Inherent Vice (2014)

Cabin views the film as a lively, politically suggestive comedy about unreliable memories and the fading promise of the 1960s. He praises Anderson’s inventive direction and the actors’ playful, expressive performances.

Kenigsberg finds the film a remarkably faithful and entertaining adaptation, praising Anderson’s deft handling of comedy and actors. He singles out the closing shot as pure bliss, while noting that some of Pynchon’s literary flourishes are missed.

Brooks calls it a ramshackle triumph, praising its wild, funny journey through a disorienting late-1960s California. He singles out Anderson’s jubilant, freewheeling handling of the chaotic story.

Sexton finds the film challenging but increasingly rewarding, and recommends embracing its haze rather than demanding an immediately clear plot. He especially praises Joaquin Phoenix’s funny, gloriously good performance as Doc.

Fuller presents Anderson’s film as a dynamic, sophisticated powerhouse, giving it a strongly positive verdict. The accessible text singles out its dynamism and sophistication as its chief strengths.

Foundas finds the film a richly funny, delightful stoner noir whose unusual, sprawling approach will not suit every viewer. He especially praises Josh Brolin’s wryly comic portrayal of the contradictory detective Bigfoot.

Kohn finds the adaptation muddled but endearing, with imperfections that deepen its appeal. He especially praises Joaquin Phoenix’s bewildered performance and Johnny Greenwood’s meandering score for capturing Doc’s fractured perspective.

Jenkins finds the film buoyant and moving, though less wildly digressive than the novel. He praises its strange, layered love stories against a backdrop of political unease.

Sharkey finds the film funny, loose and accessible, with a lively adaptation of Pynchon’s intricate satire. She especially praises Joaquin Phoenix’s performance, which keeps Doc Sportello engagingly dazed and off balance.

The critic presents the film as a gloriously rambling detective yarn that should delight fans of New Hollywood and Thomas Pynchon. The review singles out Joaquin Phoenix’s performance and the lovingly recreated period look for praise.

The printed four-star rating signals a positive verdict. The review text is unavailable, so no specific praise or complaint can be identified.

Mottram finds the film a poignant, entertaining love letter to Los Angeles and the 1970s, despite its occasional meandering. He praises its superb period detail and Jonny Greenwood’s persuasive score.

Nathan finds the film chaotic and difficult to follow but ultimately beautiful, haunting and singular. He praises its playful noir style, vivid comic invention and beguiling language.

Pinkerton is more taken with this film than with any of Anderson’s work since Boogie Nights, though he notes its sprawling, anecdote-heavy approach may frustrate many viewers. He particularly praises the vivid supporting characters and the poignant memory of Doc walking with Shasta to Neil Young’s music.

Lane finds the adaptation both impressive and exasperating, praising Anderson for doing Pynchon proud while noting the mystery’s resistance to tidy resolution. He singles out Josh Brolin’s energetic comic performance as Bigfoot, though he wishes Anderson would sometimes escape the orbit of the novel and follow his own vision.

Edelstein finds the film groovy, funny, and strange, though its mystery is incoherent and its filmmaking occasionally cold. He especially praises Joaquin Phoenix’s brilliant, witty, emotionally true performance.

The page is blocked, so the critic’s verdict cannot be determined. No specific praise or complaint can be verified from the available text.

The page identifies a review of Paul Thomas Anderson’s Inherent Vice, but its text is unavailable. The critic’s verdict and any specific praise or complaint cannot be verified.

McCarthy finds the adaptation uneven, with its sprawling mystery only intermittently achieving the novel’s comic energy. He praises the performances of Josh Brolin and Owen Wilson, but faults the film for its narrow portrayal of Los Angeles and Joaquin Phoenix’s limited comic lightness.

Concannon praises the film as an entrancing, richly layered expression of Anderson’s singular vision. He singles out its comic performances, hazy cinematography, narration, and wounded romantic heart.

The critic praises the film as a madcap masterwork, rich with comedy and pathos. They single out its wistful emotional depth beneath the surreal humor and excellent performances.

Lussier finds the film hilarious, quirky, and incredibly entertaining, though its unusual structure may divide viewers. He praises the stellar cast, especially Joaquin Phoenix, and notes that Anderson’s directorial style feels more muted than usual.

Crow finds the film an intoxicating, affectionate portrait of a fading counterculture, despite its dense plotting and laid-back pace. He especially praises Joaquin Phoenix’s performance and the colorful ensemble of characters.

The critic finds the film dense and sprawling but ultimately easy to fall for. They praise Anderson’s craftsmanship and faithfulness to Pynchon, along with Joaquin Phoenix’s performance.

Matthews finds the film a compelling, mournful, madcap odyssey whose deliberate confusion can sometimes feel aimless. He praises the grounding dynamic between Joaquin Phoenix’s Doc and Josh Brolin’s Bigfoot.

The page identifies this as Pete Hammond’s review, but the review itself is only referenced as a video. The available text offers no verdict or specific praise or complaint.

The critic finds the film a unique, sprawling ride, though it is inaccessible and not Anderson’s funniest. He praises its colorful cameos, visual period detail, and dreamy atmosphere.

The article is identified as a New York Film Festival review of the film, but its verdict cannot be recovered from the supplied page. No specific praise or complaint is visible because the page contains only anti-crawler text.

Nemiroff finds the film exhausting and disappointing, with an overcomplicated mystery that never pays off. She praises its visuals, production and costume design, and score.

The critic finds the film confusing and less enjoyable than it aims to be. They praise its dreamy look and sound, and Joaquin Phoenix’s performance as Doc.

The critic finds the film detached and self-indulgent, with cartoonish characters that fail to engage. They praise a rain-soaked flashback sequence for conveying loss more effectively than the dialogue.