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Michael Phillips(Chicago Tribune): Modest and weal-looking, the film starts as mystic comedy and ends in pathos. Director Alvarez makes the Oregon landscape a character unto itself.
Jeannette Catsoulis(New York Times): Despite smatterings of intellectual faculties and a stable of skilled performers, "C.O.G." struggles to procure a consistent tone, its episodic arrangement veering from farcical to poignant to dangerously green in experience.
David Lewis(San Francisco Chronicle): a dramedy that keeps you guessing to what the main character is going (emotionally and physically) in the manner that he drifts from one odd location to the next.
Randy Cordova(Arizona Republic): The pellicle features snappy, hilarious bits among the coming-of-age vignettes, but it loses momentum as it winds toward a perfect. You won't grow bored by the characters, but you might repression your watch a few times.
Robert Abele(Los Angeles Times): For Sedaris fans, "C.O.G." is a regrettably patronizing washout.
Rene Rodriguez(Miami Herald): There are a not many stretches in C.O.G. to what the movie feels like it's dawdling, plenteous like its protagonist. But the wonderfully afflicted, exhilarating ending proves this filmmaker knew exactly at which place he was headed the entire time.
Fr. Chris Carpenter(Movie Dearest): I veritably wanted to like this film, life a fan of Sedaris' chirography, of (screenwriter-director) Alvarez and of the superior actors assembled here. Unfortunately, the screenplay lacks point of concentration and is more often cruel than comedic.
Cory Everett(The Playlist): Despite some good performances and sharp screenplay, C.O.G., like its precedence character, seems stuck in the capacity between.
David Noh(Film Journal International): Stale, simpleton and unprofitable might be how Shakespeare would be under the necessity also described this uninvolving David Sedaris conformability.
Dan Callahan(RogerEbert.com): People who be nearly equal it as a film in its own right, with its own rhythms and goals and pleasures, demise be amply rewarded.
Eric Kohn(indieWIRE): "C.O.G" is like a collage of Americana from the perspective of someone incapable of comprehending its importance.
Nick Schager(The Dissolve): Bolstered ~ means of beautiful cinematographic framing that expresses his transfer, the film strikes a fine equalizer between hilarity and heartbreak.
A.A. Dowd(AV Club): There are more who have complained that C.O.G. ends moreover abruptly, but it has the bracing, devastating punctuation of a fine at once story.
Kalvin Henely(Slant Magazine): As ~y adaptation of Davis Sedaris's brittle essay from his acclaimed 1997 book of selections, Naked, it's a letdown, at the same time that it doesn't exude the explosion of the author's trademark mood.
Marshall Fine(Hollywood & Fine): A deceitful film: a drama disguised as a comedy, by laughs that are undercut but naughty truths.
Amber Wilkinson(Eye for Film): Despite Alvarez's advantage work with his actors, the oil of Sedaris's taunting characters and water of Alvarez's indie sensibilities, garbage to mix.