50
Co-written with his brother Avi, Mister Lonely is startlingly straightforward compared to his earlier work. But, like that work, it stands or falls on each single, self-contained scene.
What are people saying?
What are critics saying?
70
The New York Times by A.O. Scott
Mister Lonely, self-enclosed though it may be, nonetheless demonstrates that Mr. Korine, who showed his ability to shock and repel in earlier films, also has the power to touch, to unsettle and to charm. This is undoubtedly a small movie, but it's also more than that: it's a small, imperfect world.
50
New York Magazine (Vulture) by David Edelstein
I'm glad Korine has pulled himself together, but the film is pretty ramshackle, full of obvious group improvisations that fail to spark and an overdose of bathos.
75
What to make of it all? Hard to say. Just to take in the fact that its soundtrack is made up of music by both J. Spaceman and Sun City Girls is to understand that this is a picture that's divided against itself in a way that's perhaps too hermetic to be comprehended.
38
The film is really little more than an array of sometimes imaginative images.
25
Occasionally there is a striking image or a moment of wounded sweetness, but mainly the film provides ample proof that it's possible to be bizarre and boring at the same time.
42
Has its moments of wonder and beauty, but the film is obscure by design, and meant to appeal to those who favor the alternative canon of directing greats: the one that includes the likes of Alejandro Jodorowsky, David Lynch, Crispin Glover, John Cassavetes, Claire Denis, Abel Ferrara, and Vincent Gallo.
25
Entertainment Weekly by Owen Gleiberman
None of the faux icons comes close to being a character. Instead, they are contrasted with a group of nuns who skydive without parachutes. Could this possibly be a metaphor for Korine's filmmaking? It certainly goes splat.
60
Less outre than "Gummo" and "Julien Donkey-Boy," Korine's most lavishly produced pic to date begins as a sweet-tempered tale of social misfits-turned-celebrity impersonators, but falls short of its ambition to say something meaningful about the obsessive nature of celebrity culture.