Don't listen to the negative reviews

I like movies that are aware of what they are selling... without [any] greater aspirations than to make people laugh and that's it.

There's no way I can possibly love it entirely but I just think its ridiculously bad, but enjoyable at the same time.

Exactly the movie you think it is, but not the movie you want it to be.

Yeah, I sought this out because of It Follows, and trying to seek out what else the director had done. This is definitely not your ideal coming-of-age story. it seems like these days there are set rules on what those types of films are, and as good as they can be (The Perks of Being a Wallflower) they are also pretty predictable and follow a specific formula. This really strayed from that. Not all of the story lines work perfectly, but it very much feels like a film trying to show actual people interacting and trying to make the whole thing as honest as it could be. The characters are well-painted for the most part, and the film doesn't have the restraints of having to hit certain spots of points that a Hollywood film would try to do. Much of the human touch here would be further explored in It Follows, and so in that sense it's not entirely different. Very surprising, very good film

I call this a "modern John Hughes" movie because, just like the John Hughes films of the 80's, they tell stories of teenagers that can hit home with many people. This film tackles some of the not only more modern issues with teenagers, but the deeper issues. I think where it misses its mark is with some of the characters themselves. The story surrounding them may be interesting, but the characters...not so much. For example, I thought the "twins" story line was interesting, but the guy who played the character which this plot surrounds wasn't very likable (perhaps due to his terrible haircut). I think a better casting could have improved this film. The movie looks at teenage life through a slightly nostalgic point of view, but I think it benefits from this. It also shows high school from different points of view, such as a freshman, a senior, or even someone who has already graduated from high school. This film had potential and some good moments, but overall didn't quite hit the mark.

I admit that I'm a fan of school-age romantic comedies. I enjoyed this movie because a lot of the scenes rang true to my experiences at that age (except for the warehouse scenes -- hello creepy). I can remember putting my hand next to a girl's hand -- almost touching -- just to see if she'd go the last half inch. I can remember trying to get a do-over with a girl that I'd let slip away during high school. I can remember walking the streets of my town hoping to run into a pretty girl that I'd seen. I can remember picking the wrong girl because society told me she was cooler. And I can remember trying to catch lightening in a bottle on the last weekend before school starts. For some reason, this movie has slid entirely under the radar, but it deserves attention.

a poignant and fresh take on this iconic, typically American experience. This low budget independent coming of age comedy from writer/director David Robert Mitchell explores the usual themes of teen angst, friendship, sex, and the search for love. Set in Detroit on the last weekend of the summer holidays before the kids return to school, the film draws upon Mitchell's own memories of his adolescence. There are a number of sleepovers, slumber parties and pool parties happening. The film follows four teens – Rob, Scott, Maggie and Claudia - as they hang out, talk about their fears and insecurities, crushes, and look for that elusive first kiss. However, unlike most comedies aimed at an adolescent audience this low-key film eschews the usual cheap scatological and puerile humour, opting for a more in depth exploration of their concerns. Mitchell demonstrates a strong understanding of adolescent emotions and desires that brings credibility to the material, and it reeks with a strong sense of nostalgia. Mitchell maintains a deceptively meandering pace as he juggles the multiple narrative strands and moves seamlessly between the various characters. The dialogue rings true, and Mitchell teases natural performances from his unknown ensemble cast. The Myth Of The American Sleepover is an honest and affirmative coming of age film that resonates.