The New York Times by A.O. Scott
It's a mirror and a portrait, and a movie as necessary and nourishing as your next meal.
✭ ✭ ✭ Read critic reviews
United Kingdom, United States · 2006
Rated R · 1h 56m
Director Richard Linklater
Starring Greg Kinnear, Wilmer Valderrama, Catalina Sandino Moreno, Patricia Arquette
Genre Comedy, Drama
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Inspired by author Eric Schlosser's muckraking best-seller of the same name, Fast Food Nation explores the dirty business of fast food in America. It follows Don, a marketing executive for a major fast food chain, who must investigate bombshell claims that their hamburger meat is contaminated with cow manure.
The New York Times by A.O. Scott
It's a mirror and a portrait, and a movie as necessary and nourishing as your next meal.
New York Magazine (Vulture) by David Edelstein
It gets the job done and then some, but it's ugly and clumsily shaped, and every scene is there to rack up sociological points.
A more materialist (and successful) ensemble film than the mystical "Babel," in that everyone is connected through the same economic system, Fast Food Nation is exotic for being a movie about work.
ReelViews by James Berardinelli
One of the great frustrations associated with Fast Food Nation is the way it drops subplots.
The Hollywood Reporter by Kirk Honeycutt
Following up on Morgan Spurlock's wildly successful indie film "Super Size Me," critics of fast food were hoping that a one-two punch would further raise consciousness among consumers and purveyors alike. Alas, Fast Food Nation is punchless.
Entertainment Weekly by Lisa Schwarzbaum
Naturally, a subject this right-on draws a right-on cast. Kris Kristofferson, Avril Lavigne, and Ethan Hawke pitch in.
Christian Science Monitor by Peter Rainer
Viewers expecting a blistering attack on the fast-food business, or an Altmanesque panorama, will be disappointed, but it's a sensitive and humane piece of work.
Rolling Stone by Peter Travers
It's less an expose of junk-food culture than a human drama, sprinkled with sly, provoking wit, about how that culture defines how we live.
Like two of the year's other standout American films, Kelly Reichardt's "Old Joy" and Ryan Fleck's "Half Nelson," it's a movie of ideas in which the ideas flow effortlessly out of the material instead of being plastered on top with a heavy cement roller (as in "Crash," "Babel" and "Little Children").
Richard Linklater's rough-hewn tapestry of assorted lives that feed off of and into the American meat industry is both rangy and mangy; it remains appealing for its subversive motives and revelations even as one wishes its knife would have been sharper.
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