Critic Consensus: Anomalisa marks another brilliant and utterly distinctive highlight in Charlie Kaufman's filmography, and a thought-provoking treat for fans of introspective cinema.
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Critic Reviews for Anomalisa
Charlie Kaufman's animated feature is one of his best films yet, a haunting fable about the illusion of love.
Kaufman's script stings with uncomfortable truths, but doesn't do much else. Kaufman's medium has changed but his message is still the same.
What drives the film is a scowling suspicion that modern man is a mechanized being, created as if on an assembly line, and stripped bare of individuality-a product, like any other merchandise.
A very fine portrait of the despair at the heart of a comfortable middle-aged white man in America circa right about now.
Whether Michael Stone has really turned a corner in his life, or merely enjoyed a brief distraction from all that troubles him, is left unresolved at Anomalisa's conclusion, but this much is certain: The audience won't soon forget what it has experienced.
Kaufman, the mind behind "Being John Malkovich" and "Eternal Sunshine of the Spotless Mind," possesses an artistic sensibility unlike any other filmmaker working today. That sensibility informs every word and frame of "Anomalisa" ...
Audience Reviews for Anomalisa
A very human and delicate look at loneliness, told as an animation that feels like the perfect choice for this kind of story, with waxy characters that seem to wear masks and are all (but two) voiced by the same person; it is just a pity, though, that the end feels a bit abrupt.
The concept of the movie provides the extra half star. I loved the powerful concept which manifests itself in many of our lives. It's thought provoking and interesting but for me lacks something to make it more entertaining!
I'm not a fan of stop-motion puppetry, but this eerie and tender film about loneliness and connection is a feat in animation and storytelling: from all the secondary characters being played by reedy-voiced Tom Noonan, to Jennifer Jason Leigh's elegaic rendition of "Girls Just Wanna Have Fun," from the discomfitingly realistic puppet sex, to the hallucinatory flashes of robotic wiring underneath Michael's humanoid casing - foreshadowing the film's ultimate thesis about the inexorable fade of love, individuality, and will.