There’s plenty of laughs…THE ARCHITECT is a fun,light-hearted ride.
CLINTON STARK, STARK INSIDER
Parker Posey and Eric McCormackare note-perfect.
KEN EISNER, THE GEORGIA STRAIGHT
Parker Posey is a complete delight as Drew as she struggles to figure out what exactly she wants in a home, that would distinguish it from being just a house. Meanwhile, Eric McCormack brings a charming fastidiousness and efficiency to Colin that will please more than just fans of Will & Grace.
THE SEATTLE INTERNATIONAL FILM FESTIVAL
If you check out this entertaining film, make time for a drink or two afterwards because you will have plenty to discuss.
DANA GEE, VANCOUVER SUN
There is a magic and a commentary on relationships and how you make marriages work.
RIAZ MEGHJI, BREAKFAST TELEVISION VANCOUVER
Very very funny!
MARTIN STRONG, ROUNDHOUSE RADIO
This satiric pot-boiler stirs healthy controversy by poking fun at one of architecture’s most defining quandaries: the productive tension between artistic liberty and economic constraint.
THE ARCHITECTURE + DESIGN FILM FESTIVAL WINNIPEG
A comedy worthy of the best Woody Allen…(Untitled) wittily skewers the conventions and traditions of the avant-garde scene.
Jonathan Parker curates a collection of fictional artists, composers, and assorted New York scenesters in (this) very funny, tolerant satire of contemporary art and its discontents. The whole cast is museum quality and the “music” performances are pitch- perfect in their dissonance.
(Untitled) takes on the New York art and music world in one smart and funny swoop.
***** Five stars
“A very funny satire of the art world… A comedy of intelligence and wit with strong performances…A film of shrewdness and sophistication.
San Francisco Chronicle
Acutely witty … This brave little film deserves an audience… Ms. Shelton gives a bright screwball performance that recalls the young Diane Keaton.
The New York Times
Intelligent and provocative, (Untitled) is consistently surprising and funny without pandering for laughs.
A comedy surprise! …A simply terrific ensemble cast… This spoof on the state of contemporary art is full of bright actors and witty dialogue…
Box Office Magazine
A smart and funny satire of the contemporary New York art scene.
Rousingly funny…A gem of a movie.
The impressive aspect of Parker’s latest is an evident grasp and respect for what’s worthy and worthless in the fecund present-day scene…Marley Shelton, in a sparkling performance, superbly embodies the passions and raw ambitions of a young New York gallerist.
A charming, satirical poke at the ostensible contradictions regarding the state of modern art.
(Untitled) is a smart, funny film that looks at the world of contemporary art with enough edge to make it to make it credible and enough compassion to make it loveable.
New York Magazine
The best film of 2009! A mature and complete film about the perspective of art that resides in each of us, with a script that is like literature.
Mr. Parker has brilliantly updated his source and grasped its essence, composing a sorrowful and hilarious tone poem about alienated labor…Parker has done his job beautifully, using the literature of the past to make the present look as strange as it really is.
The New York Times
Jonathan Parker’s adaptation of ‘Bartleby, the Scrivener’ gets to you. Crispin Glover is an impressive Bartleby… The veterans who round out the cast provide the needed comic relief, especially Glenne Headly as the firm’s hyper-cordial secretary, a sexpot with flawless diction.
The New Yorker
…there is a kind of uncompromising, implacable simplicity to ‘Bartleby’ that inspires admiration.
A shrewd and effective film from a director who understands how to create and sustain a mood. Parker’s choice of angles and shots are consistently right psychologically (and) are informed by a real understanding of Melville’s story.
San Francisco Chronicle
…the old boy’s characters (are) more quick-witted than any English Lit major would have thought possible. Glover and Paymer prove to be an acting duo worthy of Beckett’s Waiting for Godot.
This movie kicks ass! It’s a genuinely funny picture with a great lead cast and supporting cast.
Ain’t It Cool News
Parker’s feature adapts Herman Melville’s eerie 1853 novella…with the kind of fidelity to mood and feeling that’s rare among movie adaptations of literary classics…David Paymer steals the show.” (Pick of the week)
Ambitious, deftly acted…
Paymer treads a fine line between amusing buffoonery and dead-serious befuddlement, between slow-simmering comic rage and profoundly fearful consternation, carrying off the juggling act seemingly effortlessly. Glover is everything the pic needs, and likely very close to what Melville had in mind.
There’s stroke of genius, and then there’s Stroke of Genius. Brilliant!
The Austin Chronicle
With a small budget and a brilliant team, director/co-writer Jonathan Parker has brought new relevance to Bartleby’s revolt, and converted an office sitcom format into a damning critique of the way many people spend their days.
Film Journal International
Crispin Glover’s strangeness is more than convincing–and aptly contextualized by an oddball showboat cast and a theremin-heavy score.
The Village Voice
Jonathan Parker dares to adapt Melville’s struggle of individual will, setting it in modern dress, and he succeeds stunningly in this hilarious yet deeply touching debut feature.
The Museum of Modern Art & Film Society of Lincoln Center
Smart, offbeat humor…Bartleby is hard to resist.
A darkly comic metaphor about an unspecified brand of existential horror…Stylish…dreamy, trippy…unsettling.
Imagine what might have happened if Dilbert cartoonist Scott Adams had collaborated with Herman Melville, and you have some idea what to expect from this odd but very funny office comedy.
Ft. Worth Star Telegram
This is surely one film that will become an indie cult classic in years to come
Brilliant ‘Bartleby’ (grade A). This indie gem sparkles. Intelligent and entertaining, clever on so many levels and ultimately posing powerful social questions.
Absolutely beguiling…as nerve racking and hilarious as David Lynch’s ‘Eraserhead.’
The Tucson Weekly
The neat thing about Jonathan Parker’s modern-day Bartleby is that it brings out all the vaudeville undercurrents in Melville’s dark tale and turns it into a surreal tragi-sitcom for our own era…One of the most gifted supporting players in Hollywood, Paymer at last has a chance to show that the determined squirt he usually plays doesn’t have to be smaller-than-life – that even an unimaginative bureaucrat can say to the universe, “Sir, I exist.
David Edelstein, NPR
“an off-kilter delight…perfectly eerie music…very humorous.”