--- title: "The Death of Stalin" year: 2017 kind: "film" canonical: "https://film.one/film/the-death-of-stalin" fi1m_score: 83 critics_score: 81 critics_reviews: 28 published: "2026-09-17T08:47:33.741043+00:00" updated: "2026-09-17T08:47:34.246040+00:00" region: "US" licence: "© Fi1m Ltd. Written by AI under a human editor; checked against sources before publication. Quote with attribution and a link to the canonical URL." --- # The Death of Stalin (2017) Directed by Armando Iannucci · 1h 47m · MPA R · Comedy, Drama, History **Fi1m score: 83** · Critics 81 from 28 reviews *In a sentence:* Simon Russell Beale makes us grateful that most office bullies only control the stationery cupboard > Armando Iannucci makes Stalin’s succession crisis funny without making its participants seem harmless. Simon Russell Beale is particularly unsettling, though the broader clowning occasionally makes the danger harder to believe. ## Synopsis Josef Stalin (Adrian McLoughlin) dies, leaving his Kremlin colleagues to work out who takes charge. Nikita Khrushchev (Steve Buscemi) wants to secure his position, but Lavrenti Beria (Simon Russell Beale) has ambitions of his own. Georgy Malenkov (Jeffrey Tambor) struggles to look capable of leadership as his colleagues compete for advantage. The officials must negotiate a succession inside a system built around one man, where each is afraid of losing more than his job. Insults and displays of loyalty accompany the manoeuvring, with each man watching the others for signs of weakness. ## Review *The Death of Stalin* finds its comedy in men trying to protect themselves while pretending to serve the state. Armando Iannucci makes their vanity funny and their scramble for power frightening, often within the same exchange. This is a sharp, sour political farce with an excellent ensemble, and we recommend it with a reservation about the broader clowning. The noisy foolishness sometimes makes the threat recede. A supporting performance is occasionally allowed to become one long comic turn. The death of Josef Stalin, played by Adrian McLoughlin, leaves Nikita Khrushchev and Lavrenti Beria competing for advantage, with Georgy Malenkov struggling to look capable of leadership. The screenplay, credited to Armando Iannucci, Ian Martin, David Schneider and Fabien Nury, makes that competition legible through insults, evasions and frantic changes of position. The exchanges are funny because the men cannot speak freely even to their supposed colleagues. Each must judge how much certainty he can afford before somebody else decides that certainty is disloyalty. Steve Buscemi gives Khrushchev an impatience that makes his calculations easy to follow, without turning him into somebody to cheer for. Simon Russell Beale’s Beria is harder to read and much more disturbing. His composure makes the other men’s fuss seem especially foolish, as if he has grasped the business of power before they have finished arguing about it. The scenes between them work because both actors keep the desire to win close to the surface. Neither needs to underline the joke. Jeffrey Tambor makes Malenkov’s vanity almost endearing, which is an uncomfortable achievement. We laughed at his efforts to look capable, then felt uneasy about how harmless he had begun to seem. Jason Isaacs gives Field Marshal Zhukov a swagger that supplies a welcome change of pace. Rupert Friend, as Vasily Stalin, has less room to vary his bluster. Here the broadness flattens the character, and after a while another outburst adds little. Zac Nicholson’s cinematography keeps the group scenes readable, so a rival’s reaction can matter as much as the person speaking. Cristina Casali’s production design makes the Kremlin’s authority credible, even while the actors are busy making its occupants look ridiculous. Peter Lambert’s editing is alert to the pace of the exchanges, letting a line register before the next speaker tries to gain control. Together, those choices make the enclosed scenes lively, but they cannot entirely disguise how often another argument does the work of moving the story forward. Christopher Willis’s music gives the danger weight, which helps prevent the comedy from becoming too comfortable. It suits a film that keeps the suffering caused by these men in view. The unpleasantness matters: if the officials were merely incompetent, their arguments would soon become tiresome. Their capacity for cruelty gives even the pettiest disagreement a reason to hold our attention. Political farce often promises the pleasure of seeing someone exposed as a fool. Here, recognising the fools offers little reassurance, since they still have power over other people. At 107 minutes, the film gives the quarrelling enough time to become oppressive without exhausting the joke. Watch it for the cast, and avoid it if cruelty spoils a comedy for you. *Fi1m score 83, published 17 September 2026.