Raul Marques’s review published on Letterboxd:
So... um... this was shot on film, right? Does anyone care to elaborate on why exactly that is? I mean, even with Netflix out of the picture, it's pretty hard to imagine a Joe Swamberg joint getting a good distribution, not that being screened in theaters is the only driving motive to opt for physical negatives, but that's usually a considerable part of it. It might be because this is his most plot-driven picture to date, (which says more about how light on story the other projects are, than to suggest that this is some kind of Chicagoan hipster-y version of 'Casino Royale'), but it doesn't actually add that much. Anyway, it's amusing, sweet and purposely slight with a likable cast, meaning that is perfectly on brand for the filmmaker and exactly the type of movie no one will mind missing on the big screen, which brings me right back to the weird decision to have this thing made on 16mm.