44
Metascore
21 reviews · Provided by Metacritic.com
- 60Village VoiceAmy NicholsonVillage VoiceAmy NicholsonNeither disposable nor a long-lost masterpiece, she might not be loved by all the boys, but she's still worth a Friday night date.
- 50VarietyTodd McCarthyVarietyTodd McCarthyA partly smart, mostly dumb addition to the teen horror sweepstakes -- smart in how it neatly catches the petty, hurtful, sexy and druggy aspects of high school life, dumb in how it makes absolutely no sense once its resolution is known.
- 50Slant MagazineNick SchagerSlant MagazineNick SchagerLike far too many modern horror films, All the Boys Love Mandy Lane flaunts its knowledge of classic genre fundamentals but fails to do anything very clever or surprising with them.
- 50Entertainment WeeklyChris NashawatyEntertainment WeeklyChris NashawatyMandy Lane does eventually build to a whiplash twist ending, but it's too little, too late — much like the film itself. Here's a case where the backstory is more interesting than the movie.
- 50The DissolveScott TobiasThe DissolveScott TobiasThere’s an overlay of gender politics, but it isn’t so firmly ingrained in the material that it transforms Levine’s throwback ’80s slasher film into a much nobler, more thoughtful endeavor.
- A decently-shot, but otherwise largely unremarkable horror movie.
- 40EmpireDan JolinEmpireDan JolinAll the boys might love Mandy Lane - discerning horror fans, however, will not.
- 40The GuardianXan BrooksThe GuardianXan BrooksMandy Lane feels bogus and compromised: an unreconstructed horror romp in the guise of a nerdish intellectual.
- 40Time OutJoshua RothkopfTime OutJoshua RothkopfWho will survive the night in order to deflower her? Mysteriously, the film has a hard time functioning on even this level, introducing complications for Mandy that the actor can’t pull off, adorable though she is.
- 38McClatchy-Tribune News ServiceRoger MooreMcClatchy-Tribune News ServiceRoger MooreA graphically violent, sexually explicit teen horror tale, it was close to being ahead of its time, in its time. Now, it plays like a quaint, fairly obvious period piece — from 2006.