51
Metascore
11 reviews · Provided by Metacritic.com
- The Favor is a frisky, frank and funny female-buddy film - as if "Thelma and Louise" had stayed in the suburbs, making girl-talk about sex and satisfaction, married vs. single.
- 70The New York TimesJanet MaslinThe New York TimesJanet MaslinThe Favor remains funny and credible in ways that prove feminist comedy is not an oxymoron.
- 70Los Angeles TimesKevin ThomasLos Angeles TimesKevin ThomasThe Favor is a pleasant romantic comedy, aimed at thirtysomethings and younger, and it affords solid roles for Harley Jane Kozak and Elizabeth McGovern. [29 Apr 1994]
- 67Austin ChronicleAustin ChronicleWriters Sara Pariott & Josann McGibbon and director Donald Petrie know how life is lived - tending to details - and have packed the film with them, such that it almost works as a slice of suburban life.
- 63ReelViewsJames BerardinelliReelViewsJames BerardinelliThe movie is still a little rough around the edges, featuring its share of scenes that, for one reason or another, don't work, but the overall effect is one of pleasant entertainment.
- 50Chicago Sun-TimesRoger EbertChicago Sun-TimesRoger EbertThe screenplay, by Sara Parriott and Josann McGibbon, has a good feel for female best-friend relationships, and the dialogue has life and edge to it.
- 50Portland OregonianPortland OregonianWhen all is said and done, The Favor is just another comedy about comfortable yuppies wondering what they might have done differently, dipping a toe in adventure, then returning to the cocoon of yuppie comfort. [03 May 1994]
- 50San Francisco ChronicleMick LaSalleSan Francisco ChronicleMick LaSalleThe movie is never much more than fluff. But, like director Donald Petrie's previous film, "Grumpy Old Men," it has an honest core that enables it to keep its balance. [29 Apr 1994]
- 38Chicago TribuneMichael WilmingtonChicago TribuneMichael WilmingtonThe Favor is a sex comedy without sex-and pretty much without comedy. [29 Apr 1994]
- 30VarietyLeonard KladyVarietyLeonard KladyThe direction and technical elements are obvious, bright and vapid, while the performers struggle against staggering odds to provide nuance.