Metacritic-Rezensionen

A dippy, joyous meander of a movie, more than a little messy but abundantly rewarding.

The movie has so many other delights, though, that it's fun anyway. Maybe it wasn't exactly intended to be a love story.

It ambles along gracefully, picking up points for subtle detail; but its conventions belong to light comedy, and they overwhelm most of the complexities the director has devised.

The Coca-Cola Kid is of more interest for these oddball peripheral touches than for its awkward attempts at satire.

The mix of earthy symbolism, offbeat eroticism, the picaresque and the rough-and-tumble social, rather unpolitical satire now seems poured from a bottle that has been left uncapped overnight.

This is far from Makavejev's finest work (WR: MYSTERIES OF THE ORGANISM and SWEET MOVIE are much more challenging), but it is the film that has spread the director's political message to the widest audience.

Makavejev's ripping political/scatological wit isn't much in evidence, and the long middle section—involving Roberts's efforts to close down independent bottler Bill Kerr—is soggy and too familiar, but the film lives in a hundred different eccentric details and niceties of execution.

It claims to offer a new formula for comedy, but a lot of filmgoers will probably prefer the classic kind. [30 Aug 1985, p.N23]

As usual there are some incidental pleasures (among them a 'roo with its arm in a sling, and Scacchi continuing in her mission to spontaneously combust the male population of the planet). Against these, however, is a plot that goes AWOL in the interests of true love, and Roberts, as the kid from Coke, who is well on his way to becoming the world's worst actor.

The Coca-Cola Kid starts out as a lively satire of American business, posing a young Harvard MBA as a pin-striped cowboy attempting to claim a piece of the Australian outback for Coca-Cola. But Yugoslavian director Dusan Makavejev, like a ham-handed juggler in a high wind, thwarts his promising idea by tossing up a jumble of plot detours and subplots that never come down. [30 Aug 1985, p.B1]