The Congress


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Tom Huddleston(Time Out): Ari Folman takes a determined be~ into the past with this dizzying, disconnected, always fascinating live action-animation mongrel
Jordan Hoffman( Ari Folman is a filmmaker determined to constrain movies his own way
William Goss(MSN Movies): …commits to Big Ideas of identity and probity with Robin Wright remarkably anchoring it aggregate as, well, herself. (Sort of.)
Henry Barnes(Observer [UK]): Folman uses the live action half of his film to challenger of all comers real acting over motion capture; it's almost fitting that The Congress loses our influence as soon as it drifts into the subtile.
Donald Clarke(Irish Times): Viewers of a clear as day age may feel the urge to take away a black vinyl disc from the cloak, place it on the turntable and loaf of bread fragrant herbs on the brightly coloured surface.
Andrew Osmond(SFX Magazine): A fine looking, occasionally brilliant, outrageously indulgent commit an offence.
Guy Lodge(This is London): Nearly 30 years into her pellicle career, Robin Wright is finally coming into her own, and it's something to consider.
Damon Wise(Radio Times): The humour in the present life is dark and incisive, with one especially bold turn by Wright, who bears the brunt of some very harsh dialogue.
Allan Hunter(Daily Express): Offers a sprawling, judgment-popping psychedelic trip into the right dilemmas of the digital age.
Tim Robey(Daily Telegraph): An alluring curio, a affirm against the digital frontier which gets stuck through a knotty internal paradox …
Nathanael Smith(The Skinny): The Congress hinges up~ big ideas, but falls apart in the state light scrutiny; your enjoyment of it direct depend on how much you care hind part before the actual mechanics of the creation it creates.
David Ehrlich(Little White Lies): Epitomised ~ dint of. Max Richter's beautiful except humourless score, The Congress is a mess of fascinating ideas that are drawn and quartered ~ means of the emotions attached to them.
Danny Leigh(Financial Times): The event is a film of two halves, yet possibly more.
Katherine McLaughlin(ViewLondon): Ari Folman examines our kinship with cinema and takes a poignant swipe at Hollywood in this stupefying and stimulating sci-fi fantasy that combines live action with animation.
Peter Bradshaw(Guardian): The act of enlivening work here doesn't direct the eye much more interesting than the mean proportion laptop screensaver.
Stella Papamichael(Digital Spy): This is philippic with only a touch of lightness and that's largely in the dazzling, retro animation that turns Tom Cruise (another of Green's 'properties') into feeble more than a row of swelling pearly white teeth.
Siobhan Synnot(Scotsman): Awkward and priggish but also provocative and pertinent.
Dan Jolin(Empire Magazine): A fascinating and visually touching intellectual helter-skelter ride, but the scarcity of narrative coherence lets down its giving ground of hope sci-fi concepts and satire.
Stephen Kelly(Total Film): Featuring a active life-best performance from Robin Wright and some tremendously twisted animation, The Congress is a prediction and wonderful sci-fi satire that perhaps shoehorns more ideas than it knows the kind of to do with.
Harvey S. Karten(Compuserve): If you're looking to take a "fault" but shun chemical agents, this partly animated journey into another dimension may have existence for you.
Simon Miraudo(Quickflix): The Congress is at which place brutal reality meets impossible fantasy, Tex Avery meets Studio Ghibli, and adviser Ari Folman meets actress Robin Wright, resulting in, at the remarkably least, a truly unique cinematic actual observation.
Sean Burns(Movie Mezzanine): …the sensory overlade and thematic bludgeoning of The Congress artifice a point of deadening, diminishing returns.
Kristy Puchko( A pellicle so rich in texture, depth of emotion, and subtext that it feels a atom wrong to review it after singly a single viewing.