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Wesley Morris, Grantland: If you've ever wondered, "What if Ingmar Bergman directed Upright Citizens Brigade?" then Andersson is the director for you. Read more

Farran Smith Nehme, New York Post: Swedish director Roy Andersson has a distinctive style; his film is lit like a waiting room at Rikers Island and the actors look like victims of advanced cirrhosis. Read more

Peter Debruge, Variety: "Pigeon" is a master class in comic timing, employing pacing and repetition with the skill of a practiced concert pianist. Read more

A.A. Dowd, AV Club: The director's modus operandi-static, meticulously arranged long takes, shot in deep focus to use background and foreground space-is so entirely unique that it's impossible to not to get some joy out of just gawking at his films. Read more

Ty Burr, Boston Globe: "A Pigeon" skips with slow-motion grace across a series of absurdist tableaux, a mocking oom-pah-pah soundtrack the only connective tissue. Read more

Chris Nashawaty, Entertainment Weekly: The film skips from one quick-hit existential rim-shot moment to the next but doesn't add up to anything nearly as deep and contemplative as its title. Read more

Deborah Young, Hollywood Reporter: Though it abounds in the kind of sardonic humor intrinsic to life's absurdities, the film is rarely laugh-out-loud funny. In a nutshell, quiet desperation prevails. Read more

Rene Rodriguez, Miami Herald: This iconoclastic filmmaker seduces you with ridiculous laughs, then sends you home contemplating your mortality and your place in the world. Read more

John Anderson, Newsday: Scandinavian drollery at its finest. Read more

A.O. Scott, New York Times: If fun does not really fit into Roy Andersson's frame of reference, there is ample pleasure to be gleaned from his formal discipline and his downbeat wit. Read more

Andrew O'Hehir, Salon.com: I think every moment of this film has been carefully calibrated, and that Andersson achieves the effect he seeks. Read more

Steve Rubenstein, San Francisco Chronicle: Being absurd only goes so far, and two hours is way too far. Read more

Nathan Rabin, Globe and Mail: The film's tone may be one of unrelenting absurdist melancholy, but Andersson does a dynamite job alchemizing despair into big, albeit deadpan, laughs, and the ugliness and banality of everyday existence into moments of beauty ... Read more

Peter Howell, Toronto Star: Pigeon is a film designed to confound and provoke, sometimes to wearying effect. But it's riveting in its deadpan depictions of drained existence. Read more

Cath Clarke, Time Out: Unspooling in 37 comic vignettes, these are Monty Python sketches as written by an existentialist philosopher. Read more

Alan Scherstuhl, Village Voice: Each shot in an Andersson film is part diorama, part theatrical performance, part moviemaking the way Thomas Edison did it: Build a set, plant a camera, and stage highly orchestrated comedy and tragedy. Read more

Bilge Ebiri, New York Magazine/Vulture: For all the despair and horror on display in A Pigeon Sat on a Branch Reflecting on Existence, you walk out of it as if on a cloud, light and hopeful. Read more