The New York Times by Ben Kenigsberg
This derivative comedy, in addition to not being particularly funny, gives off a sense of telling us more than we needed to know.
France, United States · 2014
1h 29m
Director Simon Helberg, Jocelyn Towne
Starring Simon Helberg, Melanie Lynskey, Maggie Grace, Zachary Quinto
Genre Comedy, Romance
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Quinn, a neurotic man, is diagnosed with a harmless eye condition and soon after his life spirals out of control. He second-guesses his plans to propose to his longtime girlfriend, Devon, after his beautiful coworker, Kelsey, confesses that she has a crush on him. After a conversation with his best friend, Jameson, he clumsily tries to explain his doubts to Devon, but his possible proposal turns into a break-up. When Devon flees to Paris, he follows her in a last-ditch effort to win back "the one."
The New York Times by Ben Kenigsberg
This derivative comedy, in addition to not being particularly funny, gives off a sense of telling us more than we needed to know.
It works, mostly, thanks to Helberg’s committed, vanity-free performance, and to the bubbly chemistry between him and the luminous Melanie Lynskey as Devon, his first and only love.
New York Daily News by Elizabeth Weitzman
The danger in writing, directing, producing and casting yourself in the same movie is that there’s no one to pull you back from the cliff. Simon Helberg (“The Big Bang Theory”) did co-direct this grating vanity affair with his wife, Jocelyn Towne, but neither seems to realize how misguided it is at every step.
Los Angeles Times by Gary Goldstein
Although Quinn may strike some viewers as more annoying narcissist than self-deprecating charmer, he's a vivid creation.
The Hollywood Reporter by John DeFore
Lynskey's performance is sympathetic, but the movie doesn't fully convince us in its dramatization of her responses to Quinn's large and small blunders.
A sporadically amusing, more often grating romantic comedy.
The Playlist by Kevin Jagernauth
This film requires so many leaps of faith and suspensions of disbelief that you might develop acrophobia.
Throughout, Helberg's awkward-anxious routine proves insufferable, and it's made no more tolerable by supporting turns from Zachary Quinto, Alfred Molina, and Judith Light, who are given so little to do that their presence in this mess feels downright cruel to both them and us.
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