Nymphomaniac: Volume I
David Edelstein(Vulture): It's one as well as the other dumber and more entertaining than anyone had a erect to expect.
Scott Foundas(Variety): A ferociously entertaining experience in which one finds von Trier at the top of his craft, linking together ideas here and there female sexuality, fly-fishing and showing skill in applying the principles of beauty creation with equal amounts of playfulness and mental rigor.
Amy Nicholson(L.A. Weekly): Factually, it's whole to assume most audiences will learn to a greater degree about fly fishing than fucking.
Todd McCarthy(Hollywood Reporter): This smorgasbord of communication and sex constitutes a very replete meal.
Peter Debruge(Variety): Racy subject away, the film provides a good-humored over and above serious-minded look at sexual self-liberation, thick with references to art, score, religion and literature …
Dave Calhoun(Time Out): Chaotic and not especially neat, it has more of the punkish, thorough-going spirit of The Idiots or Dogville than the varnish or contained drama of Antichrist.
Simon Foster(Screen-Space): [Von Trier's] script is pungent and the images confronting, but it is a more distant less ambitious or important work than Antichrist or his be unconsumed love/hate vision, Melancholia.
Cole Smithey(ColeSmithey.com): Nymph()insane is a sly piece of anti-draggletail-shaming cinema aimed at demystifying belonging to carnal desire. While the film is fiercely pornographic, it does not image pornography per se.
Roger Moore(McClatchy-Tribune News Service): Like every homage to the golden age of arty porn, "The Story of O," et al. And every bit as dull.
Sam Woolf(We Got This Covered): Through its in the beginning half, Nymphomaniac looks to be a darkly sportive, and refreshingly blunt odyssey of ribaldry and self-loathing.
Jennie Kermode(Eye as antidote to Film): It's a pellicle that goes out of its distance to provoke and disappoint, but to those who ~ by heart its jokes and can cope with the rest, it's a gladness.
Donald Clarke(Irish Times): At ages, Nymphomaniac does come across like the "readers' wives" section of a particularly naive semiotics daily register.
Alistair Harkness(Scotsman): Like two-year-antiquated Joe in the film, von Trier is a toddler discovering his confidential parts, flashing willies, bums and vaginas at us – the couple literally and figuratively – in the faith that we'll either be outraged, bored or both.
Mark Kermode(Observer [UK]): With its wildly absurdist obscenities, fearlessly saucy performances and wilfully indulgent lack of construction, Nymphomaniac provokes the now familiar harmony of sighs, gasps and laughs.
Ed Whitfield(The Ooh Tray): Shia and f***ing, signifying inexistence.
Geoffrey Macnab(Independent): Brilliant but frustrating by turns.
Ryan Gilbey(New Statesman): For every moment of flippancy, there is something correspondingly very great and full-blooded.
Joe Utichi(IGN Movies): Von Trier one time more upsets his doubters, by delivering a film that's at turns comical and frank, and that prods and pokes at the streak without ever needing to cross it.
Virginie Svy(Electric Sheep): Astonishing, energising and exciting, Nymphomaniac is a valiant film made by a man by a tremendous lust for life in totality its cruelty, absurdity and richness.
David Sexton(This is London): Even taken in the character of it turns boring, the film is not outside of power.
Mark Adams(Daily Mirror [UK]): Will you have ~ing shocked, outraged, titillated? No, just bored.
Rich Cline(Contactmusic.com): At four hours in extent, this drama is as confrontational like anything we've seen by Lars von Trier (Melancholia), but it's likewise perhaps his most humane and hopeful thin skin yet.
Brian Viner(Daily Mail [UK]): Thank heavens in that place isn't a volume three.
Robbie Collin(Daily Telegraph): It's earnestly not to pine for the days at what time you could emerge from a Lars von Trier thin skin angry about something other than Lars von Trier.
Nigel Andrews(Financial Times): By the period of four hours the concept "picaresque" has been serially used and abused, plenteous like the film's supremely courageous woman. There's a vision in the present life, even so, that shapes the pellicle's prolix, promiscuous ends.