Metascore
63

Generally favorable reviews - based on 31 Critics

Critic score distribution:
  1. Positive: 16 out of 31
  2. Negative: 1 out of 31
  1. Reviewed by: Eric Kohn
    May 22, 2013
    100
    A wholly original and thoroughly surprising fusion of sensory overload and liberal philosophy bound to confuse and provoke in equal measures.
  2. Reviewed by: Scout Tafoya
    Aug 29, 2014
    88
    The Congress, playing fast and loose with a source novel by Stanislaw Lem, splits from its version of reality at the 45-minute mark, and at that point becomes a decadent post-modern classic.
  3. Reviewed by: Jordan Hoffman
    May 22, 2013
    87
    The first half of “The Congress,” while still fascinating, does suffer a bit from keeping its focus on the gripes and accusations between Hollywood actors and producers...Once the Philip K. Dick-meets-”Inception” second half kicks in, the implications grow more universal.
  4. Reviewed by: Peter Rainer
    Sep 5, 2014
    83
    The film has a transcendent spookiness.
  5. Reviewed by: Marc Mohan
    Aug 25, 2014
    83
    Israeli director Ari Forman, whose 2009 "Waltz with Bashir" earned a Best Foreign Film Oscar nomination, is a master at exploiting diverse animated styles, and draws a brave starring performance from a performer who, in her mid-40s, seems to be just hitting her stride.
User Score
7.8

Generally favorable reviews- based on 13 Ratings

User score distribution:
  1. Positive: 3 out of 4
  2. Negative: 0 out of 4
  1. Oct 17, 2014
    6
    Israeli director Ari Folman’s fourth film, THE CONGRESS is the much anticipated follow-up after his Oscar-nominated animation-documentary WALTZ WITH BASHIR (2008), which to my ruefulness I have yet to watch, since I am eternally lagging in the field of documentaries, let alone a war documentary.

    THE CONGRESS has an intrinsically distinctive allure of its own because it is a film creatively amalgamate live-action with animation, and inspired by Stanislaw Lem’s Sci-Fi novel THE FUTUROLOGICAL CONGRESS, it ambitiously challenges to handle a thornier theme of human race’s incorrigible addiction to chemicals which ultimately erase all one egos than it appears to suggest, a showbiz industry agism satire and the advance of technology which foreshadows the doom of the line of actor (which both FINALE FANTSY: THE SPIRITS WITHIN 2001, and the film itself can justify at least for now, animation cannot replace real actors, live-capture may be a more probable contrivance).

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  2. Oct 6, 2014
    10
    Imagine a world where experience could be inhaled like a pharmaceutical. There would be no need for movies, because the direct experience of another life is always available - we wouldn't have to see it, we would be it. In this reality, personal identity would cease to be something stable and defined; your identity could shift from moment to moment as you live unlimited possible experiences. The real world already has trouble competing with fantasy, but with this pharmaceutical, fantasy would become the reality, and how many people would truly accept their normal life if an unlimited number of experiences and adventures was always instantly available? This is the question the movie asks, and the future it terrifyingly predicts. "I am your prophet of doom" says the Robin Wright character, as she describes this future. In this way, it shares similar conceits with The Matrix, another movie built on the fact that reality is entirely a creation of the mind. But unlike The Matrix, The Congress posits that most people would happily embrace a fantastic false reality over our default one. Full Review »
  3. Sep 27, 2014
    5
    It just didn't work.

    Stanisław Lem, like Philip K. Dick and Theodore Sturgeon, is tough to get right. This film's portrayal of drugged
    Utopian fantasy seemed too silly and simply did not fit with the rest of the movie's tone.

    Robin Wright was solid throughout but once the movie arrives at The Congress there just wasn't much she could do to help.
    Full Review »