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Critics Consensus: Though not as uproariously funny as Guest's previous movies, A Mighty Wind is also more heartfelt.
Critic Consensus: Though not as uproariously funny as Guest's previous movies, A Mighty Wind is also more heartfelt.
All Critics (175) | Top Critics (41) | Fresh (153) | Rotten (22) | DVD (10)
There is no shortage of performers with comic skills in A Mighty Wind. What's lacking instead is a visible premise for the satire and ridicule.
More of a warm breeze than a great gust, but its simple, smart pleasures carry the force of a hurricane.
You don't leave A Mighty Wind laughing so much as humming. Its dialogue may be improvised, but its music is well rehearsed.
While Guest never forgets to laugh, he never forgets to love either, embracing the very subject he is simultaneously throttling.
A hoot.
A rollicking, tongue-in-cheek sendup.
Aside from Miss Lynch, there are two very sweet performances, by Levy and O'Hara as Mitch and Mickey.
The performance that sticks is the one by Eugene Levy, whose work conveys a tenderness that momentarily slices through the satire.
Hilarious folk music mockumentary has some innuendo.
One breathtaking moment of clarity between Eugene Levy's Mitch and Catherine O'Hara's Mickey gives way to an anticipated kiss during which you can practically sense the characters' hearts thumping and their fictional contemporaries rooting for them.
Director Christopher Guest teams up recurring cast members from his past ensemble comedies ("This Is Spinal Tap," "Waiting For Guffman" and "Best In Show") for this immaculately executed comedy of folk music stereotypes.
Guest lets the characters talk at length, obliviously revealing their own quirks and neuroses.
Full confession alert: I'm not the biggest Christopher Guest fan; however, A Mighty Wind is maturely directed, heartfelt, and keenly observed. I never thought I would be genuinely touched by a Guest film, but that's why we watch movies, right?
Super Reviewer
Whenever I want to watch something light and comedic I either watch a Woody Allen or one of Christopher Guests' mockumentaries. This film is lacking compared to the over the top ensemble Waiting for Guffman and the polarizing Best in Show, but what it doesn't hold in a secure and structured plot it makes up for in heart and gumption. I agree that when it tries to be subtle it's not well understood and when it tries to be obvious it's a bit in your face, but overall I found this to still to have a quiet charm about it. Guest always satirizes the easy targets: dog shows, local theater, and retired rock bands. Anywhere where eccentric characters thrive he mines for the laughs, usually easy with his usual cast of characters. Guest always uses his old stand-bys of Eugene Levy (who co-writes the scripts with Guest), Catherine O'Hara, Harry Shearer, and Michael McKean. He also utilizes youthful character actors John Michael Higgins, Parker Posey, Jane Lynch (an unknown in both this and Best in Show), and Bob Balaban. Every one of these films works exactly the same: a group of characters with misshaped values work to find fame and love from the crowd, either don't succeed or thoroughly embarrass themselves, and we flash to a short amount of time later to see the depths to which they have fallen. Most of this film is solely the folk music, the characters playing their instruments, and the oncoming concert. Through the interviews we learn strange details about these people including the involvement in a cult, a past in pornography, homelessness, and transgendered choices. The sub-plot over Mitch and Mickey was probably one of the sweeter things I've seen in film in a long time. Really, a delightful ensemble.
What it lacks in plot it makes up for in an abundance of laughs. Full review later.
Kooky but lovable mockumentary. In the same vein as Best in Show and Waiting for Guffman. Definitely the lesser of the three.
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