User Score
5.2

Mixed or average reviews- based on 131 Ratings

User score distribution:
  1. Positive: 64 out of 131
  2. Negative: 48 out of 131

Review this movie

  1. Your Score
    0 out of 10
    Rate this:
    • 10
    • 9
    • 8
    • 7
    • 6
    • 5
    • 4
    • 3
    • 2
    • 1
    • 0
    • 0
  1. Submit
  2. Check Spelling
  1. Apr 14, 2014
    0
    I want an hour and a half of my life back. There's really nothing more to say about this movie. I am posting a review hoping to save a few people from wasting their time.
  2. Oct 23, 2010
    3
    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.
  3. Oct 18, 2010
    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. Expand
  4. Aug 19, 2010
    3
    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.
    Expand
Metascore
76

Generally favorable reviews - based on 39 Critics

Critic score distribution:
  1. Positive: 35 out of 39
  2. Negative: 0 out of 39
  1. 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.
  2. 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.
  3. 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.