modesty by fixating on a banal central character at the expense of more compelling ones.

The critic finds the film blisteringly brilliant for its first hour with a convincing, funny setup and strong performances but says it becomes overwhelmed by its own implications afterward. It loses comic charge once normalized in the miniature world, strains credulity in later acts, and ends up smaller than hoped.

The critic faults the execution as toothlessly noncommittal and simple-minded, with the reach exceeding the grasp especially in its handling of characters like the Vietnamese refugee and satirical elements.

The critic finds it a self-satisfied sci-fi nothingburger that shies away from satire, losing Payne's usual tartness, with wrong moves in tone and pretension.

The critic describes the film as unclassifiable, blending satire with folktale elements and visual depth while exploring familiar yet perplexing worlds. Hong Chau's brilliant performance and the compassionate community outside Leisureland are highlighted as lifting the film.

The critic praises the film's earnest hope in humanity and satirical observations on consumerism and inequality, but notes it struggles with character development and tone. Hong Chau's performance and the big ideas are highlighted positively.

Pete Hammond praises Alexander Payne for delivering a smart, funny and human comedy with big ideas that fits his wry style while pushing into ambitious new territory. He highlights the strong ensemble cast, particularly Hong Chau's memorable performance, and the film's visual effects and witty premise.

The critic praises the film's sincere exploration of overpopulation and human empathy through satire but notes it struggles to find a clear dramatic direction for its high-concept premise. Hong Chau's performance and the issues raised stand out positively.

The critic calls it a life-affirming and enjoyable film with likeable characters, inspired humor, and a heartfelt ending, though it is overlong and occasionally unfocused. Hong Chau's revelatory performance and the ordinary lives theme are singled out for praise.

The critic commends Payne and Taylor for using the sci-fi premise to explore the human condition on both micro and macro levels with acidic empathy and sharp observation. Standout praise goes to the ensemble, especially Hong Chau's funny, bristly and moving performance.

The critic finds the opening promising and the premise plausible but feels the film becomes overly ambitious, convoluted, and underwhelming overall. The comedic supporting characters provide some edge but detract from emotional investment.

The critic credits Payne for strong sight gags and commentary on consumerism in the first half but finds the film of diminishing returns as it shifts tone and message. It singles out Hong Chau’s performance amid the uneven second half.

The review finds the film caught between satire and sincerity, with strong world-building and ideas but ultimately didactic and dramatically inert, lacking the ambivalence of Payne's best work.

The review calls the film a clunker that wastes a great premise after the first act with muddled themes and inconsistent performances. It singles out the strong production design of the miniaturized world as a highlight amid the undercooked story.