Critics reviews

A lovely, gentle and very true film... The “myth” that is deconstructed is that all these kids are much into sex, booze and drugs. There are very few drugs, not very much beer, a bottle of vodka that gets passed around, and sex that doesn’t go much further than sweet kissing. Poetic.

A slow-moving, mumblecore version of George Lucas's dynamic American Graffiti... [The Myth of the American Sleepover is] an unsentimental debut of some promise and it has the ring of truth.

Behind [the film's] carefree rumination on the innocent hedonism of youth lies a commendably honest depiction of the paradoxical nature of adolescence wistfulness... Mitchell perfectly captures the narrow focus and insecurities of his character’s allowing us to once again attempt to read into the ambiguous gesture of a potential sweetheart or the meaning behind a seemingly offhand remark.

Nicely acted, beautifully shot, ultimately disappointing small-town/young-love indie drama that makes you think — longingly — of superior films such as Gregory’s Girl and Dazed and Confused.

Presumably not all kids are roaming as wildly as Larry Clark's little heathens, but this film's reverence to three little words ("I like you") is chastity-band creepy. I like you, too, Myth of the American Sleepover – but I'm going no further than that.

A likeable cast of unknowns wriggle convincingly through the awkwardness of late adolescence in first-time director David Robert Mitchell’s low-key indie drama.

Structurally this is a little like ‘American Graffiti’ or ‘Superbad’: a night in the life of four kids. And there’s a lot to like here – not least disarmingly natural performances from the mostly non-professional actors... [The film's] tender observations... and portrait of fading innocence, are gently winning.

It has a sense of small-town America that feels special even without great specificity. 

Mitchell tells a coming-of-age tale with such freshness and such bemused insight it’s as if it has never been told before... [This] poignant film marks a significant screen debut not only for the writer-director but also his youthful cast.

what The Myth of the American Sleepover loses in modulation it certainly makes up for in good intentions... It’s refreshing to see a teen-centered story that doesn’t treat its characters with contempt and that isn’t salacious in any way.

All of it's viewed from a sympathetic but detached perspective that suggests Scott Fitzgerald by way of Truffaut. "American Sleepover" is the American debut film of the year, and an experience you must work into your summer calendar.

It is partly through those associations that Mr. Mitchell achieves such tender and subtle authenticity of feeling.