Reception
The film was met with mostly positive reviews, viewed by many as a worthy follow-up to Anderson's previous film, Rushmore. The film holds a 80% "Fresh" rating at the website Rotten Tomatoes, a 75% "Fresh" rating among the top critics, and a 75/100 weighted average score at Metacritic. Todd McCarthy of Variety called the film "As richly conceived as the novel it pretends to be" and Richard Schickel, in Time, writing, "As with Anderson's Rushmore, there's a certain annoying preciousness to this film—it's not so consistently wise or amusing as he thinks it is—but it has its moments." Roger Ebert praised the film's writing, noting his belief that the film was "proof that Anderson and his writing partner, the actor Owen Wilson, have a gift of cockeyed genius." Mick LaSalle of the San Francisco Chronicle was enthusiastic in praising the film as "like no other, an epic, depressive comedy, with lots of ironic laughs and a humane and rather sad feeling at its core."
Some critics disagreed about the success of the film and its style, Glenn Lovell of the San Jose Mercury News writing, "If I smiled at all during this colossal misfire, it was at Hackman, who knows how to do cheerfully thoughtless better than anyone around. The rest of the cast looks lost and miserable." Peter Rainer was lukewarm about the film, writing, "Anderson is something of a prodigy himself, and he's riddled with talent, but he hasn't figured out how to be askew and heartfelt at the same time." Jay Carr of the Boston Globe wrote "Mostly you sit around waiting for it to be funnier, or at least funny more often."
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Famous quotes containing the word reception:
“Aesthetic emotion puts man in a state favorable to the reception of erotic emotion.... Art is the accomplice of love. Take love away and there is no longer art.”
—Rémy De Gourmont (1858–1915)
“I gave a speech in Omaha. After the speech I went to a reception elsewhere in town. A sweet old lady came up to me, put her gloved hand in mine, and said, “I hear you spoke here tonight.” “Oh, it was nothing,” I replied modestly. “Yes,” the little old lady nodded, “that’s what I heard.””
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“To the United States the Third World often takes the form of a black woman who has been made pregnant in a moment of passion and who shows up one day in the reception room on the forty-ninth floor threatening to make a scene. The lawyers pay the woman off; sometimes uniformed guards accompany her to the elevators.”
—Lewis H. Lapham (b. 1935)