Reviews provided by RottenTomatoes
New York Post:
A slightly artsy attempt to revive the teen slasher movie, "All the Boys Love Mandy Lane" drifts awkwardly between popcorn entertainment and angsty mood piece.
New York Observer:
Imbued with a sense of constant calamity that is never a surprise, the movie becomes the same slaughterhouse of cliches it pretends to poke fun at.
Not nearly thoughtful or incisive enough to subsist on thwarted expectations alone.
Despite moments of black comedy and some memorable images, this 'debut' doesn't offer a lot to love.
Levine has fun with the genre, but he's found more interesting movies to make since. "Mandy" isn't quite dandy, but it's a cut above average.
Los Angeles Times:
It doesn't reinvent the genre, but it is a strong addition to the canon of films that fuse teenage anxieties of the body and social interaction with blood-soaked storytelling.
Writer Jacob Forman takes the possessive male gaze to its violent extreme. Mandy isn't much of a character, and that's the point.
New York Daily News:
Despite early promise for a semi-interesting examination of teenage obsession, the film devolves into a standard, and not thrilling, body-count builder.
New York Times:
There's a slightly nasty twist to some of the violence, with an air of school shooter menace ultimately creeping in as the group's tormentor is revealed.
While some of the kills are sufficiently clever and gnarly, "Mandy Lane" is never particularly frightening. And the twist at the end raises the wee issue of character motivation-or lack thereof.
Globe and Mail:
Director Jonathan Levine's film displays an intelligence lacking in most teen slasher pics.
It's a time trip worth taking, with moody lensing and a suspenseful script (by Jacob Forman) that offers more than just the usual bloodbath.
For a film about the evils of peer pressure, this nonsensical thriller sure wants to play with the cool kids ...
A partly smart, mostly dumb addition to the teen horror sweepstakes -- smart in how it neatly catches the petty, hurtful, sexy and druggy aspects of high school life, dumb in how it makes absolutely no sense once its resolution is known.
Too dumb for the arthouse, but too smart for the mall multiplex, the movie satisfies, paradoxically, precisely because it doesn't deliver on expectations.