Metacritic reviews

The cast—and Evans's deft hand with them—makes it worth checking out.

Aside from a few missing transitional beats and one too many coincidental encounters, the picture's fluid, zigzagging sexuality and emotional high-diving prove largely credible and diverting.

The actors are so relaxed and personable that the film’s occasional glibness — and its over-reliance on coincidence to further the cross-pollinating narrative — is easy to let slide.

Full of warmth and refreshingly matter-of-fact sexuality, the film has its heart in the right place, yet it’s ultimately a bit blander than its subject matter ought to demand, and its chamber-piece intimacy and pileup of coincidences scan particularly awkwardly given its convincingly wide-open depiction of New York.

Evans directs energetically, and the personable actors help to keep us involved, but the picture skims stubbornly along the surface.

Kudos to Evans for making up for the galling lack of gay African-American screen representation while delivering hot-body eroticism, but reducing complex relationship issues to a typical indie-flick blatherathon—complete with performances of varying quality and stilted dialogue—isn’t helping anyone.

Ken Urban, adapting his own play, fumbles at injections of urban, and decidedly not urbane, levity, in addition to telegraphing entire subplots.

A movie about bisexuals sounds fresh and fun on paper, but a sensitive acoustic song under the opening credits shows exactly where The Happy Sad is going. Deadly earnestness and sex don’t mix well at the movies.