Metacritic reviews

Similar to Obvious Child, the film avoids over the top tropes and shock value with refreshing sincerity. This is the kind of sex-positive coming of age comedy that smart, curious teens truly deserve.

In several scenes, the camera stays close to Dyer’s dazzling array of expressions at the computer keyboard, while Alice processes the latest rabbit hole or interior dilemma. Maine knows a pitch-perfect performance when she sees one.

The beauty in Maines’ script, and in the performances, is how perfectly modulated everything is. Maines clearly gets some digs in at the Catholic Church, and Catholic education particularly. It’s really funny.

While Maine’s witty script is filled with more than enough sequences primed to get laughs out of any audience (with Dyer turning in a charming performance that never goes too broad), the real winners will likely be fellow Catholic school survivors, who will recognize many of the great truths in Yes, God, Yes.

For all its sharp barbs at Catholic school hypocrisy and its frank depictions of masturbation and teenage hook-ups, Yes, God, Yes somehow retains a breezy and upbeat and even sweet disposition, thanks to the light touch of writer-director Karen Maine and an absolutely winning performance by “Stranger Things” star Natalia Dyer.

A fun and entertaining ride that unfolds at just the right speed.

Yes, God, Yes is bound to rankle some conservative Christians of every denomination ... But Dyer’s Alice generates too much rooting interest, and the movie as a whole is too nondenominationally likable, for most other viewers to cast any stones.

Yes, God, Yes is an achingly honest and entertaining-as-hell journey through one teen's burgeoning sexuality and personal reckoning with Catholicism.

Burdened by a silly R rating that may deter the very youngsters who are likely to enjoy it most, Yes, God, Yes (written and directed by Karen Maine) fights back with an appealing lead and an overwhelmingly innocent tone.

Maine’s still made a teen sex comedy with heart, smarts and subtlety that Netflix, which owns this genre, rarely bothers with.