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100The triumph of A Mighty Wind is that it makes an audience love the sing-along catchiness of folk and still break up at its banalities. This tiny titan of a movie is a perfect melding of form and content.
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100The picture gently caricatures the folk music scene with dozens of delicate brush strokes, creating a picture that's increasingly, gloriously funny -- as in entire lines of dialogue are lost because the audience's laughing so hard.
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100There are no sacred cows in A Mighty Wind. Even beloved public television is skewered by Guest and Co. In a lot of ways, this movie pokes the most fun at the average PBS liberal who refuses to let go of the 1960s.
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100A movie that re-creates its object of satire with such pitch-perfect flair that it all but erases the line between derision and love.
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100Another unforetold career acme: Christopher Guest's seductive and brilliantly modulatory A Mighty Wind, which trains its laser-sight on the decaying legacy of Peter, Paul and Mary-style pop-folk.
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100Mr. Guest and Mr. Levy's jokes are sometimes so subtle as to seem imperceptible, until you realize that they are everywhere, from the broadest gestures to the tiniest details of dress and décor.
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90It's a fine-grained picture that goes for the sideways laughs rather than the straight-ahead ones. This is sketch comedy as method acting.
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90Achingly funny movie...Guest has cultivated a stock company of players whose work together is so intuitively sharp that it seems to redefine the boundaries of acting.
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90The jokes would be funny even if they weren't perfectly timed, but what makes them come across as so poignant is the seriousness with which the director and his co-conspirators deliver their jabs and japes.
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90Almost to a one, the people Guest casts are virtuosos, and he lets them hit notes they can't hit anywhere else.
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90The sweetest and funniest of Guest's true-life fake-umentaries.
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90Guest has proven to be this era's master of humanist satire.
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90There's an extra dimension here, not present in the other comedies. Not only is the material amusing, it's charmingly engaging.
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90A new kind of affectionate satire which is all but indistinguishable from an embrace. [5 May 2003, p. 104]
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88I've seen A Mighty Wind only twice so far. Maybe it is less fresh than "Guffman," more strained than "Best in Show." Who cares? It's still a gift from comedy heaven.
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88More of a warm breeze than a great gust, but its simple, smart pleasures carry the force of a hurricane.
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88Like the first half of "Best in Show," the movie is so deadpan that sometimes you have to pinch yourself to realize how potently satirical it is.
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83Quick and charming and irresistible.
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83It's more strangely and elementally touching than its predecessors.
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80While the unfortunate epilogue strains the naturalism of what's gone on before and leaves a bit of a sour taste, this semi-improvisational comedy otherwise reaches Balzacian brilliance.
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80Improv comedy at its best: subtle, hilarious, excruciating and affecting in equal measure.
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80Freshened immensely by pitch-perfect song parodies, a batch of hilarious faux album covers, nimble improv from the ever-marvelous cast, and a palpable love for the subject matter.
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80The film's heart and soul belong to O'Hara and to Levy, whose folk-music burnout has the shell-shocked expression of someone who's been to hell and never quite made it back.
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80The gifted repertory company again creates an amusing gallery of incisively observed characters, riffing off each other with enjoyment levels that frequently prove contagious.
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80I laughed myself silly through most of A Mighty Wind, and was pleasantly surprised when it took a turn toward genuine feeling near the end.
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75The parody would be more memorable if it satirized a broader section of the folk-music scene instead of limiting itself to commercialized acts of the Kingston Trio and Peter, Paul & Mary ilk. But it is as accurate as it is funny.
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75A hilarious, pitch-perfect comedy.
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75When it comes to mockumentary parodies, no one does it better than Christopher Guest.
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75It's churlish, especially these days, to try to split the difference between an immortal comedy classic and a mere laugh riot.
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75The voice that jerks out from Levy's throat suggests Lazarus waking from the dead.
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75It mocks folk musicians of the 1960s, who could sometimes be full of hot air. It also acknowledges that protests 40 years ago, often spearheaded by bards and balladeers, blew much-needed fresh air into post-Eisenhower society.
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67There’s much to enjoy, even if the funny bits don’t add up to Spinal Tap greatness. And the titular anthem, performed in a star-studded closing jamboree, has a wickedly funny payoff.
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63The edge is missing from Guest's usual style. Maybe it's because his targets are, after all, so harmless.
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63The tweaking here feels affectionate, yet you soon suspect that these subjects make for awfully easy pickings.
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63Funnier than his criticism of egos on the rampage is Guest's rare talent for double-edged satire that tweaks one convention by means of another.
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63Full of redeeming throwaways.
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60The songs are actually quite good--if also hideously embarrassing--but these comedians take their roles far too seriously, to their peril and our puzzlement.
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60Half-funny mockumentary.
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50The wheezy Mighty Wind can't blow out the candle of this group's first musical mockumentary, 1984's "This Is Spinal Tap."
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50Details like period fashion and album covers are handled flawlessly. It's the big stuff that falls short of the standard set by this troupe. A Mighty Wind is good for an occasional laugh but you're not likely to be blown away.
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User score distribution:
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Positive: 34 out of 43
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Mixed: 2 out of 43
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Negative: 7 out of 43
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8
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MelL9
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WesM10Consistently (if not always uproariously) funny.