This overly long movie, made sluggish by a superfluously novelistic narrator, feels divided against itself, driven by opposed impulses of tragedy and dark humor that make it impossible for us to identify with these lost souls' break for freedom or wait for them to grow up.
David EdelsteinNew York Magazine (Vulture)
An unusually powerful mess, a broad satire of suburban self-indulgence with little in the way of a consistent style, and with a character who's serious business: a convicted child molester.
It's an unholy mess, simultaneously too Gothic and too sarcastic, that preaches liberation and delivers only puritanism. It's a craftsmanlike but robotic imitation of "interesting" filmmaking, only in patches, and by accident, the real thing.