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Critics Consensus: Anomalisa marks another brilliant and utterly distinctive highlight in Charlie Kaufman's filmography, and a thought-provoking treat for fans of introspective cinema.
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.
All Critics (255) | Top Critics (45) | Fresh (234) | Rotten (21)
The hell of other people fuses with the hell of loneliness in this strange miniature masterpiece from Charlie Kaufman.
The film refuses to settle on one interpretation, instead opening up a space for larger philosophical questions.
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.
Anomalisa no es una experiencia ligera, pero Kaufman ha probado que sin importar qué tan difuso sea el subtexto, si hay algo que podemos entender es lo que significa ser humano.
For all its naturalism and attention to detail, the conceit of Anomalisa, though beautifully executed, smacks of gimmickry.
It's another of Kaufman's ingenious works that instinctively understands the sometimes bathetic human quest for divinity amid an overarchingly mundane social landscape.
Anomalisa is not just a character study about one self-defeating man who can't see the forest for the trees, but one that rather overtly hints at all the other character studies (and voices) worthy of our attention.
Anomalisa looks like Robot Chicken and behaves like Ingmar Bergman. And such a whimsical, pensive pairing could only thrive under writer Charlie Kaufman.
The marionette puppets show more humanity than many other live actors in the theater today.
A very human and delicate look at loneliness, told as a stop-motion animation that feels like the perfect choice for this kind of story, with waxy characters that are all (but two) voiced by the same person; it is just a pity, though, that the end feels a bit abrupt.
Super Reviewer
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.
Michael Stone is famous for his book about how to treat people like people, an icon of the customer service world, and about to give a speech about just that, except that he's feels as if he's cut off from all life himself. Everyone sounds the same, looks the same. Its like he's the only real person on Earth. Charlie Kaufman's consideration on being may be inconclusive but still attention worthy.
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