Metascore
76 out of 100

Generally favorable reviews - based on 39 Critics

Critic score distribution:
  1. Positive: 35 out of 39
  2. Negative: 0 out of 39
  1. The wonder of the film is how good it makes us feel. Greenberg scintillates with intelligence, razor's-edge humor and austere empathy for its struggling lovers.
  2. 91
    Bittersweet and beautifully realized, harsh but humane, Greenberg is a self-consciously small film that nevertheless leaves an indelible mark.
  3. Reviewed by: Ella Taylor
    90
    Greenberg is on every level the work of a more mature filmmaker, and quite possibly a happier man.
  4. 90
    It is the funniest and saddest movie Mr. Baumbach has made so far, and also the riskiest.
  5. 88
    I have a weakness for actresses like Greta Gerwig. She looks reasonable and approachable.
  6. Greenberg, with Stiller's sad and self-mocking portrait at its core, is well worth getting to know.
  7. Reviewed by: Claudia Puig
    88
    Powerfully honest, insightful and poignant.
  8. Baumbach's movies are addictive dispatches from a genteel jungle of white privilege, where highly educated people behave badly. I can't take my eyes off the exotic wildlife.
  9. Reviewed by: Andrew Male
    80
    Like a lot of human relationships Greenberg is complicated, infuriating, good-hearted, funny, often painful, and well worth the effort. A sad little movie but also a great one, lit by two astonishing central performances.
  10. When Stiller indulges in moments of unfulfilled rage, this has real desperation.
  11. 80
    Greenberg is a movie of throwaway one-liners and evocatively nondescript locations. The style is observational, the drama is understated, and, when the time comes, it knocks you out with the subtlest of badda-booms.
  12. 80
    This is tricky, ambiguous material, seemingly better fitted to a short literary novel than to a movie, and it could have gone wrong in a hundred ways, yet Baumbach handles it with great assurance.
  13. Going dramatic, Stiller commits to the role completely; there's something rather admirable in his refusal to pander or soft-pedal the self-serious, frankly unlikable Greenberg.
  14. 75
    See this darkly comic character study unburdened by preconceptions.
  15. 75
    Greenberg is a comedy (a scene in which Roger attends a boisterous college party and pitches a fit over the music is marvelously funny), but it's a sad, rueful comedy about disappointment.
  16. Jennifer Jason Leigh (Baumbach's wife) appears in two scenes, as an ex-girlfriend of Greenberg, and she's quietly brilliant, as always.
  17. 75
    A delicate, if slightly smoggy, feeling of regret hangs over Greenberg, a quietly funny portrait of grown-ups growing up.
  18. Reviewed by: Ty Burr
    75
    Noah Baumbach makes nature documentaries disguised as indie comedy-dramas.
  19. What saves it, however, is Gerwig. The love story ain't credible, but her performance is, perfectly capturing a young woman who doesn't lack confidence so much as a sense of self.
  20. 75
    Baumbach overreaches, making this character a selfish, off-putting cultural (LA) and generational scold. But Stiller, in his most "real" performance in ages, finds the function in this catalog of dysfunctions, the humanity in this humanity-hating crank.
  21. Like "The Squid and the Whale," this character study pushes the definition of comedy to the breaking point, and unlike the far less successful "Margot at the Wedding," it leaves us faintly smiling after the workout.
  22. Mr. Baumbach has a knack for capturing real-life dialogue--particularly and hilariously how people tend not to listen to the person on the other side of the conversation.
  23. 75
    Why would you watch a film about a creep like Greenberg? Well, aside from the fact that it's well-done and intense and occasionally funny (in a dark, dark way, mind you), there's the sneaking suspicion that there's a little of this fellow in all of us, and self-knowledge of that sort is a gift that, often, only art can give.
  24. Reviewed by: Andy Klein
    75
    Even if you sympathize with his troubles, it's hard to actually like the guy. At best, he's uncomfortable to be around; at worst, he's irritating and even reprehensible.
  25. While winning no points for originality, Baumbach and his co-conspirator in the script, Jennifer Jason Leigh -- have created an all-too-convincing portrait of a 40-year-old man in emotional freefall.
  26. The movie may wear its shagginess on its sleeve, but Stiller knows exactly what he's doing.
  27. There's no hard-and-fast rule that says you have to like the main character in a movie. It's more a custom, really - a custom that Ben Stiller stretches nearly to the breaking point in Greenberg.
  28. 70
    An unsettling but ultimately joyous little picture, a movie that's as self-conscious as anything Baumbach has ever made, and yet far more open: It reaches out to the world instead of insisting on hugging its own pain, tight.
  29. Greenberg would be a heckuva movie if we could just get Greenberg out of there.
  30. Reviewed by: Mary Pols
    70
    That Greenberg has merits is undeniable. Gerwig, a funny mix of Kate Winslet and the joyfully ditzy young Diane Keaton, should end up a star. Stiller dials back his own schtick and deserves to be taken seriously.
  31. Reviewed by: Todd McCarthy
    70
    As a study of stasis and of people conscious of not living the lives they had imagined for themselves, the picture offers a bracing undertow of seriousness beneath the deceptively casual, dramatically offhand surface.
  32. 67
    Nothing much happens in Greenberg, yet Stiller and co-star Greta Gerwig make inconsequence tolerable with solid performances.
  33. 63
    To really pull off Greenberg would require a lead performance from a master actor. The actor it stars is . . . Ben Stiller.
  34. There's humor there, but this is a "smart" comedy, which is to say it's not intended to make you guffaw.
  35. Reviewed by: Richard Mowe
    60
    Although Ben Stiller's brand of nervy comic ticks can prove irritating on occasions, here he is kept in check so that the humor and the pathos shine through.
  36. Any comic relief it affords comes with such an undertow of repressed emotions and displaced anger that it all starts to feel more depressing than dramatic.
  37. Reviewed by: Dana Stevens
    50
    Putting them together was a bold casting move, but as good as they both are in their roles--she (Gerwig) in the flustered, galumphing mode of early Teri Garr, he (Stiller) in the clenched and mumbling one of late Woody Allen--they never quite seem to be sharing the same movie.
  38. 50
    Stiller plays a monster, and when Gerwig goes for him, declaring that she sees his tender side, the development seems like a fond indulgence on the part of writer-director Noah Baumbach.
User Score

