Any Day Now
Music Box Films | Release Date: December 14, 2012 CRITIC SCORE DISTRIBUTION
60
METASCORE
Mixed or average reviews based on 16 Critic Reviews
Positive:
9
Mixed:
7
Negative:
0
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Critic Reviews

Critic scorePublicationBy date
90
The Hollywood ReporterFrank ScheckDec 4, 2012
Depictions of custody battles have become a cinematic staple, but few register with the heartfelt emotion of Any Day Now. Read full review
90
VarietyBoyd van HoeijDec 4, 2012
A stellar performance by Alan Cumming as the cross-dressing crooner-cum-caretaker is the picture's most marketable asset. Read full review
75
San Francisco ChroniclePeter HartlaubDec 13, 2012
The biggest strength of the movie is the chemistry between Cumming and Isaac Leyva, a first-time feature film actor with Down syndrome, who does as much to make these scenes work as the experienced actors he's sharing scenes with. Read full review
75
Philadelphia InquirerCarrie RickeyDec 13, 2012
The takeaways of the film are horror and hope: horror that institutionalized homophobia was so pervasive, hope that that intolerance is a thing of the past. Read full review
75
The A.V. ClubNoel MurrayDec 12, 2012
Cumming and Dillahunt are so terrific - as is Isaac Leyva as their ward - that they pull Any Day Now up from its more maudlin and melodramatic elements. Read full review
75
Slant MagazineDiego SemereneDec 12, 2012
Its most redeeming quality is that it isn't so quick to neuter its queer characters into a package-friendly "gay couple" aesthetic a la Modern Family. Read full review
70
Los Angeles TimesBetsy SharkeyDec 13, 2012
Cumming is the linchpin, and the actor does an exceptional job of moving across the vast galaxy of universal emotions about partners and parenthood. He takes us to the heart of the matter in ways that matter most. Read full review
70
The New York TimesStephen HoldenDec 13, 2012
An outraged, unblinking depiction of institutionalized homophobia three decades ago, when the prevailing court opinion in adoption cases was that exposing a child to a homosexual environment was harmful. Never mind that nobody else wants Marco. Read full review
63
New York PostFarran Smith NehmeDec 14, 2012
Things go awry in the last act, as the movie stops dead for more songs and a tragic coda that seems forced and trite, rather than the three-hankie finale we've all earned. Still, Cumming is wonderful. Read full review
60
Time Out LondonBen WaltersSep 4, 2013
Rousing as a tale of saintly gays against the system, Any Day Now is less stirring as cinema. Read full review
60
Time OutDavid FearDec 11, 2012
It's one thing to call a film about homophobia and human rights Any Day Now; it's another to actually have your character sing "I Shall Be Released" in full at the end. The intent is righteous. The dramatic overkill is deadly. Read full review
55
NPRElla TaylorDec 13, 2012
Cumming always gives good value, and his regular bursts into cabaret numbers are certainly an added bonus. Yet this instinctively ironic actor doesn't seem best suited to play the movie's most sentimental creation. A mouthy, heart-of-gold construct, Rudy dresses like Ratso Rizzo and comes on like The Fonz. Read full review
50
Washington PostMichael O'SullivanDec 13, 2012
The film's title suggests the wry irony of hindsight: We've come a long way, baby, but we're not there yet. Any Day Now could do with a little more of that astringent humor and a little less sap. Read full review
42
The PlaylistGabe ToroDec 12, 2012
Like another Tribeca hit given a quiet release, last year's "Puncture," Any Day Now feels the need to take its compelling true story and stack the deck in favor of what we know is the outcome, presenting all obstacles as engineered by sneering, callous villains with disdain for those who would trumpet a more progressive cause. Read full review
40
New York Daily NewsJoe NeumaierDec 13, 2012
Director Travis Fine gives his period details flourish and lets Cumming and Dillahunt create well-rounded characters, but Any Day Now winds up treacly. Read full review
40
Village VoiceMelissa AndersonDec 11, 2012
Straining for "teachable moments," the film has one noteworthy, unintentional function: to remind us that though LGBT rights are continually evolving, the laws of kitsch remain immutable. Read full review
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