Everyday

Slant Magazine by

While the film charts its protagonist's gradual progression toward a renewed sense of agency and freedom, it rarely indulges in lengthy or even linear narrative arcs.

Village Voice by Alan Scherstuhl

Michael Winterbottom's wise and involving Everyday specializes in unscripted-feeling moments that ache of life.

Time Out London by Dave Calhoun

The unusually extended shooting period and Winterbottom’s decision to cast siblings as the kids make for a strangely intimate and powerful depiction of time passing and the peaks and troughs of childhood.

Time Out by David Fear

Even with the actors’ laudable work—especially Simm, who finally shakes off the notion that he’s a poor man’s Simon Pegg—there’s not enough going on past the temporal trick to make the humanistic elements pop. Gimmick aside, the title is regrettably apropos.

The A.V. Club by Mike D'Angelo

Movies don’t necessarily have to tell stories, but if narrative is eschewed in favor of an unvarnished portrait of ordinary life, it’s best to cheat a little and make ordinary life feel extraordinary. Michael Winterbottom’s Everyday refuses to stoop to such measures; for better and for worse — mostly for worse — it sticks to the mundane promise of its title.

The Guardian by Peter Bradshaw

A valuable, meticulously observed and wonderfully acted social-realist feature about a family under pressure.

Variety by Peter Debruge

As the years go by and the kids grow — perhaps the only real benefit of Winterbottom’s approach — time begins to run together, making it all too easy for the mind to wander.

The Telegraph by Robbie Collin

For all its innovativeness, Everyday has the rhythms and intrigue of a not-very-interesting family’s Christmas letters.

The Hollywood Reporter by Todd McCarthy

An admirable idea in theory proves to be a real slog to sit through in Everyday.