The Ambassador

Slant Magazine by

Bothing is pointedly outlandish in Mads Brügger's latest, a fact that represents its triumphs and burdens.

The New York Times by A.O. Scott

Mr. Brugger's portrait of shameless, routine collusion between exploitative foreigners and dysfunctional dictatorships is depressing and undeniable. Unless, that is, The Ambassador is even more of a hoax than it seems to be. This strikes me as plausible, since somebody having this much fun in such proximity to horror may not be completely trustworthy.

Time Out by David Fear

Within the first ten minutes, the movie proves the point that exploitation in Africa is rampant, but never goes any deeper than that; it's an undercover endeavor that never feels as if much is actually being uncovered.

IndieWire by Eric Kohn

The closest Brügger comes to explaining his style is an early statement on the duality of his mission to go "beyond all moral boundaries known to man while still being a respectable member of society." It's a goal enacted less with a coy wink than with a violent elbow jab to the ribs.

Variety by Leslie Felperin

Brugger ensures it's a fairly entertaining excursion, especially when he starts to enjoy getting into character as the nefarious white man in Africa.

Austin Chronicle by Marc Savlov

We bear witness, via Brügger's film, to the slow-motion train wreck that high-echelon, African graft becomes.

Boxoffice Magazine by Ray Greene

A movie whose confusing narrative and at times intriguing parts are at war with each other, and never quite gel.