I'm Still Here (2010)

Mottram finds the film sharp, often hilarious, and an incisive critique of celebrity culture. He singles out its ambiguity over whether Phoenix’s apparent collapse is real or an elaborate performance.

Wise finds the film an effective send-up of celebrity culture, though some scenes are less arresting. He singles out the awkward encounters with Diddy, Affleck and Letterman as its strongest moments.

Felperin finds the film an utterly fascinating experiment, though its appeal depends partly on viewers’ curiosity about Phoenix’s public persona. She praises its examination of the blurry boundary between performance and reality, while noting its potentially troubling, tragic undertones.

The critic finds the mockumentary clever and entertaining, while recognizing its pointed critique of Hollywood. Phoenix’s mesmerising, hilarious performance is singled out for praise.

Bradshaw finds the film funny and ultimately good, though its ambiguity leaves its intentions uncertain. He singles out the staged, amusing encounters with P Diddy and Phoenix’s humiliating attempt to win him over.

The review finds the mockumentary uneven but increasingly engrossing, with uncertainty about its reality sometimes leaving viewers puzzled. It praises the film most when its tricks recede and Phoenix emerges as the subject of a funny, compelling character study.

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Calhoun gives the film a middling three-star rating. The available description singles out its intimate documentary approach to Joaquin Phoenix’s public behavior, but the review text is unavailable.

Abrams finds the film self-indulgent and pretentious, though its central joke can be funny. He singles out the drawn-out final scene as the film’s most effective gag and a test of the viewer’s tolerance.

Turan finds the film glum and dispiriting, ultimately more intriguing to speculate about than to watch. He praises how effectively it plays on expectations about celebrity behavior while faulting its exploitative, unconvincing portrayal of Phoenix’s apparent crisis.

The critic finds the film more exasperating than entertaining and says its pacing is slow. They single out the Letterman appearance and Sean Combs’s reaction as especially droll moments.

The critic argues that the film is a brilliantly subversive send-up rather than a real documentary. They praise Phoenix’s committed performance and the film’s skill at sustaining the hoax.

Ewens finds the film an intriguing portrait of a troubled psyche, despite a rushed, contrived ending. He praises its effectively scattered comic moments and gripping scenes of Phoenix’s career unraveling.

Reynolds finds the film a riveting, funny, and bittersweet portrait of self-destruction, even as it leaves questions of authenticity unanswered. He praises Affleck’s carefully managed humor, especially the comic contrast between Phoenix’s grand ambitions and his increasingly ridiculous behavior.

The critic finds the film flawed and morally dubious but strangely watchable and entertaining. He praises its final sequence in Panama for its emotional resonance and suggestion of rebirth.

The critic finds the film entertaining as spectacle but says it falls short as art. He singles out other people’s reactions to Phoenix’s antics as its best moments.