46
Metascore
9 reviews · Provided by Metacritic.com
- 63The Globe and Mail (Toronto)Barry HertzThe Globe and Mail (Toronto)Barry HertzA giddy and fitfully amusing mashup of "Adventures in Babysitting," "Date Night," the Spy Kids franchise and, um, "Wet Hot American Summer," The Sleepover is the latest entry in Netflix’s experiment in catch-‘em-all entertainment.
- 60The GuardianLeslie FelperinThe GuardianLeslie FelperinSie elicits mostly spontaneous, credible performances from the younger cast, who deliver their wisecracks and banter with aplomb and only occasionally edge into annoying child-actor pertness.
- 58IndieWireKate ErblandIndieWireKate ErblandSofter and safer than a close cousin like “Adventures in Babysitting,” The Sleepover zips between its adult storyline and the wacky hi-jinks of the kids, scarcely noticing it’s the younger set who are far more amusing to watch.
- 50RogerEbert.comNick AllenRogerEbert.comNick AllenThe frantic adults and kids in Trish Sie’s The Sleepover are often screaming, but that doesn't mean they’re getting anywhere. You’d think that a story about a mom's cool secret and kids breaking curfew would be a lot more fun, especially with a charismatic cast like this, and yet The Sleepover is mostly about killing time, specifically that of your own.
- 50Movie NationRoger MooreMovie NationRoger MooreSleepover is cheerful enough that it passes the time, even as that time passes ever-so-slowly as it stumbles for clues, through a Boston sight gag or two and into the “big finish” that’s more a series of minor busts. Leave this one to the tween-and-unders.
- 45CNNBrian LowryCNNBrian LowryThe film simply lurches loudly from one mundane action scene to the next.
- As The Sleepover juggles the genres of heist movie, action thriller, scavenger hunt and teen/tween comedy, it never finds an identity which it slips into effortlessly, the way a good thief can.
- 30The Hollywood ReporterJohn DeForeThe Hollywood ReporterJohn DeForeDesign values and Conrad W. Hall's photography are as flatly unimaginative as the rest of the film, which, in its avoidance of distinguishing features, would make a better candidate for witness-relocation anonymity than Margot does.