Critic Reviews



Based on 23 critic reviews provided by Metacritic.com
A.C.O.D. proves to be both a solid debut for Zicherman and a worthy vehicle for Scott and company, one that provides plenty of awkward laughs and generally gives the American farce a good name again.
A.C.O.D. is a sharp, dark-ish character comedy, settling for a dry tolerance in its point of view that is very appealing and even admirable.
Funny but less successful as comedy than as a cry of you-screwed-us-up solidarity.
A spotty comedy with a great cast and a catchy title that falls apart in the final third.
A movie comedy that is funnier in performance than it ever was as a script.
Scott's probably the perfect actor for this, since he's too likably lightweight to suggest any emotion more crippling than exasperation.
Scott, Winstead and Howard are charming, while Poehler, O'Hara and Jenkins have a grand time bickering. Since Zicherman doesn't ask much of us in the first place, they make it easy enough to commit.
The ensemble's crack comic timing can only go so far to compensate for uneven scripting.
Despite an excellent ensemble cast of comedic treasures as well as veterans of drama taking a walk down a lighter aisle, A.C.O.D (i.e. Adult Children of Divorce) delivers only a few sporadic chuckles amidst a slew of clunky scenes.
That's a lot of talent and star power at play here, made all the more conspicuous in that they don't really get much to work with. Not only is the movie just so-so, but the parts themselves aren't much.
[An] amusing but formulaic man-in-crisis comedy.
It's neither consistently funny nor poignant enough to make the most of its impressive cast, all of whom are capable of delivering better than what A.C.O.D. asks of them.
Too sluggish for farce and too glib for a trenchant social satire, A.C.O.D. is several sessions short of a breakthrough.
A contrived comedy that could have made an especially weak episode of “Everybody Loves Raymond.”

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