It's hard to empathize with the family in the indie drama Every Day when each member is so sitcom-ready.
Lisa Schwarzbaum - Entertainment Weekly
Very well written and acted, Every Day feels like a glorified television drama softened with comic and surreal trimmings, with a mildly upbeat ending appended.
Stephen Holden - New York Times
What distinguishes Levine's film from, say, last year's similarly themed (and irredeemable) Happy Tears is his cast -- and not just reliable vets like Schreiber.
Melissa Anderson - Village Voice
Real life isn't choreographed for maximum impact, it's messy and unpredictable. At its best, so is "Every Day."
Elizabeth Weitzman - New York Daily News
Every Day is too relentlessly depressing to recommend to the everyday audience. It seems to be on automatic pilot. Horrible, sad things keep happening, but it just goes on.
Rex Reed - New York Observer
Ace thesps struggle to lift this dour indie out of the doldrums, but writer-director Richard Levine allows them no breathing room.
Ronnie Scheib - Variety
A 42-minute TV soap has more story than this limp and familiar tale of domestic woe.
Kyle Smith - New York Post
For all its contemporary social relevance and the fine performances from an excellent ensemble, the cliched characters and situations on display in Every Day ultimately detractt from its impact.
Frank Scheck - Hollywood Reporter
What makes this intriguing, yet woefully uneven film so relatable is that there is nothing about Ned's experience that seems extreme.
Betsy Sharkey - Los Angeles Times
The problem with Every Day is that it doesn't take a third major element into account in the film/audience relationship equation: complete apathy.
Landon Palmer - Film School Rejects
I just don't buy any recovery in this film.
Kevin Carr - 7M Pictures
Brent Simon - Shared Darkness
There's something oddly remote about Every Day, which plays like a double-wide version of a perfectly acceptable Showtime pilot. [Blu-ray]
Peter Canavese - Groucho Reviews
...wears out its welcome long before the end credits roll...
David Nusair - Reel Film Reviews
Seems like a first draft that piles up the characters and their issues without assembling them into a dramatic whole. Someone was in a rush to get the cameras rolling.
Jules Brenner - Cinema Signals
Writer-Director Richard Levine was one of the minds behind Nip/Tuck, so it's not surprising that his debut feature film is branded with the television medium's worst impulses.
Glenn Heath Jr. - Slant Magazine
There are sharp moments throughout.
Peter Rainer - Christian Science Monitor
Complicated relationships fail to enliven grown-up drama.
S. Jhoanna Robledo - Common Sense Media
Low-suds soap opera about the trendy "sandwich generation" travails of a hip, well-off New York family.
Shirley Sealy - Film Journal International
A film of pleasantly half-sketched domestic noodling that comes across as inconsequential because it never really tries to bring substantive conflict to the fore.
Brent Simon - Screen International
Auds will be wise to the contrived metaphors and realize there's not much going on below the surface except stock discourse.
Matthew Nestel - Boxoffice Magazine
An unrelentingly depressing drama about a family drenched in disappointment, despair, anger, and loneliness.
Frederic and Mary Ann Brussat - Spirituality and Practice
It's a recognizable situation that should be easy to sympathize with. Yet the movie makes it hard for most of us to recognize ourselves in this couple or sympathize with their struggles.
Stephen Whitty - Newark Star-Ledger
Swims in mock profundity and has the feel of a movie made specifically for a forgiving festival audience.
Marshall Fine - Hollywood & Fine
Levine didn't need hysterics to find an appropriate ending, with the established atmosphere of chaos and regret interesting enough to carry matters all the way to the final frame.
Brian Orndorf - BrianOrndorf.com
Schreiber approaches the role with a seriousness that lacks joy or any other colorful inflection, as if every second of his character's life, even the pleasurable ones, is weighing on him like an albatross.
Scott Tobias - AV Club
Shreiber and Hunt impart an aching reality to their every line. And Miller is a revelation as the gay teen who's trying to develop a sexual identity before he is actually ready to have sex.
Brandon Judell - New York Theatre Wire
Hunt and Dennehy rise to it, investing their exchanges - which at their best are unexceptional and yet exquisitely painful - with lifetimes of regret and ambivalence.
Michelle Orange - Movieline
Every Day is like any day; there's really nothing special about it, but it does emulate the value of seeing a nice movie for sheer enjoyment.
Perri Nemiroff - CinemaBlend.com
An uneven look at modern family in crisis. Stay awake during the slow stretches, the good footage is worth it.
Ron Wilkinson - Monsters and Critics