Toni Erdmann is one of the most critically acclaimed movies of recent years (it's #363 on the They Shoot Pictures, Don't They list of the top 1000 films of all time, #13 on the 21st-century list). I can see why. It's a lengthy comedy with plenty of insightful character studies, some fine acting by Sandra Hüller and Peter Simonischek, and many unique scenes. The story of an eccentric father and his workaholic daughter is simple on the surface, but there is nothing simple about the approach of Maren Ade, who wrote and directed the film.
And yet, I had problems with it. I'm inclined to think the problem is in me. The father's attempts to move his daughter away from a work life he sees as strangling her are well-meant, and it's easy to root for the free-spirited father in his quest. The daughter certainly seems to dislike her life. But while his actions, most of which involve ridiculous fake teeth, are funny at first, ultimately for me, I started to side with the daughter. I didn't envy the pressures her job put on her, I thought she could use some relief, but her father's antics made me hate him. I ended up wishing he would leave her alone, which I'm sure isn't Ade's intended point. Your mileage may vary, of course ... like I said, critics loved it.