60
Metascore
39 reviews · Provided by Metacritic.com
- 75Slant MagazineAndrew SchenkerSlant MagazineAndrew SchenkerShat makes Our Idiot Brother work is the endless appeal of watching Rudd's lovable idiot run roughshod over the sophisticated New York mini-universe while winning the confidence and admiration of everyone around him.
- 70Boxoffice MagazinePam GradyBoxoffice MagazinePam GradyThis is Rudd's movie and he once more displays an unerring eye for comedy. He comes at it from an actor's perspective rather than a comedian's and it shows as his character as hilarious as he is credible.
- 67Tampa Bay TimesSteve PersallTampa Bay TimesSteve PersallCertainly amusing, but it never accelerates past one-note characters playing out separate personal crises in ways that aren't surprising.
- 63Orlando SentinelRoger MooreOrlando SentinelRoger MooreThe unfailing sweetness of Paul Rudd's lead performance makes what could have been another raunchy and rude R-rated farce a bracing change of pace in a summer of aggressive comedies about aggressive people, from "Bad Teachers" to "Horrible Bosses."
- 60Arizona RepublicBill GoodykoontzArizona RepublicBill GoodykoontzThe rest of the cast is fine, actually, but Rudd spares nothing in making Ned a lovable loser, with the emphasis on "loser."
- 60Time OutTime OutApart from the disastrously miscast Deschanel's dithering switch-hitter, the film's extended clan of uptight urbanites rings true - though their course-corrections don't.
- Shambles along with all the purposefulness of its title character, a kind of near-beer Lebowski who's neither reckless enough to cheer for nor misguided enough to disdain.
- 50VarietyJustin ChangVarietyJustin ChangPicture needs every ounce of goodwill it can wring from Rudd's likable lead performance to offset a sour, borderline misogynistic streak for which scattered snickers offer only modest compensation.
- 40Village VoiceVillage VoiceIts roundelay of shallow types (played by beautiful movie stars) treating one another badly, and having whiny conversations about said treatment, is such a whisper-soft version of social critique that it makes the autobiographical films of Nicole Holofcener (Please Give, Friends With Money) look as cutting as the films of Jean Eustache.