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Allison Benedikt, Chicago Tribune: Very personal, very funny vision of performance artist Miranda July. Read more
Moira MacDonald, Seattle Times: July's oddball vision grows on you, and I found myself looking forward to her next film. Read more
Ruthe Stein, San Francisco Chronicle: Totally original yet filled with familiar human frailties, Everyone leaps off the screen to become one of those rare movie-going experiences that linger in the part of the brain reserved for celluloid memories. Read more
Richard Roeper, Ebert & Roeper: A wonderful film Read more
Eleanor Ringel Gillespie, Atlanta Journal-Constitution: July, who also wrote the script, is a keenly observant filmmaker. Read more
Richard Nilsen, Arizona Republic: One leaves the theater grateful to have shared the time with these characters on-screen, but hoping we won't meet them in the lobby. Read more
Ty Burr, Boston Globe: Set in a down-at-the-heels suburb that might be called Anywhere, America, the movie looks for connection in the oddest places, and, with an emotional impact out of all proportion to its gossamer touch, finds it. Read more
Carina Chocano, Los Angeles Times: Gorgeously loopy. Read more
Jonathan Rosenbaum, Chicago Reader: July's tender view of these characters borders on the sentimental. Read more
Lisa Kennedy, Denver Post: First-time feature director July's success has a great deal to do with her bold embrace of childhood and its gnarly truths. Read more
Lisa Schwarzbaum, Entertainment Weekly: July's handmade movie is so unique and so true to the artist's elementally feminine self, both in form and in content (it also picked up a batch of awards at Cannes), that it's impossible not to respond strongly to it. Read more
Chris Vognar, Dallas Morning News: It's a sturdy piece of writing wed to an utterly unique visual style. Read more
Scott Foundas, L.A. Weekly: Me and You and Everyone We Know brings a fresh perspective to age-old human dilemmas: the longing of children to become adults, the yearning of adults to recapture the innocence of youth, and the difficulty of finding true love at age 7 or 70. Read more
Lisa Rose, Newark Star-Ledger: The debut film from performance art crossover Miranda July delivers an unlikely blend of irreverence and optimism. For all its dark humor and fringe qualities, the movie never descends into easy misanthropy. Read more
David Edelstein, NPR's Fresh Air: The acting is marvelous, all the way down the line. Read more
Jack Mathews, New York Daily News: A vanity project by a moderately talented artist that has moments of real brilliance in it. Read more
A.O. Scott, New York Times: While Miranda July's first feature film might be classified as romantic comedy, it introduces the playful qualities of installation art to the conventions of narrative cinema. Read more
Roger Moore, Orlando Sentinel: Here's a perfectly twee little romance all but smothered in a blanket of indie 'edge.' Read more
James Berardinelli, ReelViews: Truly independent, which is to say offbeat, daring, and the kind of offering Hollywood will never come close to embracing. Read more
Roger Ebert, Chicago Sun-Times: Miranda July's Me and You and Everyone We Know is a film that with quiet confidence creates a fragile magic. Read more
Jeff Strickler, Minneapolis Star Tribune: July is a delightful discovery, as both a filmmaker and a performer. Read more
Leah McLaren, Globe and Mail: July is without a doubt a brave new talent in the creatively beleaguered world of American cinema. Read more
Susan Walker, Toronto Star: These characters are sympathetic. Read more
Mike Clark, USA Today: Commercially, this IFC release is better suited for the IFC Channel. Read more
Scott Foundas, Variety: Me and You and Everyone We Know brings a fresh perspective to age-old human dilemmas: the longing of children to become adults, the yearning of adults to recapture the innocence of youth, and the difficulty of finding true love at age 7 or 70. Read more
Jessica Winter, Village Voice: The film conjures a heightened reality where characters verbalize their thoughts, desires, and impulses without submitting them to the usual filters first; July takes in their foibles unblinkingly and folds them into an awkward, heartfelt embrace. Read more
Desson Thomson, Washington Post: Hums with compassion for its outlandish, lonely but always sweet characters. Read more
Ann Hornaday, Washington Post: Delightfully light on its feet, suffused with a knowing humor that is more sweetly careworn than cynical. Read more