* ## What the critics say Most critics warmly endorse The Death of Stalin, praising Armando Iannucci’s ability to make political terror funny without forgetting its victims. Praise clusters around the ensemble, particularly Simon Russell Beale and Steve Buscemi, and a script whose insults and petty manoeuvring expose the panic beneath the struggle for power. The reviews repeatedly credit the combination of verbal sparring, physical comedy and fear, with the varied accents widely seen as an asset rather than a distraction. The disagreement concerns how securely the comedy sits alongside the suffering. Variety finds the tone inconsistent, while The Guardian finds the film more sombre and less caustic than Iannucci’s usual work, despite admiring the cast. Little White Lies also sees passages closer to stage farce and less reason to return than with his earlier work. The spread runs from enthusiastic approval to qualified admiration: reservations concern tonal control, with little dispute over the performances. ### Reviews we read (28) - **Time Out**, Phil de Semlyen (5/5): Iannucci delivers a daring, quick-fire and appallingly funny comedy that lampoons Stalinist Russia with masterful control of tone, blending hilarity and revulsion. The critic highlights the superb cast and Iannucci's ability to tickle the funny bone while cutting through it. [Read](https://www.timeout.com/movies/the-death-of-stalin) - **IndieWire**, Eric Kohn (90/100, inferred): The critic calls it a winning satire with one-liners coming hard and fast, a hilarious take on the Soviet power vacuum akin to Veep going to the Soviet Union. [Read](https://www.indiewire.com/features/general/the-death-of-stalin-review-armando-iannucci-tiff-2017-1201873708/) - **Los Angeles Times**, Kenneth Turan (90/100, inferred): The dazzling film is a comedy of terrors that creates laughs while never letting viewers forget the real human cost of Stalin and his circle. Iannucci’s take-no-prisoners style is perfect for this blackest of farces, cutting close to the bone. [Read](https://www.latimes.com/entertainment/movies/la-et-mn-death-of-stalin-review-20180307-story.html) - **RogerEbert.com**, Matt Zoller Seitz (90/100, inferred): The film is the best thing Armando Iannucci has done, a hilarious take on a grim subject that finds authoritarianism itself to be a sick joke. It stands out for its sophisticated direction and the way it shows political choices having immediate horrible consequences. [Read](https://www.rogerebert.com/mzs/30-minutes-on-the-death-of-stalin) - **Sight and Sound**, Lisa Mullen (90/100, inferred): The critic praises Iannucci's sharp satire of Stalin-era power struggles and the cult of personality, highlighting its mix of hilarity and horror. She singles out the strong ensemble cast, especially Simon Russell Beale and Steve Buscemi, and the film's timely resonance. [Read](https://www.bfi.org.uk/sight-and-sound/reviews/film-week-death-stalin-deflates-corpse-despotism) - **The New Yorker**, Anthony Lane (85/100, inferred): Iannucci’s film is a startling comedy that dares to make evil funny, with every gag girded by fear. It is funny far beyond what it has any right to be, matching outrage with outrage in its portrayal of the absurd power struggles after Stalin’s death. [Read](https://www.newyorker.com/magazine/2018/03/19/the-death-of-stalin-dares-to-make-evil-funny) - **Total Film**, Jordan Farley (85/100, inferred): Iannucci's jet-black Kremlin comedy proves there are still laughs in political satire, chilling and tickling as it explores the paranoid power vacuum after Stalin's death. The critic singles out the inspired ensemble cast delivering scathing barbs and the fertile ground of the Stalinist setting for the director's unique brand of satire. [Read](https://www.gamesradar.com/the-death-of-stalin-review/) - **Little White Lies**, David Jenkins (4/4/3): The film is a chilling, frequently hilarious historical satire that mixes shocks and laughs effectively while exposing the self-serving awfulness of its characters. Jenkins notes it lacks some of the re-watch factor of Iannucci's earlier work and feels more like a stage farce at times. [Read](https://lwlies.com/reviews/the-death-of-stalin) - **Radio Times**, Dave Aldridge (80/100, inferred): This clever offbeat re-imagining of history is always funny despite its uneasy humour, conveying a real sense of Soviet life during the Great Terror and the power struggle. Aldridge praises the well-written script, beautiful playing and standout performances from Simon Russell Beale and Steve Buscemi. [Read](https://www.radiotimes.com/movie-guide/b-75tdzs/the-death-of-stalin/) - **The i Paper**, Matthew Turner (★★★★): Iannucci's dark comedy about the power struggle after Stalin's death is a blackly comic tour de force with a searing script and note-perfect cast. The critic singles out the razor-sharp dialogue, impeccable comic rhythm, and standout ensemble performances, especially