30
Metascore
10 reviews · Provided by Metacritic.com
- 50TV Guide MagazineMaitland McDonaghTV Guide MagazineMaitland McDonaghThe soundtrack, which ranges from Johnny Cash to Serge Gainsbourg to the Wu-Tang Clan, is admirably eclectic but can't be said to pull things together.
- 50New York PostLou LumenickNew York PostLou LumenickSeriously flawed - and choppily edited in the worst Harvey Scissorhands style - but there are enough good moments to anticipate a second film from writer-director Katrina Holden Bronson, whose parents were Charles Bronson and Jill Ireland.
- 40The Hollywood ReporterSheri LindenThe Hollywood ReporterSheri LindenAims for whimsy and poignancy and mostly comes up empty.
- 40VarietyRobert KoehlerVarietyRobert KoehlerA string of scenes in search of a movie.
- 40Village VoiceBenjamin StrongVillage VoiceBenjamin StrongDaltry Calhoun (Johnny Knoxville) urges you to "get high on grass--the legal kind." But to find anything funny in director Katrina Holden Bronson's debut, you're going to want the illegal kind.
- Although the film starts off somewhat amusingly, the first-time feature director Katrina Holden Bronson (who also wrote the unbalanced script) seems to have spent more energy assembling the overbearing soundtrack than expanding on her characters' fractured relationships.
- 30L.A. WeeklyMark OlsenL.A. WeeklyMark OlsenTraub does her plucky best, coming off as part Judy Blume heroine, part post-WB hipster, and she provides the film with its few and infrequent moments of emotional truth.
- 30Los Angeles TimesKevin CrustLos Angeles TimesKevin CrustIn the parlance of "The Player," Katrina Holden Bronson's Daltry Calhoun would be pitched as "Because of Winn-Dixie" meets "Napoleon Dynamite," and that is definitely not a good thing.
- 25New York Daily NewsJami BernardNew York Daily NewsJami BernardA weird, unpleasant little movie.
- 20Austin ChronicleMarc SavlovAustin ChronicleMarc SavlovDaltry Calhoun's saving grace comes in the form of a snappy compilation soundtrack that spans from Johnny Cash to Serge Gainsbourg, a feat of all-inclusiveness that renders the film a moot point at best.