39
Metascore
21 reviews · Provided by Metacritic.com
- 70VarietyKen EisnerVarietyKen EisnerThe helming debut of thesp Fisher Stevens, who mixes swell ensemble acting with eye-popping animation for a witch's brew of good sex, bad timing and very funny dialogue.
- 67Seattle Post-IntelligencerWilliam ArnoldSeattle Post-IntelligencerWilliam ArnoldFirst-time director Fisher Stevens has a flair for dialogue comedy, the film operates nicely off the element of surprise, and the large cast is solid -- especially Marisa Tomei, who in an extended cameo as a merry dominatrix rarely has been more convincing.
- 60The New York TimesStephen HoldenThe New York TimesStephen HoldenWhat elevates the movie above the run-of-the-mill singles blender is its surreal sense of humor and technological finish.
- 60The A.V. ClubScott TobiasThe A.V. ClubScott TobiasThe film's moralistic streak leaves a sour taste, especially because its battle of the sexes is so wildly off-balance.
- 42Portland OregonianKim MorganPortland OregonianKim MorganIts cool, glib observations, delivered by good-looking creative people who live like the cast of "Friends" gone cynical, becomes forced and often stupid. The film goes off the track enough to make for an interesting train wreck.
- 38Boston GlobeTy BurrBoston GlobeTy BurrIt's coherent, well shot, and tartly acted, but it wears you down like a dinner guest showing off his doctorate.
- 38New York Daily NewsJack MathewsNew York Daily NewsJack MathewsStevens, an actor taking charge from the other side of the camera, and writer and co-star Breen are going for a romantic black farce, a darkly noble idea, but one that requires far more empathetic characters and funnier situations than they've created.
- 30Washington PostWashington PostClumsily written and numbly performed comedy of yammers.
- 25San Francisco ChronicleSan Francisco ChronicleGets everything wrong, starting with a title that indicates a somewhat innocent romantic transgression.
- 25Chicago Sun-TimesRoger EbertChicago Sun-TimesRoger EbertThe movie seems to reinvent itself from moment to moment, darting between styles like a squirrel with too many nuts. There is one performance that works, sort of, and it is by Marisa Tomei,