Critic Reviews



Based on 14 critic reviews provided by
A quieter, less melodramatic piece of work than last year's "Crash," and arguably a better one.
New York Daily News
The stories are eye-opening and heartwarming at the same time, but you'll be moved less by empathy for the characters than by the summoning of your own emotional memories. This movie is personal.
L.A. Weekly
Writer Sam Catlin and director Danny Leiner have fashioned an alert, shrewdly observed portrait of a moment in time.
Entertainment Weekly
Working from a stagy script by Sam Catlin, director Danny Leiner uses a dainty palette of tristesse (untouched when he made Dude, Where's My Car?) to suggest that the shadow of 9/11 makes every discontent more pathetic.
Portland Oregonian
Overall, there's a patchwork quality to the movie, as if a batch of half-finished short stories were filmed before their time.
The result is a mixed bag of lozenges, some sweet, some tart and others that just melt away into nothing.
Chicago Tribune
The story lines don't intersect in that schematic, "Crash"-y way, which is refreshing. Less refreshing is the neat-and-tidiness of the individual exchanges in Sam Catlin's script.
The movie falls short of the grandeur it's reaching for, but if you're looking for balm to soothe your frazzled nerves, you may be able to scrape some from the movie's rawer edges.
New York Magazine (Vulture)
The new 9/11 movies aim to rekindle feelings that most of us have, by necessity, moved beyond. But there's more than one way to move beyond, as suggested by the spottily affecting ensemble psycho-comedy The Great New Wonderful.
New York Post
In the future, more and more filmmakers will do exactly what The Great New Wonderful has done: conceal their lack of ideas by bringing up 9/11.

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