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Reviews provided by RottenTomatoes
John Monaghan, Detroit Free Press: While most mockumentaries translate as lazy storytelling, this one is elevated by an astounding, Oscar-worthy performance by Kaye. Read more
Lisa Kennedy, Denver Post: This is biopic as raving rumination. But it is also a surprisingly compassionate redemption story. Read more
Robert K. Elder, Chicago Tribune: The formula doesn't entirely stick, but Dowse's visual veracity towers over any narrative shortcomings Tong presents. Read more
Richard Nilsen, Arizona Republic: The film cannot be said to be a success as an aesthetic whole, but the power of the first half and the exceptionally believable acting of Kaye make this the kind of experience that only film can provide. Read more
Janice Page, Boston Globe: Even at its very best, it's just all right. Read more
Kevin Crust, Los Angeles Times: Grounded by a gutsy, over-the-edge-and-back performance by Paul Kaye as Frankie, It's All Gone Pete Tong takes the long way around before finally redeeming itself. Read more
Bruce Westbrook, Houston Chronicle: Less a faux documentary than a perversely amusing stab at the music world's harsh realities. Read more
Scott Foundas, L.A. Weekly: It's All Gone Pete Tong seems indistinguishable from a thousand other stories of artistic genius burned out in a blaze of vain glory, but soon the movie catches us up so profoundly ... it's as though we're seeing it all for the first time. Read more
Peter Debruge, Miami Herald: It's strange to think that anyone might fall for the ruse, considering that a giant badger makes occasional guest appearances whenever Wilde's drug use gets out of hand. Read more
Gene Seymour, Newsday: Writer-director Michael Dowse's film whizzes all over the place like a gaudy kite. Read more
Jami Bernard, New York Daily News: The faux-documentary format does nothing for the material, but Kaye turns in a chaotic and ultimately moving performance. Read more
Manohla Dargis, New York Times: In Michael Dowse's faux documentary about a D. J. who goes stone deaf, everything that can go wrong generally does, mostly to surprisingly sweet effect. Read more
Roger Ebert, Chicago Sun-Times: The movie works because of its heedless comic intensity; Kaye and his writer-director, Michael Dowse, chronicle the rise and fall of Frankie Wilde as other directors have dealt with emperors and kings. Read more
Peter Hartlaub, San Francisco Chronicle: The mockumentary-style delivery of a serious subject proves to be an unworkable mash-up. Read more
Colin Covert, Minneapolis Star Tribune: A raucous, uproarious satire of the dance-club scene. Read more
Rick Groen, Globe and Mail: You may ... find the picture as undisciplined as Frankie's wild coif. I see the chaos, like the coif, to be tangled but pointed, an endearingly calculated mess. Read more
Peter Howell, Toronto Star: There's nothing like watching a guy hit rock bottom and then try to crawl back up again. Or as that heartless record industry weasel puts it, 'People love a good tragedy.' Especially one set to a good beat. Read more
Dennis Harvey, Variety: Helmer's own script feels unfocused and semi-improvisational, with good ideas that should've been taken further, and some not-so-good ones that overstay their welcome. Read more
Laura Sinagra, Village Voice: As the humor flags, It's All Gone Pete Tong starts to feel more like an exercise. Read more
Michael O'Sullivan, Washington Post: Just inspiring enough, just scary enough, just sappy enough and just funny enough to get by. Read more
Sean Daly, Washington Post: You'll be tickled by this small indie laugher. But, lo and behold, you may find yourself touched by it, too. Read more