Mixed or average reviews- based on 117 Ratings

User score distribution:
  1. Positive: 20 out of 47
  2. Negative: 22 out of 47
  1. This was a potentially good movie ruined by the classic combination of a Big Star wanting to be in a small indie film. It. Having to watch Ben Stiller in every scene was so painful, especially when Greta Gerwig and Rhys Ivans were so good. There was no nuance or depth or humanity to his character. It reminded me of Punch Drunk Love, in which Adam Sandler just looks stone faced the whole movie, which seemed to be his way of 'Acting'. A similar self-involved character, the dad in Squid and the Whale was so much better with Jeff Daniels, a much much better actor. I am sure that this is why Alexander Payne retains control over casting. Imagine a good script, good director, and a Big Star know for a specific type of comedy is forced on you. It ruins the movie. Full Review »
  2. Wow! I was really expecting to like this movie and it was just ridiculous. This film tries way to hard. There are periods of slight entertainment and good humor, but holistically this movie doesn't even warrant the time if its watched free of cost. Da, that was stupid movie. Full Review »
  3. 0
    Minimalism is no excuse for a poor screenplay, and artsiness is no justification for poor direction. Paolo Sorrentino is a minimalist director, and his films are brilliant. David Lynch is an artsy director, and his films are brilliant too. The problem with Noah Baumbach's films -well, ONE of the problems with his RECENT films- is that he seems to have picked up that terrible habit that Wes Anderson had for a little while until a couple of years ago. See, Anderson too thought for a few years that he could get away with compiling a series of quirky vignettes and calling it a screenplay. Thus, The Life Aquatic with Steve Zissou (2004) and The Darjeeling Limited (2007) are nowhere near as accomplished and coherent as Rushmore (1998) and The Royal Tenenbaums (2001). Bottle Rocket (1996) is a different case, as it was his first film. Its imperfections have to do with lack of experience, and they are easily forgiven. Anderson's latest film, Fantastic Mr. Fox (2009, co-written by Baumbach, by the way), saw him come back to form. Now, Baumbach's best film to date is clearly the outstanding The Squid and the Whale (2005), after which, he decided to hit us in the head with the bluntly morose Margot at the Wedding (2007). Greenberg, unfortunately, is in the same vein of the latter, not the former. It is so absolutely bourgeois (anyone outside of the upper middle-classes simply does not exist), that Sofia Coppola might feel challenged when it comes to the position of "Most White-Bread Director in the World." Ever since The Squid and the Whale Baumbach has been directing films that are uninspired and uninspiring collections of eccentric details and overly wacky situations. No story, no depth, no character development. Just irritating, adolescent forty-somethings complaining about their Beaujolais. Ignore the hype. This is not a good film. Full Review »