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Christy Lemire, Associated Press: Morris' spirited pacing and the jaunty score from John Kusiak help maintain a tone that's part mocking, part suspenseful. Read more
Kathleen Murphy, MSN Movies: ...the canny methods [Errol Morris] uses to get deep inside his subjects are, as usual, utterly riveting. Read more
A.O. Scott, New York Times: The sheer heterogeneity of human experience is one of [Morris'] enduring preoccupations, and he has found, once again, an impossible and perfect embodiment of just how curious our species can be. Read more
David Edelstein, New York Magazine/Vulture: Tabloid is candy for voyeurs. We laugh like mad at a nut whose only mistake was being born in the last century, too early to have made real money. Read more
Joe Morgenstern, Wall Street Journal: Errol Morris's documentary was made, and scheduled for release, long before the News of the World story broke. The smart part is that the film dissects those excesses deftly with a quasitabloid style of its own. Read more
John Hartl, Seattle Times: The movie is guilty of condescending toward its subjects, though most of them appear to be having a fabulous time telling tales. Read more
Scott Tobias, AV Club: McKinney may well be a madwoman, but Morris connects so deeply to her obsessions that the film's tone never seems exploitative or mocking. Read more
Bill Goodykoontz, Arizona Republic: Errol Morris is a genius, a gifted documentarian who has made better movies than "Tabloid," but none so entertaining. Read more
Ty Burr, Boston Globe: It's a guaranteed good time at the movies, but I can think of at least three other Morris films that have stuck with me longer. Read more
J. R. Jones, Chicago Reader: Morris adds to the hilarity with his signature device of superimposing key words onscreen in giant type; the movie is a welcome reminder that he got his start immortalizing American oddballs. Read more
Michael Phillips, Chicago Tribune: Morris is such a savvy, irony-tinged master of the essayist documentary form, McKinney's own perspective becomes a tabla rasa for all sorts of sexual, voyeuristic and media desires. Read more
Peter Rainer, Christian Science Monitor: Morris is clearly fascinated by her mega eccentricities and lets her go on at great length telling her side of the story. Read more
Chris Vognar, Dallas Morning News: Tabloid, Errol Morris' latest wild and woolly portrait of human self-delusion, is a scandal-sheet dream come to life. Read more
Tom Long, Detroit News: It is quite simply one of the craziest stories ever told, made all the crazier by the fact that it's true. Or at least some version of it is true. Read more
Owen Gleiberman, Entertainment Weekly: At 88 minutes, Tabloid is short and sweet (it's pure movie candy), but by the end we've forged an emotional connection to Joyce McKinney at the deep core of her unapologetic fearless/nutty valor. Read more
William Goss, Film.com: Operates as both an examination of the dominating media mentality at the time and an embodiment of it, no less keen on delving into the juicy details now as tabloid rags were then. Read more
Stephen Farber, Hollywood Reporter: Morris clearly invested so much time and energy in McKinney's story because he saw her as emblematic of our crazed times. Others might wonder whether the sad saga deserves quite this much attention, but there's no denying the film's morbid fascination. Read more
David Denby, New Yorker: Morris's subject is sexual fantasy and a particular kind of American stupidity-the ability to substitute self-justification for self-knowledge. His tone is merry. Read more
Stephen Whitty, Newark Star-Ledger: Morris realizes he has a genuine character in McKinney, and gives her the spotlight. Read more
Mark Jenkins, NPR: Tabloid spins a heck of a yarn, while implicitly warning viewers not to be so entertained that they believe every gamy detail. Read more
Elizabeth Weitzman, New York Daily News: It's all compelling, in the way reading trashy gossip usually is. But without any new perspectives, what's the point? Read more
Kyle Smith, New York Post: "Tabloid" shows that an oddball lead character and a smirky style do not necessarily add up to a complete movie. Read more
Steven Rea, Philadelphia Inquirer: A tale of obsession and abduction, self-delusion and sexual confusion, Errol Morris' Tabloid stands as an almost giddy affirmation of the old cliche: Truth is stranger than fiction. Read more
James Berardinelli, ReelViews: The viewer is left with no clear indication of what really happened, but with a vibrant portrait of a compelling character. That's what Morris is after. Read more
Roger Ebert, Chicago Sun-Times: As is often the case with Morris, we can never be sure what he thinks, only that he wants to baffle us with the impenetrable strangeness of reality. Read more
Andrew O'Hehir, Salon.com: Another of Morris' alternately hilarious and disturbing inquiries into the slippery nature of truth. Read more
Mick LaSalle, San Francisco Chronicle: Morris is a storyteller of the highest order, and within seconds, he draws us into his subject, doling out details, making us wonder what will happen next and dropping bombs for maximum impact. Read more
Dana Stevens, Slate: Though the events Tabloid recounts took place in the pre-digital age, the film also functions as a kind of prehistory of modern celebrity culture and tabloid journalism. Read more
Colin Covert, Minneapolis Star Tribune: McKinney, a born performer, is in her glory as she spins her version of the affair. Read more
Joe Williams, St. Louis Post-Dispatch: "Tabloid" is tantalizing, but like yesterday's headlines, it's a fleeting flirtation. Read more
Alonso Duralde, TheWrap: While it makes for a compelling tale, the only thing that separates this from a segment on Inside Edition is Morris' whiz-bang skill as a documentarian. Read more
Trevor Johnston, Time Out: This is a lighter, less significant work than his 'Standard Operating Procedure' or 'The Fog of War', but it's engrossing and pleasingly slippery with the facts. Read more
Peter Debruge, Variety: Errol Morris' Tabloid is bonkers in all the best possible ways -- a welcome return to perverse portraiture after a lengthy sojourn in the realm of more serious-minded subjects. Read more
Aaron Hillis, Village Voice: A hilariously bonkers saga... a story whose twists are unthinkable. Read more
J. Hoberman, Village Voice: Absurd as it sounds, Joyce's conviction is not only convincing but contagious. So, too, is her elastic sense of reality-a 90-minute immersion in her world is enough to make you question your own. Read more
Michael O'Sullivan, Washington Post: For fans of Morris's work, which often grapples with the nature of truth and memory, it's a must-see film. Read more