Critic Reviews



Based on 37 critic reviews provided by
This is an indie film with big stars - but also an indie films with big ideas about bringing real people to life.
Everything Must Go is cinematic pointilism. The big picture is familiar -- busted middle-age man, suburban alcoholic despair -- yet the details are so finely rendered that the overall impression is potently strange.
It's a bleak yet optimistic film, and Ferrell perfectly underplays his Carver anti-hero and delivers a rich, layered and subtle performance. And a funny one.
Ferrell as Nick Halsey still feels like a fresh idea, a testament to the actor's reliable but rarely tested mettle as much as his long parade of post-2006 buffoons.
Ferrell delivers a performance of implosive intensity that rings true in every detail.
As he did in "Stranger Than Fiction," Ferrell displays surprising range when he ratchets down the volume.
There are too many somber interludes with nothing going on but an acoustic guitar echoing over the soundtrack, the spareness of the score suggesting the emptiness of the characters' lives.
Like Bill Murray and Greg Kinnear before him, this funnyman reveals serious acting chops.
From time to time the movie grabs you (though the music keeps repelling you). Taking stock and letting go-of superfluous things, of worn-out love-is a strong theme. But the progression of the script is like Nick's self-help program. We're familiar with the steps.
The film just doesn't mine enough humor or drama from this situation. Meanwhile most of the developments are wholly predictable.
It's Rush who makes these characters push one another toward healing, and that feels forced. There are moments of poignancy, but mostly the film feels inert and unremarkable, an off-the-shelf indie-spiration fable that employs a manipulatively cruel twist to move the story away from its inherent darkness and toward an uplifting climactic montage.

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