Opiniões dos críticos

For a director who’s long professed his allergy to seriousness... The Second Act strains for relevance to a degree none of his previous efforts did. Perhaps that’s why, fitfully entertaining as it [is], it also [feels] more contrived than any of its predecessors.

Not every joke hits the target, and not every thematic tangent is fruitfully explored, but a stellar cast and lively pacing lend comic force to even the weaker lines... One of the madcap French maverick’s most substantial and reflective works to date.

[The Second Act] can feel a touch contrived, even on-the-nose, but there is more than enough quiet confidence and seasoned quality in performances and filmmaking to stick the landing.

[A] cheerfully mischievous, unrepentantly facetious fourth-wall-badgering sketch... It’s an amusing piece of mischief on Dupieux’s part... Perhaps there is nothing much to The Second Act, but the soufflé of self-awareness rises tastily enough.

For all the star-power and self-aware winks... the film lacks the same go-for-broke invention found in recent career highs like “Daaaaaalí!” and “Incredible but True.” If actors’ egos and on-set doldrums are ripe subjects for satire, they may not be enough to carry a paltry 73 minute film.

Alas, breaking the fourth wall is hardly new... with “The Second Act,” it’s astonishing how long it takes the strategy to get laughs... Oddly enough, considering the film’s tight running time, practically every scene overstays its welcome.

Not only is the script cleverly written, but the cinematography, including four epically long tracking shots, and the editing, which times all the jokes perfectly, are well-mastered. The fact that Dupieux did all of this by himself definitely merits some kudos.

Ultimately, Dupieux’s doodle is less humorous than it is despairing, lamenting the glory of cinema being assaulted on all sides... But one wishes this provocateur could have constructed a better provocation. His film about cinema’s paucity of new ideas is, disappointingly, lacking in that very regard.

One of several offerings in [the director's] filmography where the overall joke feels beaten to death. However, an impressively persevering cast and some impressive flourishes (at least more than usual) in Dupieux’s cinematography are worthy of note.