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Comedy . Drama . Mystery . Music

A comedy about a young wannabe musician (Domhnall Gleeson) who discovers he has bitten off more than he can chew when he joins an eccentric pop band led by the mysterious and enigmatic Frank (Michael Fassbender).

Actors: François Civil , Hayley Derryberry , Scoot McNairy , Domhnall Gleeson , Maggie Gyllenhaal , Michael Fassbender , Tess Harper , Bruce McIntosh , Moira Brooker , Paul Butterworth , Phil Kingston
Directors: Lenny Abrahamson
Country: UK , IRELAND , USA
Release: 2014-09-05
More Info:
  • Rodrigo Perez

    This terrific and sublime experience, and strikingly original film, is mandatory watching for the adventurous viewer.

    The Playlist Full Review
  • Bill Goodykoontz

    Frank is a true original, a film that heads in one direction only to veer off in another, yet never loses sight of where it's going.

    Arizona Republic Full Review
  • John Anderson

    Frank is a genuine original in a summer sea of sameness, and a darkly comedic manifesto against the cultural status quo.

    Wall Street Journal Full Review
  • Amy Nicholson

    The masterstroke of Frank, the film ex-Sidebottom collaborator Jon Ronson has now co-written, is that this time the man in the mask is a modern Mozart. And, unsparingly, Ronson has written himself as the jealous goober who risks everything, with the delusion that he's the smart one.

    Village Voice Full Review
  • Michael Phillips

    A functioning, funny, weirdly touching fable of artistic angst and aspiration, a meditation on fame and its terrors and the metaphoric usefulness of masks and huge fake heads.

    Chicago Tribune Full Review
  • Steven Rea

    A delightful, oddball surprise.

    Philadelphia Inquirer Full Review
  • Peter Travers

    You're in for something funny, touching and vital. Director Lenny Abrahamson knows his way around eccentrics; just see "Adam & Paul" or "Garage" or "What Richard Did." And he makes an ideal guide into a bizarro world where music is made on the margins.

    Rolling Stone Full Review
  • Drew McWeeny

    Frank rides a really strange tone, and director Lenny Abrahamson deserves credit for how he manages to make the strange and the sad and the funny all feel like it's part of the same film.

    HitFix Full Review
  • Kenneth Turan

    Odd, offbeat, somehow endearing, the bleakly comic Frank has its own kind of charm as well as some pointed, poignant things to say about the mysterious nature of creativity, where it comes from and where it might all go.

    Los Angeles Times Full Review
  • Anthony Lane

    Best of all, we get to witness Fassbender at full tilt — to revel in that gaunt, El Greco mug of his, which, for all its handsomeness, betrays no sunny side, whether here or amid the shenanigans of “X-Men.”

    The New Yorker Full Review
  • Bilge Ebiri

    As playful as it is, Lenny Abrahamson’s film is mostly a surprisingly earnest story about the compromises and conflicts of art, stardom, and mental illness.

    New York Magazine (Vulture) Full Review
  • A.O. Scott

    Mr. Abrahamson’s main achievement, enabled by the sensitive and resourceful cast, is to find a tone that is funny without flippancy, sincere without turning to mush.

    The New York Times Full Review
  • Noel Murray

    Here’s a seemingly twee movie that ultimately, surprisingly argues that some music isn’t for everybody, some people are too broken to fix, and some would-be artists are better off in the audience.

    The Dissolve Full Review
  • Damon Wise

    Dreams of rock stardom become a warped reality in this barking-mad but affecting comedy about the side-effects of being a non-conformist genius.

    Empire Full Review
  • Henry Barnes

    For a film that champions talent that takes risks, Frank can sometimes feel a little too conventional. The real Sidebottom's wayward genius would be a hard fit for any story arc, but Frank does a good job of dipping into surrealism and pop in equal measure.

    The Guardian Full Review
  • Amber Wilkinson

    Off-beat and punk-spirited.

    The Telegraph Full Review
  • Peter Debruge

    Helmer Lenny Abrahamson (“Garage,” “Adam & Paul”) puts the pic’s eccentricity to good use, luring in skeptics with jokey surrealism and delivering them to a profoundly moving place.

    Variety Full Review
  • Ann Hornaday

    Beneath those puppet-headed antics, and true to its title, Frank is improbably, disarmingly honest.

