New York Post by Kyle Smith

Picture Graham Greene crossed with James Bond, with a splash of Sacha Baron Cohen, and you'll start to imagine the nervy talents of Mads Brügger, the fearless Danish filmmaker who has for a second time come up with a stunning, funny, and vital piece of guerilla cinema.

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.

Village Voice

The Ambassador's wrap-up is vague and sudden, and necessarily so: In order for the movie to work, you need to wonder if maybe, at some point, Brügger stopped acting and really became the crooked international asshole he was supposedly just pretending to be. The magic of Brügger's performance is that it earns that suspension of disbelief.

The Hollywood Reporter

It may feel like 'Borat,' but Mads Brugger's documentary is a comical look at an unfunny place.

The Hollywood Reporter by Karsten Kastelan

It may feel like 'Borat,' but Mads Brugger's documentary is a comical look at an unfunny place.

Village Voice by Karina Longworth

The Ambassador's wrap-up is vague and sudden, and necessarily so: In order for the movie to work, you need to wonder if maybe, at some point, Brügger stopped acting and really became the crooked international asshole he was supposedly just pretending to be. The magic of Brügger's performance is that it earns that suspension of disbelief.

The A.V. Club

The film's tone and structure seem a little strained by the danger in which the filmmaker increasingly puts himself, and the indifference to human life exuded by some of those he meets. By the end, Brügger himself seems to be having trouble finding any of this funny.

The A.V. Club by Alison Willmore

The film's tone and structure seem a little strained by the danger in which the filmmaker increasingly puts himself, and the indifference to human life exuded by some of those he meets. By the end, Brügger himself seems to be having trouble finding any of this funny.

Portland Oregonian by Shawn Levy

There's a touch of whimsy to his misadventures, but the malfeasance he uncovers -- often using hidden cameras and microphones -- is anything but a joke.

Chicago Sun-Times by Roger Ebert

At what point did I realize The Ambassador was an actual documentary, and not a fraud? Perhaps when I realized that everyone in the film was just as dishonest, venal and corrupt as they seemed - including the director.

The Globe and Mail (Toronto) by James Adams

The Ambassador may be an important, even necessary film; just don't expect to find it enjoyable.

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.

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.

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.

Slant Magazine

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

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.