Ray’s review published on Letterboxd:
The faces that Lyonne makes here when she's getting kissed by her boyfriend are legitimately some of the funniest faces I've ever in my life seen. They're little encapsulations of this movie's power, really, things over the top enough to be wild and goofy and super legitimately hilarious, the things that synthesize seamlessly with the movie's candy palette and turbo-saturated visuals, but which belie an involved, involving interior, one this movie takes its time developing and exploring. It's not always at exactly that level of humor but the goofs come vividly throughout, strong shoutouts to the boy doing push ups over DuVall to simulate sex. The performances are so in line with the entire endeavor, too, ones in turns shrill and wild and kooky, all seamlessly blended with greater depths (strong s/o to Melanie Lynskey, who once again proves to be the patron saint of my entire existence). The score marcates the movie perfectly; it's so filled with music box lightness that makes the playful even more so but keeps the serious from being too dire.
In something so dedicated to being silly and heightened, its an intense sensitivity on Babbit's part that sees the movie's heart beat so emphatically. As Lyonne, probably never better than here of what I've seen, and DuVall grow closer, it takes a conventional route walked with so much personality, so much tenderness and love and affection and kindness, it feels revived all anew. It's a thing which takes the happy ending it builds toward as something that should be a given, which lives in the specific strife of these characters as lesbians without leaning into them so much as to be miserablist, something to give people who can identify with it something to aspire to and see beautiful souls in motion. It rests the conflict in the characters and actors struggles to get to that ending and it's a wholly realized, brilliant joy, in its sedate lows and its ebullient highs.