Metacritic reviews

De Niro gives a miraculous character performance, much different from the intense brooding loners for which he is renowned. He seems to disappear into this oddball, somewhat repulsive, but ultimately rather touching character. Sandra Bernhard, in her film debut, is nearly as memorable as Rupert's outrageous partner in crime.

This film about the cult of celebrity in America strikes me as a uniquely intelligent ironic masterpiece – though, witty as it is, it isn’t a comedy, despite what the title and the casting of Jerry Lewis might lead you to expect.

The King of Comedy, which Film Forum is presenting in a new 4K restoration for a week-long run, brilliantly keeps viewers unmoored, the result of its consistently off-kilter tone. Though filled with sight gags and corny jokes, the movie is also darkened by genuine menace.

Scorsese infuses this tale with the passionate energy of New York street life and wonder at the powerful workings of show business and studio craft. Yet his main subject is the ineffable factor of genius, which Jerry has, Rupert lacks, and no desire or effort can replace.

It would be difficult to describe Martin Scorsese's fine new film, The King of Comedy, as an absolute joy. It's very funny, and it ends on a high note that was, for me, both a total surprise and completely satisfying. Yet it's also bristly, sometimes manic to the edge of lunacy and, along the way, terrifying.

The King of Comedy is not, you may already have guessed, a fun movie. It is also not a bad movie. It is frustrating to watch, unpleasant to remember, and, in its own way, quite effective.

You feel for the first time that Scorsese is trying to distance himself from his characters—that he finds them grotesque. The uncenteredness of the film is irritating, though it's irritating in an ambitious, risk-taking way. You'd better see for yourself.

Scorses's skill as a scene-maker are fully evident and Lewis' quietly rageful performance offers to out-do De Niro in intensity, but neither funny enough to be an effective black comedy nor scary enough to capitalise on its thriller/horror elements, The King Of Comedy sits awkwardly between the two.

The King of Comedy is a royal disappointment. To be sure, Robert De Niro turns in another virtuoso performance for Martin Scorsese, just as in their four previous efforts. But once again – and even more so – they come up with a character that it’s hard to spend time with. Even worse, the characters – in fact, all the characters – stand for nothing.

King of Comedy aggravates the problem it's supposed to illuminate. Far from clarifying the nature of a creepy social pathology, the movie assumes an attitude of smug, unjustified superiority toward every character in sight and the cockeyed spectacle of pop culture in general.