Reviews provided by RottenTomatoes
The movie's message is that the way to face impeding maturity is to embrace your inner teen idiot.
Be assured you already know exactly what lies within here. That's what makes the picture so comforting. No surprises.
It's got some pretty good jokes, too. OK, maybe they aren't that good, but they're performed with excellent timing.
New York Times:
It has some good moments, but it goes on too long, and not enough happens that is likely to create new memories.
Filled with more characters and subplots than Middlemarch, American Reunion has a lot of business to attend to, and takes its time getting it done, working through a checklist of items from previous films in the process.
It's sort of like visiting your hometown and running into that kid you kind of, sort of knew in high school. You weren't asking for an update, but it's pleasant enough to get one.
"American Reunion" relies on cliches about nostalgia, forced tension over strained friendships and melodrama about the rekindling of first loves.
Just to be clear: 13 is how many years have passed since the first film. It's also a number that's such bad news that elevators skip it all together.
Every other line, it seems, refers to "back in the day" or "wasn't this more fun when we were younger?" or how "old" they're feeling. You'd think this was a remake of "Cocoon."
Yes, American Reunion is a juvenile outing. They steal jet skis and defecate in beer coolers. They cheat on their girlfriends and lie to their best friends. But what did you expect?
As it turns out, the recipe has been updated, and what once seemed like fatally warmed-over Pie tastes new again.
Being pantsless in the kitchen isn't quite as endearing for a thirtysomething dad, and kicking the joke up a notch with frontal nudity -- updating it for the Apatow age -- just emphasizes how old this franchise is.
San Jose Mercury News:
A mediocre and all-too obvious sequel that utterly fails to recapture the youthful spark of its original.
The movie never overcomes the feeling that it is - above all else - an attempt to wring a few more dollars out from a once-profitable franchise.
In the end, "American Reunion" even gets away with its sequel-baiting closing line: "Till next time!"
None of it makes much of an impression, although there are a few nice and surprisingly heartfelt moments around the edges.
New York Daily News:
Doesn't provide the generational high producers thought it would; this isn't exactly the cast of "American Graffiti."
New York Post:
Overall, the level of wit and invention from writer-directors Jon Hurwitz and Hayden Schlossberg is well below their scripts for the three "Harold and Kumar" movies.
American Reunion tries to use nudity, sex, and fecal matter to generate laughter, but the jokes are tired and predictable.
American Reunion reminds us what we liked about the original: the way the movie sweetened its raunch to build a rooting interest in these characters.
St. Louis Post-Dispatch:
The split of hormonal sleaze to cornball sap is still about 50/50, yet like a chance meeting with an old love, it doesn't produce the expected magic.
Bad enough that the film is smutty and that most of the female characters are either bores or bitches, but there are almost no laughs, save what Scott valiantly squeezes out of Stifler's antics.
Outside of porn, there has never been a movie with so many shots of grown men eyeing teenage girls' backsides. The result is fitfully amusing but more often just creepy.
Millennial nostalgia still feels mighty weird-and not quite the stuff of comedy-in this latest, half-limp sequel to American Pie.
American Reunion, remarkably, might just be the funniest issue yet from the American Pie franchise factory.
A strained, relentless quest for gross-out humor and outlandish sexual escapades.
While it's poignant seeing the whole gang again, the tired gross-out antics and limp romantic reprisals keep this hapless if heartfelt effort from qualifying as a decent comedy, let alone a generational classic.
Taken altogether, the Pie movies offer a cohesive worldview, showing each of life's stages as the setting for fresh-yet-familiar catastrophes, relieved by a belief in sex, however ridiculous it might look, as a restorative force.
An aggressively crass - and not especially funny - trip down memory lane, an attempt to recapture the sweetly ribald magic of the earlier film.