Khoi Vinh’s review published on Letterboxd:
So, so, so nineties. Not just the fashions, but also the intense whiteness of the cast, the dryly acerbic humor, the overlong soliloquies disguised as dialog, the excessive idealization of the female persona, and the distracting similarities to “Friends” (right down to having Elliot Gould play the father figure!). Still, the moment when Christopher Eigeman makes out with Parker Posey is glorious—a cinematic and, really, historical milestone that brings two underappreciated titans of that era of film together. It’s brief, but it fully justifies the whole mess.