Cyrus Reviews

  • Cyrus may on some level be a stunt, yet the Duplasses' slightly sluggish, low-budget, mumblecore style allows this story to flower as both light-fingered lark and drama of suspenseful dysfunction.

    Owen Gleiberman — Entertainment Weekly

  • Despite their indie cred, the Duplasses are mainstream, hence the movie's status quo finish. "Cyrus" is more finely tuned than their earlier movies ("The Puffy Chair, Baghead), but it shares a similar, almost aggressive lack of ambition.

    Manohla Dargis — New York Times

  • Above all, it deftly captures the ambiguity and absurdity of human relationships. With improvised dialogue and performances that go from uncomfortable to honest, Cyrus is an off-kilter charmer.

    Claudia Puig — USA Today

  • Even at its most troubling, Cyrus is powered by a deep vein of humanism, one that offers hope to even the weirdest among us.

    Ann Hornaday — Washington Post

  • It's too slack to shock. The film has its moments, but it shows the Duplasses poised on the edge of the big time with nothing to say and no real interest in risk.

    Ty Burr — Boston Globe

  • A freakishly engrossing black comedy about excessively mothered men and the women who enable them.

    Ella Taylor — Village Voice

  • We all have routines, but the characters in Cyrus have complicated systems for dealing with things, and watching them smash into each other is endearing and often hilarious.

    Joe Neumaier — New York Daily News

  • I've seldom seen a film in which three intelligent, articulate people make so many penetrating observations about themselves, and address their bizarre situation so directly, without providing, or indeed possessing, the slightest clue...

    Joe Morgenstern — Wall Street Journal

  • A movie that melds creepy and comic so seamlessly that almost every laugh is undercut by a cringe.

    Tom Maurstad — Dallas Morning News

  • Delightfully demented and unique.

    Lisa Kennedy — Denver Post

  • The Duplasses' sensitivity, which is genuine, yields too much tepid relationship-speak, and Marisa Tomei, one of the most appealing actresses in Hollywood, is left with little to play.

    David Denby — New Yorker

  • The movie doesn't eagerly jump from one payoff to another, but attunes itself to nuance, body language and the habitual politeness with which we try to overlook social embarrassment.

    Roger Ebert — Chicago Sun-Times

  • A comedy of discomfort that walks a wonderful line between reality-based emotional honesty and engaging humor, it demonstrates the good things that happen when quirky independent style combines with top-of-the-line acting skill.

    Michael Phillips — Chicago Tribune

  • Jonah Hill delivers a craftier comic performance than anything in his box-office hits, but what really elevates the story above its shticky premise is the combined neuroses of all three characters.

    J. R. Jones — Chicago Reader

  • The byplay between Reilly and Hill is sublime.

    Colin Covert — Minneapolis Star Tribune

  • Although Hill certainly has been good in previous roles, this goes beyond what we've seen.

    Bill Goodykoontz — Arizona Republic

  • Although the film is labeled a comedy, it hovers on the dark side in so many shadows that it is rarely amusing. Yet it never has the courage to fully explore the havoc a real Oedipus complex can wreak on the lives of real adults.

    Rex Reed — New York Observer

  • What makes these Duplassian experiments work is the way their characters are willing to share their feelings.

    Peter Debruge — Variety

  • Nobody can play beaten and amusing better than Reilly, and no one is better at playing broken, accessible beauty than Tomei.

    Roger Moore — Orlando Sentinel

  • The Brothers Duplass find humor and a lot of truth in those moments between spoken words, when the flick of an eyelid, the pulse of a vein or the purse of the lips can betray things that might otherwise not be stated.

    Peter Howell — Toronto Star

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