Gordon-Levitt as writer/director takes us a long way from Brick by spoiling a tepid piece of sexploitation with some sort of moral fabulation: like Love and Other Drugs, the central conceit is provocative but the race is on to reach the safety of cliché. The whole thing is emptier than one would credit from the enjoyably over-the-top family scenes featuring Brie Larson's expressive silence and Tony Danza's hysterics. Glenne Headly is good too. Gordon-Levitt's histrionics in his car would be familiar to any of my passengers.
Here we have not only the Irish but also the Italians treating sin as a negotiable currency.
Manohla Dargis at the New York Times.