Simon Russell Beale as Beria. [Read](https://inews.co.uk/culture/film/death-of-stalin-review-98430) - **The Telegraph** (4/5): Iannucci delivers a sly wintry satire on political idiocy through delicious mockery of history and inspired casting with incongruous accents that add to the fun. Physical comedy and the ensemble elevate the gonzo pleasures before it tips into horror. [Read](https://www.telegraph.co.uk/films/2017/10/19/death-stalin-review-armando-iannucci-makes-delicious-mockery/) - **Vulture** (80/100, inferred): The critic notes how the film walks the line between satire and horror, with glibness adding to the terror in the power struggle between Khrushchev and Beria, praising Iannucci's handling of minutiae and the cast's performances. [Read](https://www.vulture.com/2018/03/the-death-of-stalin-walks-the-line-between-satire-and-horror.html) - **The AV Club**, Ignatiy Vishnevetsky (B): The critic describes it as a restrained comedy of manners compared to Iannucci's earlier work, with strong casting bringing the scheming politburo to life through verbal gymnastics and moral contortions amid the power struggle. [Read](https://www.avclub.com/a-dictator-s-cronies-jockey-for-power-in-veep-creator-a-1823523006) - **Slant Magazine**, Jake Cole (3/4): The critic highlights the battle between Beria and Khrushchev as the film's strongest satire, praising the casting and farcical elements while noting some difficulty translating Iannucci's style to the Soviet context and uneven handling of darker elements. [Read](https://www.slantmagazine.com/film/the-death-of-stalin/) - **Screen Daily** (70/100, inferred): Iannucci's sharp-edged satire examines power-grabbing among Stalin's lieutenants with a bleaker tone than his previous films, laced with malice and paranoia. The critic praises Simon Russell Beale's divine performance as Beria but notes some ensemble members can be broad. [Read](https://www.screendaily.com/reviews/the-death-of-stalin-toronto-review/5121903.article) - **The Hollywood Reporter**, THR Staff (70/100, inferred): The critic finds it a fine sophomore outing from Iannucci, an amusingly engrossing satire on the power struggles and pettiness among Stalin's inner circle after his death. It praises the universality of the impulses shown through the Anglicized approach and banter. [Read](https://www.hollywoodreporter.com/movies/movie-reviews/death-stalin-review-1036174/) - **The Guardian** (60/100, inferred): The film is less caustic and more sombre than Iannucci’s usual sharp satires, ending up oddly serious with bleak rather than black comedy. The strong ensemble cast, especially Jason Isaacs as Zhukov, is a highlight amid the morbid sight gags. [Read](https://www.theguardian.com/film/2017/oct/22/the-death-of-stalin-review-more-bleak-than-black-armando-iannucci) - **Variety**, Peter Debruge (60/100, inferred): Iannucci finds unlikely comedy amid the confusion following Stalin’s demise, mixing verbal fireworks with low-brow gags in a tonally audacious adaptation. The result is sporadically brilliant but uneven, with flashes of brilliance undermined by miscalculated hilarity and inconsistent tone. [Read](https://variety.com/2017/film/reviews/the-death-of-stalin-review-1202551458/) - **HeyUGuys**, Daniel Goodwin (5/5): The critic calls the film an unceasingly hilarious masterpiece and a time-honoured comedy classic. They single out the exceptional performances and Iannucci's satirical take on political figures as nincompoops. [Read](https://www.heyuguys.com/the-death-of-stalin-review/) - **/Film**, Chris Evangelista (9/10): The critic hails it as Iannucci's masterpiece and one of the most hilarious films of the 21st century, a pitch-black comedy. They single out the dynamite ensemble performances, especially Steve Buscemi. [Read](https://www.slashfilm.com/553224/the-death-of-stalin-review-pitch-black-comedy-done-to-perfection-tiff/) - **NME**, Olly Richards (4): Iannucci crafts a deliciously clever dark farce about the paranoid power vacuum after Stalin's death, turning monstrous historical events into belly-laugh comedy through ridiculous characters and masterful swearing. An exceptional cast delivers killer putdowns while the film walks a delicate line between humor and the era's suffering. [Read](https://www.nme.com/reviews/death-of-stalin-film-review-2151536) - **The Playlist**, Kevin Jagernauth (B+): The critic describes it as a timely, hilarious, bleak satire with a terrific screenplay and strong ensemble. They single out the mix of American, British and Russian accents delivering devastating one-liners. [Read](https://theplaylist.net/death-stalin-armando-iannucci-review-20170910/) - **Consequence** (80/100, inferred): The critic calls the film a bountiful black comedy that mocks power lust and corrupt politics with sharp, jazzy riffs and memorable dialogue. It singles out the script's ear for derision and one-upsmanship as its mightiest