52
Metascore
24 reviews · Provided by Metacritic.com
- 75Boston GlobeTy BurrBoston GlobeTy BurrWhat separates the good teen romances based on young adult novels from the soppy, ridiculous ones? Emotional conviction, mostly, and committed performances. Everything, Everything is mostly one of the good ones, even if it has everything (everything) that makes these movies head south for everyone (everyone) but the target audience of teenage girls.
- 70The Hollywood ReporterSheri LindenThe Hollywood ReporterSheri LindenJolts of humor and fantasy bring welcome texture to the romance-novel sleekness, as do the leads, who both have an uncommon, idiosyncratic allure.
- 70The New York TimesNeil GenzlingerThe New York TimesNeil GenzlingerWith a pair of irresistible leads and a straightforward love-overcomes-adversity story, Everything, Everything scores a direct hit on the teenage-girl market. Others might find it pretty enjoyable as well.
- 67The A.V. ClubKatie RifeThe A.V. ClubKatie RifeThe film does have its charms. The outside world, when we do reach it, is as gorgeous for the audience as it must appear to someone seeing it for the first time.
- 58TheWrapClaudia PuigTheWrapClaudia PuigThe lead actors are attractive and charismatic and give nuanced performances. Unfortunately, the dialogue they are given to speak is often trite and too many plot strands are unconvincing.
- 50Austin ChronicleMarc SavlovAustin ChronicleMarc SavlovAs YA adaptations go, this isn’t quite "The Notebook," but its core demographic of teen girls will likely be more than satisfied.
- 50Movie NationRoger MooreMovie NationRoger MooreNicola Voon’s novel becomes a charmingly gooey but somewhat gutless adolescent romance all highlighted and underlined with “forbidden love” semiotics.
- 40VarietyJoe LeydonVarietyJoe LeydonFor the first hour or so, it is unabashedly sappy yet modestly engaging, buoyed by the low-key charm of its two leads. But then an implausible third-act reveal spoils the fun, and the movie never recovers.
- 38Slant MagazineEric HendersonSlant MagazineEric HendersonThe film's plot crux isn't romantic fatalism, but 2017's cutest manifestation of trendy gaslighting.
- 38New York PostSara StewartNew York PostSara StewartIt’s a heavy lift to find any single thing that happens here remotely plausible, and ultimately it almost seems a horror movie misinterpreted as a romance. File this one under “The Fault in Our Screenplay.”