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Amy Nicholson, I.E. Weekly: Kaufman's gift is finding humanity in flotsam, something he does well but hasn't done this beautifully since Eternal Sunshine of the Spotless Mind. Read more
Michael Phillips, Chicago Tribune: I found it bracing, and genuinely in touch with the sweet chaos and ache of life. Read more
David Edelstein, New York Magazine/Vulture: It's heartbreaking how rich this failed project is, with enough poetry for several great movies, but not enough push for one. Read more
Jonathan Rosenbaum, Chicago Reader: It seems more like an illustration of his script than a full-fledged movie, proving how much he needs a Spike Jonze or a Michel Gondry to realize his surrealistic conceits. Read more
Moira MacDonald, Seattle Times: Synecdoche, New York builds a wall of high concept, so high you can't find the good movie hiding somewhere behind it. Read more
Scott Tobias, AV Club: Essentially multiplies Adaptation by an exponential factor and thus grows into a snarling, ungainly beast of self-reflexive absurdities. Read more
Bill Goodykoontz, Arizona Republic: It's a strange trip, to be sure, but a worthwhile one for those willing to take it. Read more
Wesley Morris, Boston Globe: Synecdoche, New York comes as close as any film has to explaining the epic indignity of the creative process, how some great works collapse beneath their own abstraction. Read more
Carina Chocano, Los Angeles Times: [A] sprawling, awe-inspiring, heartbreaking, frustrating, hard-to-follow and achingly, achingly sad movie. Read more
Amy Biancolli, Houston Chronicle: I was struck by the peculiar magic of this film, even moved by it, once I gave up all attempts to understand it as a straightforward linear narrative. Read more
Peter Rainer, Christian Science Monitor: A great big incomprehensible phantasmagoria. I'm all for 'personal' movies, but this one's private. Read more
Tom Long, Detroit News: A surreal exploration of art, love and death, it has the Fellini-esque feel of some lost European cinematic masterpiece that reaches far past the normal boundaries of drama and into the very essence of existence. Read more
Owen Gleiberman, Entertainment Weekly: I gave up making heads or tails of Synecdoche, New York, but I did get one message: The compulsion to stand outside of one's life and observe it to this degree isn't the mechanism of art -- it's the structure of psychosis. Read more
Tom Maurstad, Dallas Morning News: It's hard to say just what kind of movie Charlie Kaufman's directorial debut is, and by the end of it, his film has made a pretty convincing case that it's pointless to try. Read more
Scott Foundas, L.A. Weekly: Like most of Kaufman's work as a writer, Synecdoche, New York is a head trip that time and again returns to a place of real human emotion. Read more
Anthony Lane, New Yorker: If you want to show a poor player that struts and frets his hour upon the stage, go right ahead, but give that hour all the life you can. Read more
Bob Mondello, NPR.org: As with nearly all the films Kaufman wrote before this one ... Synecdoche, New York is one heck of a head-trip. Read more
Joe Neumaier, New York Daily News: As is typical of Kaufman, whether this surrealist, time-skipping noodler is successful depends on what you want to see. Read more
Lou Lumenick, New York Post: It's the first movie this year that demands at least two viewings to absorb its densely textured humor, which makes earlier Kaufman works such as Adaptation and Being John Malkovich look positively straightforward. Read more
Rex Reed, New York Observer: No matter how bad you think the worst movie ever made ever was, you have not seen Synecdoche, New York. It sinks to the ultimate bottom of the landfill, and the smell threatens to linger from here to infinity. Read more
Roger Moore, Orlando Sentinel: Read more
Carrie Rickey, Philadelphia Inquirer: Read more
James Berardinelli, ReelViews: Some will call this art. I'll content myself with thinking of it as an ambitious misstep by a creative individual who failed to realize what he was trying to represent. Read more
Roger Ebert, Chicago Sun-Times: This is a film with the richness of great fiction. Read more
Stephanie Zacharek, Salon.com: Synecdoche, New York strives to be a work of greatness. But Kaufman's overarching vision is a lot less interesting than the small insights he gathers along the way. Read more
Mick LaSalle, San Francisco Chronicle: The temptation to be emphatic about Synecdoche, New York is overwhelming but should be resisted, because the movie really is a mixed bag. A particularly odd mix. Read more
Dana Stevens, Slate: The prospect of Kaufman's directorial debut was really exciting -- which makes the lugubrious result that much more disappointing. Read more
Colin Covert, Minneapolis Star Tribune: It takes enormous assurance and skill to pull off this kind of meta-story, and Kaufman succeeds; nothing in his direction says 'rookie.' Read more
Liam Lacey, Globe and Mail: As the external reality disappears, so does the viewer's reason to care. Read more
Peter Howell, Toronto Star: Synecdoche is fun to mull over, for a while. Read more
Dave Calhoun, Time Out: Somehow, because it resists unlocking, it feels more serious, troubling, significant. It's as funny as it's depressing. It's as brilliant as it is baffling. Read more
Christopher Orr, The New Republic: Synecdoche, New York is a huge film about puny sentiments, an anti-heroic epic of failure, remorse, alienation, and self-pity. It may not be the best film of the year, but it is very likely to be the most extraordinary. Read more
Claudia Puig, USA Today: A burning, smoking house that people mindlessly inhabit in Synecdoche, New York is an apt metaphor for what is wrong with this confounding, massively ambitious film. Read more
Todd McCarthy, Variety: Kaufman's venturesome dramaturgy and compelling writing scene-by-scene are enough to keep one's curiosity piqued. Read more
Philip Kennicott, Washington Post: The acting is magnificent, especially Hoffman's anguished, distracted, solipsistic portrayal of Cotard. Read more