strength. [Read](https://consequence.net/2018/03/film-review-the-death-of-stalin-turns-world-politics-into-a-carnival-of-fools/) - **Den of Geek**, Rob Leane (4/5): Iannucci delivers superb satire on the power struggles after Stalin's death, with a master class of comic writing, directing and performing that mixes sharp dialogue, physical comedy and strong ensemble work. The cast shines, especially in absurd and slapstick moments, making it a fun and infectious watch. [Read](https://www.denofgeek.com/movies/the-death-of-stalin-review-2/) - **The Skinny**, Benjamin Rabinovich (4/5): Iannucci's darkest project yet turns the post-Stalin politburo chaos into a surreal, intriguing work that blends his signature omnishambles comedy with genuine tragedy and historical weight. The standout cast, including a swaggering Jason Isaacs, makes the mortal tussle between survival and incompetence both hysterical and affecting. [Read](https://www.theskinny.co.uk/film/new-releases/the-death-of-stalin) - **The Wrap**, Steve Pond (80/100, inferred): The film is a biting, profane and hilarious look at the foibles of blowhards and nitwits in power, with Iannucci working more quietly and deliberately than in his prior work. It singles out the gallery of dopes and twits, including Jeffrey Tambor's vain and ineffectual Malenkov and Steve Buscemi's blunt schemer Khrushchev, along with the bold anachronistic accents as a rejection of period conventions. [Read](https://www.thewrap.com/the-death-of-stalin-review-is-this-1950s-russia-or-todays-washington/) - **Collider**, Matt Goldberg (B): The critic finds the film consistently funny and mean-spirited in its depiction of incompetent power-seekers, though not as sharp as the director's prior works. It singles out the cast and the absurdist take on authoritarian dysfunction for praise. [Read](https://collider.com/the-death-of-stalin-review/) - **The Ringer**, Adam Nayman (70/100, inferred): The critic finds the satire often uproarious and effective when mocking Kremlin hypocrites and vanity, with strong performances and dialogue. It singles out the film's tendency to grow soggy when addressing real consequences as a flaw. [Read](https://www.theringer.com/2018/03/08/movies/death-of-stalin-armando-iannucci-review) ## Details - **Director:** Armando Iannucci - **Director:** Armando Iannucci - **Screenplay:** Fabien Nury, David Schneider, Ian Martin, Armando Iannucci - **Cinematography:** Zac Nicholson - **Editor:** Peter Lambert - **Music:** Christopher Willis - **Production design:** Cristina Casali - **Costume design:** Suzie Harman - **Producer:** Kevin Loader, Laurent Zeitoun, Yann Zenou - **Cast:** Steve Buscemi as Nikita Khrushchev; Simon Russell Beale as Lavrenti Beria; Jeffrey Tambor as Georgy Malenkov; Jason Isaacs as Field Marshal Zhukov; Michael Palin as Vyacheslav Molotov; Rupert Friend as Vasily Stalin; Andrea Riseborough as Svetlana Stalin; Dermot Crowley as Lazar Kaganovich - **Runtime:** 1h 47m - **Certificate (MPA):** R - **Release (the US):** 9 March 2018 - **Genres:** Comedy, Drama, History - **Budget:** $13 million - **Box office:** $25 million - **Trailer:** https://www.youtube.com/watch?v=LiJ-0cjMD60 ## Where to watch in the US - AMC+: streaming - Hulu: add-on, hd - The Roku Channel: add-on, hd - Apple TV: add-on, hd - Apple TV: rent $3.99, hd - Amazon Prime Video: rent $3.99, hd - Amazon Prime Video: buy $14.99, hd - Apple TV: buy $14.99, hd *Checked 2026-09-17.* Also available in: AR, AT, AU, BE, BR, CA, CH, CL, CO, CZ, DE, DK, ES, FI, FR, GB, IE, IT, JP, MX, NL, NO, NZ, PA, PT, SE, US. Add `?region=XX` to this URL for another country. ## Awards - European Film Award for Best Comedy 2018: European Film Award for Best Comedy (won) - European Film Award – People's Choice Award for Best European Film 2018: European Film Award – People's Choice Award for Best European Film (nominated) - British Independent Film Awards 2017: British Independent Film Awards (won) ## If you liked this - *In the Loop* (2009), Fi1m 86: Another scramble among officials whose command of insults exceeds their willingness to take responsibility. — [Fi1m page](https://film.one/film/in-the-loop.md) - *To Be or Not to Be* (1942), Fi1m 87: Actors confront Nazi authority through theatrical vanity, quick thinking and elaborate acts of deception. — [Fi1m page](https://film.one/film/to-be-or-not-to-be.md) - *The President's Last Bang* (2005): A political assassination becomes a sour comedy of panic, incompetence and disputed authority. - *The Firemen's Ball* (1967): A small public celebration exposes officials whose incompetence is matched by their self-importance. - *Z* (1969): For the same anger at official corruption, with the comedy largely stripped away. --- © Fi1m Ltd. Written by AI under a human editor; checked against sources before publication. Quote with attribution and a link to the canonical URL. Canonical: https://film.one/film/the-death-of-stalin