    Washington Post Full Review
  • Brian Tallerico

    A film that is always interesting, largely thanks to an entirely committed cast and a writer willing to play with themes like a band improvising until it finds the right tune. There are a few off-key notes but the melody finally comes together. Full Review
  • A.A. Dowd

    Frank is never more endearing than when Fassbender has a mic to his mouth, spitting out the hilariously batshit lyrics of his “most likeable song ever,” or literally singing the praises of his cohorts during an affecting showstopper.

    The A.V. Club Full Review
  • Sara Stewart

    If Michael Fassbender wears a giant papier-mâché head for most of a film, is he still mesmerizing? Happily, yes.

    New York Post Full Review
  • Roger Moore

    Here’s an eccentric tragicomedy, with music, built to play like gangbusters at Austin’s South by Southwest music-movie fanboy/fangirl festival.

    McClatchy-Tribune News Service Full Review
  • R. Kurt Osenlund

    The film boldly raises the unanswerable question of whether it's better for an artist to safely isolate his work or tweak it a bit so as to share it with the world.

    Slant Magazine Full Review
  • Eric Kohn

    Though more in love with its silliness than the insights buried inside them, Frank works to amusingly irreverent effect when combining the two.

    indieWIRE Full Review
  • Dana Stevens

    Fassbender spending nearly an entire movie obscured by a giant fake head is such a had-me-at-hello idea that it’s disappointing that Frank never plumbs the fascinating questions it raises about performance, group dynamics, and mental health.

    Slate Full Review
  • Kimberley Jones

    Director Lenny Abrahamson establishes a twee tone early that renders tinny the transition into melancholy, and it’s a shame the film so clings to Jon’s perspective. The takeaway is as flat as Frank’s mask. Bemused smile, followed by deflated feeling.

    Austin Chronicle Full Review
  • John Semley

    Still: the Soronprfbs may be the best fake on-screen punk band since the Stains.

    The Globe and Mail (Toronto) Full Review
  • Ty Burr

    Walking a line between droll comedy and a darker, more unsettling drama that the filmmakers aren’t quite up to, Frank is an entertaining curio with flashes of inspiration. That’s also a pretty good description of Frank’s music.

    Boston Globe Full Review
  • Scott Bowles

    A clunky-if-earnest comedy about a literal band of misfits led by a singer who never takes off his mascot-size headgear. Ever.

    USA Today Full Review
  • Mike Scott

    Yes, that makes Frank weird, but it's the kind of weird I can't get enough of.

    New Orleans Times-Picayune Full Review
  • Daniel Green

    With Frank, Abrahamson cultivates a mystical hour of prog-based shenanigans before he - and his film - begin to lose their collective heads in a muddled final third.

    CineVue Full Review
  • Joshua Rothkopf

    If you'll pardon the cleverness, Frank takes time to wrap your own cranium around, faults and all, and that's a wonderful thing.

    Time Out New York Full Review
  • Todd McCarthy

    The mash-up of elements combine with a singularly unpleasant roster of characters to create a work of genuinely off-putting quirkiness.

    The Hollywood Reporter Full Review
  • Martin Tsai

    Despite the film's made-for-TV aesthetic and performances, Coley has saturated its backstory with vividly drawn details that make this convoluted saga wholly believable.

    Los Angeles Times Full Review
  • Frank Scheck

    Depicting the travails of an emotionally troubled Manhattan woman who returns to the remote Maine village of her childhood, Frank the Bastard doesn't reward the viewer's considerable investment of time and patience.

    The Hollywood Reporter Full Review
  • Andrew Barker

    Coley’s screenplay contains a few witty references and sharp one-liners, but they often work at cross-purposes with the overall narrative drive, drawing scenes out and stretching believability needlessly.

    Variety Full Review
  • Katherine Pushkar

    Why doesn’t Wendy Vanden Heuvel do more film? As Clair’s cranky cousin Alice, she does more acting with a smirk and a turtleneck than the rest of the cast combined.

    New York Daily News Full Review
  • Helen T. Verongos

    The indecipherable motivations and half-baked subtexts present formidable challenges to the cast and the audience.

    The New York Times Full Review
  • Aaron Hillis

    Overlong and slack in suspense, the film is most noteworthy for its patchy accents and the late Ellen Albertini Dow (the "rapping granny" from The Wedding Singer).

    Village Voice Full Review
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