AVClub: Most Charlie Kaufman movies are tricky to write about because they’re too certifiably insane to summarize—just trying to explain what happens in Being John Malkovich, Adaptation, or Synecdoche, New York can exhaust a hefty word count. Anomalisa, by contrast, is relatively simple, at least in concept. But that concept, which originated in a play Kaufman wrote for composer Carter Burwell’s Theater Of The New Ear some years ago, is best experienced tabula rasa, allowing its disorienting strangeness to sneak up on you. The film’s marketing campaign has been kept deliberately, even studiously vague, and violating its air of mundane mystery would arguably be doing potential viewers a disservice. If you’re a Kaufman fan, you definitely want to see Anomalisa, and are hereby advised to put off reading anything more about it (including the paragraphs that follow) until you do. Only the certifiably damaged—meaning Kaufman agnostics and/or people who habitually read the last chapter of a book first—should forge ahead now.