Critic Reviews

There are some who have complained that C.O.G. ends too abruptly, but it has the bracing, devastating punctuation of a fine short story.

The curious thing about C.O.G is that it doesn't play like a straightforward adaptation. Much of the mood comes from ingredients that have nothing to do with story or dialogue.

C.O.G. is probably of the most interest to Sedaris fans curious to see how the humorist’s unique tone translates to film (the answer is moderately well).

The source material may be David Sedaris (this marks the first time the essayist has allowed one of his pieces to be adapted), but the tone couldn’t be more Kyle Patrick Alvarez, who once again steers auds to some gloriously uncomfortable places.

The wonderfully sad, exhilarating ending proves this filmmaker knew exactly where he was headed the entire time.

Deft director Kyle Patrick Alvarez concocts a subtle brew of sexuality, religion and class that goes down easily, even as the world around Samuel sometimes leaves a bitter taste.

People going to C.O.G. expecting a re-creation of one of Sedaris's reliably uproarious readings of his own material will be disappointed. People who approach it as a film in its own right, with its own rhythms and goals and pleasures, will be amply rewarded.

The film strikes a fine balance between hilarity and heartbreak.

As a standalone feature, it feels like there’s not quite enough there.

Modest and good-looking, the film starts as dark comedy and ends in pathos. Director Alvarez makes the Oregon scenery a character unto itself.