58
Metascore
11 reviews · Provided by Metacritic.com
- 80Los Angeles TimesSheila BensonLos Angeles TimesSheila BensonA dippy, joyous meander of a movie, more than a little messy but abundantly rewarding.
- 75Chicago Sun-TimesRoger EbertChicago Sun-TimesRoger EbertThe 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.
- 60The New York TimesJanet MaslinThe New York TimesJanet MaslinThe Coca-Cola Kid is of more interest for these oddball peripheral touches than for its awkward attempts at satire.
- 60TV Guide MagazineTV Guide MagazineThis 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.
- 50Chicago ReaderDave KehrChicago ReaderDave KehrMakavejev'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.
- 50Washington PostRita KempleyWashington PostRita KempleyIt claims to offer a new formula for comedy, but a lot of filmgoers will probably prefer the classic kind. [30 Aug 1985, p.N23]
- 40Time OutTime OutAs 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.
- 40Washington PostWashington PostThe 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]