The Telegraph by Robbie Collin

The points of Östlund’s Triangle are far from subtle. Vanity is toxic; fortunes corrupt; everyone loves to see an Instagrammer getting their comeuppance. But across its well-earned two-and-a-half-hour running time, epic schadenfreude keeps edging into genuine sympathy, and we feel just sorry enough for these awful people for the next humiliation to sting just as hard.

CineVue by John Bleasdale

Östlund has created a full-throated, roaring comedy of hate against the upper-classes. It is cynical, nihilistic and has no issue about punching down.

BBC by Nicholas Barber

Be warned. Triangle of Sadness rants and smirks at the state of the world over two-and-a-half hours, which is quite some running time for a satirical comedy. But it is never boring. Partly that's because the political commentary is so shrewd, and partly it's because it has a surprising amount of warmth and nuance, too. Östlund ensures that while the situations may be absurd, the people in them are as human as any of us.

Original-Cin by Karen Gordon

It’s a fantastic mix of the funny, the astute, the disturbing and the brainy in the very specific style of Östlund. It’s a pleasure to watch it play out.

Wall Street Journal by Kyle Smith

The movie is as loaded with fun as it is with social implications. Its broad comedy about the modeling world plays like a deadpan version of “Zoolander,” and its third act has more primal drama than a season’s worth of “Survivor.”

The Film Stage by Rory O'Connor

Ruben Östlund might like his fish in a barrel but he’s a ruthless shot.

The A.V. Club by Tomris Laffly

It’s a stellar film that hits a rare sweet spot as both mainstream, accessible entertainment, and also an undeniably incisive piece of cultural commentary. And best of all, it will keep you on your toes until the sensational final moment of its breezy drift.

Film Threat by Andy Howell

Characters are keenly observed and come front and center over the plot. Anything can happen. Absurdity reigns supreme. Yet, at the end of the day, we know a little more about the human condition after seeing it bursting at the seams.

The Associated Press by Lindsey Bahr

Triangle of Sadness, which clocks in at almost two and a half hours, is at its sharpest before the symphony of bodily fluids and survival plots arrive.

Washington Post by Ann Hornaday

As always with Östlund, his most profligate flights of fancy tack close enough to reality to ring queasily true.

Total Film by Neil Smith

The director of The Square gives a new shape a whirl with hilarious, scathing and sometimes jaw-dropping results.

Time Out by Phil de Semlyen

For the majority of the film, Östlund’s combination of sledgehammer and scalpel work a treat. They’re fast becoming the hallmarks of a satirist who’s unlikely to run short of subject matter any time soon.

Slashfilm by Rafael Motamayor

Tringle of Sadness is an utterly hilarious satire told in three acts, each more ludicrous than the last.

Vanity Fair by Richard Lawson

Triangle of Sadness needn’t be a fair film, nor one that readily delivers the simple righteousness of have-nots triumphing over have-lots. A more carefully shaped argument would have been appreciated, though. And one that didn’t dissolve so quickly into a juvenile snicker.

IndieWire by David Ehrlich

The only thing Östlund’s po-faced characters can’t afford is to recognize the absurdity inherent to their lives, and so the movie keeps our response muted to a low chuckle, as if anything louder might reach the people on screen and cause the whole charade to fall apart.

Screen Daily by Jonathan Romney

There are flashes of the incisive, caustic insight of his Force Majeure and Palme d’Or-winning art-world satire The Square. But this rather laborious take on the excesses of capitalism, depicted as a luxury yacht headed inexorably for farcical disaster, lacks the pitiless ironic cool that made those two films so memorable.

The Playlist by Charles Bramesco

In the past, Östlund has shown a deft facility in sending up meaty topics, applying granular attention to male ego in “Force Majeure” and art-world pretensions with “The Square.” Here, however, he stoops to the broadness ascribed to his work by its harshest critics, now more parody of himself than parodist.

The Hollywood Reporter by David Rooney

As facile as Triangle of Sadness becomes, Östlund at least provides full-circle follow-through when beauty and sex once again become bartering assets and a late gag mocks the global obsession with branded luxury goods. But this is a glib movie, self-indulgent in its extended running time and far too amused with its easy digs at wealth and privilege.

The Guardian by Peter Bradshaw

Strident, derivative and dismayingly deficient in genuine laughs, Ruben Östlund’s new movie is a heavy-handed Euro-satire, without the subtlety and insight of his breakthrough movie Force Majeure, or the power of his comparable Palme-winning spectacle about the art world, The Square.