Toni Erdmann (2016)

The critic calls it one of the most brilliant comedies of the new millennium and an all-timer, praising Ade's humanist approach to family bonds and memory. The standout element is the profound, Ozu-like exploration of parent-child reconnection through unconventional means.

This is the funniest two-and-a-half-hour German comedy you’ll ever see, with hilarious set-pieces that take awkwardness to sublime levels and strong performances from the leads. Ade shows masterful control, revealing hidden depths and emotional payoff in a film of genuine warmth and surprise.

The critic calls the film an exquisite bittersweet comedy that offers laughter-filled catharsis and radical insight into a fraying father-daughter bond. The Zen-like balance of sweetness and bitterness is singled out for praise.

The review calls the film a laser-guided social critique and large-hearted comedy that dismantles themes of capitalism and family through nervy comic sequences. It praises Ade's calibration of emotions and the film's approach to the sublime in its second half.

The film is a low-key triumph thanks to its authentic father-daughter relationship and superlative performances, particularly Sandra Hüller's modulated turn as the workaholic Ines. Ade crafts a funny, perceptive oddity that mixes deadpan absurdity with emotional depth and social commentary.

The critic finds it surprising, awkward, refreshing and hilarious, a rare nearly three-hour arthouse comedy-drama that rarely drags. The standout element is the unpredictable situations grounded by the deeply believable lead performances.

The critic describes it as a tender, moving and often hilarious portrait of an unusual father-daughter relationship, noting its original take on familiar themes like work-family conflict. The standout element highlighted is the surprising, freewheeling comedy and excellent lead performances.

The critic lauds the film's masterful use of tone to make a conventional premise work brilliantly over its long runtime. It singles out the deadpan style, Hüller's performance, and the joyful release provided by the father's antics.

The critic praises Maren Ade for embracing the awkwardness of a father-adult daughter bond and mining it for heartfelt humor and insight without Hollywood predictability. The film's generous length allows the lead performances by Peter Simonischek and Sandra Hüller to evolve believably, revealing shared traits and emotional progress amid generational and professional clashes.

Maren Ade’s comedy boasts two fascinating characters and a string of surreal set-pieces worth seeing despite its length. The escalating tension and privacy-violating father-daughter dynamic ring true, though the reviewer squirmed more than laughed.

The critic acknowledges the film’s rich meaning and revelation after initially misjudging it at Cannes, praising the melancholy hilarity in the father’s attempts to reconnect with his daughter. The poignant comedy in the climactic scene is singled out.

The critic finds the comedy schematic and on-the-nose, constrained by its focus on big ideas about European decline, corporate culture, and generational shifts rather than deep psychological insight into the characters. While it diagnoses real societal troubles effectively, the personal father-daughter dynamics remain opaque and the filmmaking style lacks inner life or innovation.

The critic praises Maren Ade’s audacious screwball comedy about a prankster father and his corporate daughter as the first great film of the 2016 Cannes festival. She singles out the inspired comedic setpieces that leave viewers poised between laughter and tears.

The review focuses on the film's surprising emotional depth and standout comedic moments like the nude scene, positioning it as more than a standard comedy. It emphasizes the director's skill in blending humor with character insight at Cannes.

The critic hails the film as a magnificent, unpredictable breakthrough that mixes grounded insanity with emotional depth, using its long runtime to explore workplace sexism, globalization, and a father-daughter bond in intricate, non-formulaic ways. Sandra Hüller's performance is singled out as the finest of the year for its symphony of discontent and revelation, culminating in a sui generis final shot of hope and heartache.

The critic praises the film's blend of comedy and tragedy in exploring a father-daughter relationship strained by corporate life in Bucharest. The standout element highlighted is the pacing and the lead performances that reveal deeper emotional layers on repeat viewings.

The critic finds the film a fascinating exploration of a fraught father-daughter relationship that mixes laughs with deeper emotional resonance, noting it is not really a comedy despite its humour. Peter Simonischek's performance as the prankster father is singled out as superb.

The critic praises the film's paradoxical success as a long, funny German comedy of embarrassment that ultimately moves the audience. Performances by Simonischek and Hüller are highlighted for their layered depth in turning initially unlikable characters sympathetic.

The critic calls the film a thrilling rebellion against conformity in work and life, driven by two fearless performances in a sweet yet thorny father-daughter story laced with generational conflict and satirical energy. It is hailed as the funniest nearly three-hour German comedy, propelled by a savage yet sympathetic critique of expectations.

The critic describes the film as a humane, hilarious triumph and a singular study of an estranged father and daughter whose hidden lives overlap to uproarious and devastating effect. It praises the extraordinary performances and Ade's ability to blend sentiment, subtext, and a broad critique of contemporary manners, including workplace feminism, across its necessary length.

The critic calls Maren Ade's film one of the best of 2016 for its surprising depth and balance of screwball comedy with major theatricalism. They single out Sandra Hüller's revelatory performance as the standout element that elevates the story of family reconnection.

The critic calls the film brilliantly funny and wise, a slyly crushing look at family bonds that makes viewers thankful for the weirdos in their lives. He singles out the transcendent Whitney Houston sequence and the faultless lead performances for praise.

The critic calls the film a spectacular, hysterically funny yet deeply touching father-daughter story that stands out as the most delightful surprise at Cannes. They highlight the strong lead performances, especially Sandra Hüller's, and memorable sequences like the Whitney Houston karaoke and the chaotic nude brunch scene.

The critic describes Maren Ade's lengthy caustic comedy as the finest in recent memory, equally hysterical and wrenching with a deep undercurrent of sadness. They single out the fine performances and Ade's bravura script for walking a difficult line between laughter and melancholy.

The critic finds the film a tender and funny story about family and relationships that rewards viewers despite its length. She singles out the outstanding performances, especially Sandra Hüller's, for praise.

The critic notes that while the film sometimes resembles a three-hour sitcom, the performances and certain moments elevate it. She singles out Sandra Hüller’s fragile performance for special praise.

The critic calls the film a strange, sometimes hilarious and ultimately very moving comedy-drama. She singles out the touching exploration of parental love and the way the film never loses focus even in its weirdest interludes.