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“For those...who admire the films of John Cassavetes in theory but weary of them in execution, the trouble with his shaggy improv style is that of realism italicized, made overstated in its understatement. But time—or conversation, at least—may finally have caught up with him [in] Andrew Bujalski’s Funny Ha Ha...an ebullient sliver of a movie.”—Owen Gleiberman, Entertainment Weekly • “....Beautifully observant and wholly unpretentious with roots more in Cassavetes than Sundance style showbiz” — Robert Koehler, Variety • “....A film that dares to show life as it is really lived...” —Indiewire • “...A Slacker film for the 21st century.” — Filmmaker Magazine • “Funny Ha Ha is really a joy... You see clichéd phrases like ‘a genuine original’ and ‘an unforgettable delight’ in movie ads every week. Much of the time, this lavish praise only cheats the few films that actually deserve it. For example, films like Andrew Bujalski’s charming comedy, which happens to be ... well, see above.”—Elizabeth Weitzman, New York Daily News • “With her hunched adolescent posture, her eager smile, and her halo of niceness, Dollenmayer is lovely, vulnerable, genuine...Women in the audience will slip easily into Marnie’s sneakers...Bujalski and Dollenmayer have a bright future.”—Kyle Smith, New York Post • “Bujalski takes a sledgehammer to the carefully ordered surfaces and dramatic conventions of narrative cinema, favoring instead an unpredictability in which the crosscurrents of quotidian life collide on the screen in a series of brilliantly alive patterns. This isn’t improvisation, but rather an adroitly achieved randomness—the perfect syntax for a generation- defining work about a generation marked by its very lack of definition.”—Scott Foundas, LA Weekly • “I’ve been hoping for two years that people who don’t write about movies or stalk them at film festivals would get to experience the wonderful vagaries of Andrew Bujalski’s Funny Ha Ha...[The film] is a smartly observed, unpretentious, and unconventional comedy of manners... Bujalski’s is one of the first movies to put such sensitive and true characters on screen in all their imperfections. He deserves a good, long career...to ignore him is to ignore the stammering voice of a generation.”—Wesley Morris, Boston Globe