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Mixed or average reviews - based on 6 Critics What's this?

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  • Summary: Gabriel Medina's wonderfully crafted debut feature is a fresh, visually innovative, and often hilarious glimpse into the lives of some very offbeat, yet human, characters. Thirty-something Luciano Gauna is odd. A failing screenwriter in Buenos Aires, Luciano lives in an almost intense state of paranoia, afraid of everything from STDs to even his doorman. When his childhood friend Manuel, a very successful TV producer, returns from Madrid with his stunning new girlfriend Sofia, his world is thrown into a near desperate funk. He discovers that Manuel has unflatteringly modeled him as the lead character on a successful Spanish TV show called The Paranoids, which Manuel is now bringing to Argentina. When Manuel leaves on a business trip to Chile, Lucian's remaining grip on reality unravels when he's left alone with Sofia and her alluring charm. (Oscilloscope Laboratories) Expand
Score distribution:
  1. Positive: 2 out of 6
  2. Negative: 0 out of 6
  1. Just like its main character, this smart, slyly witty movie with few laughs undersells itself.
  2. 67
    The Paranoids summons a scuzzy, winning nocturnal ambience, particularly when Hendler breaks out of his funk, hits the dance floor, and does his best impression of Michael Stipe in the “Losing My Religion” video. For a few brief moments, he and the movie transcend their four-walled ennui.
  3. 50
    Medina has taken a series of vignettes and fashioned them into a feature film as aimless as Luciano’s life. There’s no buildup or payoff; still, Hendler’s laid-back performance makes Medina’s film worth seeking out.
  4. An Argentine comedy that, despite some interestingly offbeat moments, is unlikely to reach much commercial traction on these shores.
  5. Reviewed by: Aaron Hillis
    40
    Maybe it's appropriate that Argentinean writer-director Gabriel Medina's chokingly offbeat debut is as aimless and confused as its prototypical slacker-comedy hero, who seems to have wandered into a glum dramedy with a hazy noirish aesthetic.
  6. 40
    Medina is simply content to let the film’s sub-Jarmusch vignettes slow-fizzle to their finishes.
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