| 100 |
Village Voice
The pleasing circularity of Gus Van Sant's masterful Paranoid Park is not only a function of the film's narrative structure but reflects the arc of its maker's career. Few directors have revisited their earliest concerns with such vigor.
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| 100 |
The New York Times
A haunting, voluptuously beautiful portrait of a teenage boy who, after being suddenly caught in midflight, falls to earth.
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| 100 |
San Francisco Chronicle
David Wiegand
Appropriately structured like a ride on skateboard: It swoops back and forth in time, hovers in midair, twists back on itself over and over again, then rolls into silence.
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| 100 |
Los Angeles Times
Youth and death meet again in Gus Van Sant’s Paranoid Park, a gorgeously stark, mesmerizingly elliptical story told in the same lyrical-prosaic style that has characterized his latest films.
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| 91 |
The Onion (A.V. Club)
It's a film assembled from moments out of time, destined forever to weigh down the boy at their center.
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| 90 |
Variety
Through immaculate use of picture, sound and time, the director adds another panel to his series of pictures about disaffected, disconnected youth.
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| 90 |
New York Magazine
Paranoid Park is a supernaturally perfect fusion of Van Sant’s current conceptual-art-project head-trip aesthetic and Blake Nelson’s finely tuned first-person “young adult” novel.
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| 90 |
Wall Street Journal
It's a new and inspired vision of a familiar state of being -- teenage anomie amidst the crumbling wreckage of a middle-class American family. In the space of 78 minutes, Mr. Van Sant and his cinematographer, the peerless Christopher Doyle, manage to suffuse that state with haunting sadness, ubiquitous danger, pulsing power and flickers of hope.
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| 89 |
Austin Chronicle
Paranoid Park shows the Portland-based director to be working at the pinnacle of his art in every frame, in every composition. It's breathtaking, heartbreaking, tragic, gorgeous, and true all at the same time.
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| 88 |
Chicago Tribune
“Elephant” may have won the Palme d’Or at Cannes but it really didn’t have anything to say about anything. Modest and artful, Paranoid Park says a great deal.
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| 88 |
The Globe and Mail (Toronto)
Jason McBride
It might seem, from 2002's "Gerry" to his ersatz Kurt Cobain biopic, "Last Days," that Gus Van Sant has been making the same movie: an enigmatic and poetic paean to (teenaged) male beauty, disaffection and inscrutability.
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| 88 |
Miami Herald
The story of Paranoid Park may center on an extreme and unusual case, but it's Van Sant's understanding of -- and compassion for -- the hell of growing up that makes the film such a profound and lasting pleasure.
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| 88 |
Premiere
It's terribly strong -- in structural ingenuity, emotional pull, and particularly visual beauty.
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| 88 |
Rolling Stone
The film's sound design, sampling Beethoven and Nino Rota, among others, links up with visual miracles performed by Rain Kathy Li and Wong Kar-Wai's noted cinematographer, Christopher Doyle (In the Mood for Love), to take us inside Alex's head. The result, a defiant slap at slick Hollywood formula, is mesmerizing.
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| 83 |
Entertainment Weekly
Paranoid Park has the slightly glum insularity of minimalist fiction, but it's the first of Van Sant's blitzed-generation films in which a young man wakes up instead of shutting down.
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| 80 |
The Hollywood Reporter
In Paranoid Park, Gus Van Sant enters the world of high school kids just as he did in "Elephant," achieving this time a much sharper, more focused portrait of how these rapidly maturing young people act, think, speak and behave.
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| 80 |
Washington Post
Van Sant is such an assured filmmaker that Paranoid Park is almost inescapably absorbing; he has found a particularly engaging leading man in Miller, whose expressive, even painterly face goes from blank to angelic in the blink of a long-lashed eye.
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| 75 |
Portland Oregonian
Van Sant has been quoted in recent media reports as being done with the type of filmmaking that these four movies represent. If that's true, then Paranoid Park is a fine summation of what he learned from making them.
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| 75 |
TV Guide
It's all confusing, woozy and slightly stoned, and feels very much like adolescence.
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| 75 |
New York Daily News
The story's fractured structure - and Christopher Doyle's dreamlike cinematography - make for a striking mood piece.
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| 75 |
Boston Globe
Slight but fascinating.
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| 75 |
ReelViews
Paranoid Park is a rare breed: a movie about teenagers in which the characters talk like real teenagers, act like real teenagers, and are played by real teenagers.
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| 63 |
Philadelphia Inquirer
The fluid film cinematography of Christopher Doyle and Rain Kathy Li, intercut with grainy Super-8 shots of park regulars, tracks the skaters in their free-flying, free-styling and free-falling grace. In these privileged moments, the film is close to transcendence, defying time, space and gravity.
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| 60 |
Film Threat
The chief triumph here, it seems to me though, is one of style over substance. The disaffected kids who shuffle through its universe have nothing to say, nothing to tell us. I’m not sure the movie has a whole lot more.
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| 60 |
Salon.com
If Paranoid Park is mainly an accumulation of the signs and symbols and images inside Van Sant's own head, that's artistically legitimate. When he makes a feeble effort to connect Alex's plight to the Iraq war and the cultural climate of Bush-era America, I just don't buy it.
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| 58 |
Seattle Post-Intelligencer
Paranoid Park is a movie about its teen hero's inability to express his feelings: to himself, to his parents, to his friends and, unfortunately, to the audience.
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| 50 |
Chicago Reader
There's some striking camerawork by Christopher Doyle (in 35-millimeter) and Rain Kathy Li (in Super-8), though this doesn't alter the overall feeling of random, nihilistic drift.
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