Metacritic-Rezensionen

The tetchy band of thirtysomethings' interpersonal problems are infinitely less compelling than the mysterious and original global disaster the filmmakers have devised.

Film buffs will see Goodbye World as a sort of “Trigger Effect” meets “Return of the Secaucus Seven” — growing up, learning to look at the world through more jaded adult eyes as the world ends.

Goodbye World will remind you more of "Gilligan's Island" than "Lost."

The soapy material is at odds with the largely distant catastrophe, which often feels too abstract to be a real threat.

This film can’t decide whether it’s a Noah Baumbach-ian character study or an episode of NBC’s Revolution.

Apocalyptic visions are no longer enough to shock us. By this point, if you want to imagine the end of the world, you really need to say something new about it.

An unconvincing, poorly conceived hybrid of end-of-the-world thriller and relationship drama.

I am probably indulging in a rather obnoxious form of criticism-as-parlor-game-psychotherapy by positing that each of the three main white male characters in director Denis Henry Hennelly's Goodbye World is meant to represent a facet of the director himself. Unfortunately, such activity is about all the movie is any good for.

As these overwritten characters cope and make fresh romantic missteps, the movie cruises obliviously along, littered with glib dialogue and howler developments.

Only Gaby Hoffmann makes a lasting impression, as the thick-skinned pariah of the bunch. Somehow she’s able to give the ring of truth to even the hoariest of Hennelly and cowriter Sarah Adina Smith’s conceits (notably a rally-the-troops speech cribbed from founding father George Washington). The rest makes you long for Armageddon.