John Ruhl’s review published on Letterboxd:
Admittedly uneven, with a montage sequence that feels completely out of a different film and seems all too eager to make you cringe (and not in an intentional way). However, most of the film’s uneven attributes feel intentional enough that they all wonderfully add up and work as a premeditated method in keeping the audience off guard in its sensory-heightened, almost alternately Hell-ish reality.
The black comedy, so venomous in its wistful hatefulness, is so on target that it causes you to become immensely uncomfortable once the initial laugh subsides. Uncomfortable is the mantra of the film, and I really can’t stress just how off guard the ending caught me with its shocking turn into immense darkness that would make Michael Haneke shutter a bit (ok maybe that's a hyperbole, as nothing would shock that insane old bat, and that's a compliment).
This movie takes so many chances that most other satires like this don’t, and I do very much think that the Cinemascore for this would’ve been abysmal. This is ultimately an astonishing and haunting film that in spite of its flaws manages to pull through with the force of a lethal sucker-punch. The movie rattles.