Critic Consensus: Anomalisa marks another brilliant and utterly distinctive highlight in Charlie Kaufman's filmography, and a thought-provoking treat for fans of introspective cinema.
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Critic Reviews for Anomalisa
Kaufman has created a very smart movie, and I ended up liking it for what it was. It is not a heartwarming romp. It is a dense, sneaky movie about narcissism, cruelty, and Lisa's own shy resilience.
Anomalisa is fascinating, and I cannot say I was ever bored by anything that Kaufman and Johnson were choosing to show me.
By the time Michael and Lisa are up in that hotel room, trying so heroically to say the right thing, the picture has transcended its gimmicks.
There's something magical about the malaise which raises this above mere misanthropy - a heightened sense of fragile life that perhaps only puppets could hope to achieve.
Though fellow fatalists Woody Allen (when in Dostoevskian mode) and Todd Solondz occupy similar territory, the arrival of Kaufman's stop-motion drama Anomalisa reiterates the uniqueness of [Kaufman's] surreally skewed metaphysical inquiries.
Audience Reviews for Anomalisa
A very human and delicate look at loneliness, told as a stop-motion animation that feels like the perfect choice for this kind of story, with waxy characters that are all (but two) voiced by the same person; it is just a pity, though, that the end feels a bit abrupt.
The concept of the movie provides the extra half star. I loved the powerful concept which manifests itself in many of our lives. It's thought provoking and interesting but for me lacks something to make it more entertaining!
I'm not a fan of stop-motion puppetry, but this eerie and tender film about loneliness and connection is a feat in animation and storytelling: from all the secondary characters being played by reedy-voiced Tom Noonan, to Jennifer Jason Leigh's elegaic rendition of "Girls Just Wanna Have Fun," from the discomfitingly realistic puppet sex, to the hallucinatory flashes of robotic wiring underneath Michael's humanoid casing - foreshadowing the film's ultimate thesis about the inexorable fade of love, individuality, and will.