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Critic scores range from 0 to 100, with higher scores indicating more favorable reviews.

  • 80
    Variety | Justin Chang

    Slickly charming, genteelly erotic and directed with supreme polish, Cashback is a conventional romantic comedy that plays unconventional games with time and memory. Read full review

  • 75
    Philadelphia Inquirer | Steven Rea

    A sleek little meditation on beauty, desire, love and time. Now and then, it's fairly sophisticated stuff. Read full review

  • 75
    New York Daily News | Jack Mathews

    It's no small trick to blend fantasy, slapstick and genuine emotion, but Ellis pulls it off with whimsy to spare. Read full review

  • 70
    Los Angeles Times | Kevin Crust

    Writer-director Sean Ellis more-or-less successfully expands his Academy Award-nominated 18-minute short to full length, showcasing his talented young cast to good effect. Read full review

  • 63
    Chicago Sun-Times | Roger Ebert

    The movie is lightweight, as it should be. Read full review

  • 50
    Village Voice |

    The movie is too cute by half, made close to unbearable whenever Ben's narration spews glib pseudo-profundities about memory and temporal stillness. But the flaky humor of wage slaves serial-killing time is good, rude fun. Read full review

  • 50
    Washington Post | Desson Thomson

    Springs from that childhood fantasy of being able to stop time and wander freely among the temporarily frozen. If only writer-director Sean Ellis had done more than use the conceit for a functional romance. Read full review

  • 42
    The Onion A.V. Club | Scott Tobias

    In short form, Cashback simply dealt with how a quirky group of supermarket employees whiled away the endless hours of a night shift, but the feature version spoils that economy by tacking on a romantic subplot and indulging its hero's precious ruminations on love and art. Read full review

  • 40
    The New York Times |

    Cashback suggests a "Malcolm in the Middle" episode directed by Paul Thomas Anderson. The hero's pained, hilarious childhood flashbacks deserve a much better movie. Read full review

  • 25
    Entertainment Weekly | Scott Brown

    Director Sean Ellis has a lovely eye, but he's set the film in his blind spot. Not only can't he distinguish between art and porn, savoring and wallowing, universal truths and exhausted clichs -- he doesn't even seem interested in these distinctions. Read full review

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Dave White

2.0

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… puddle-deep emotional jabbering … Read full review See Dave White's on MOVIENAME on Movies.com

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