Whilst it suffers mightily from comparisons to The Miseducation of Cameron Post, Yes, God, Yes at least displays promise for first-time director Karen Maine and is carried by star Natalia Dyer.
“Frustratingly, however, I found Maine’s execution of these various themes and emotions to be rather like the methods of the Kirkos retreat: deliberately vague without a clear end goal, based around repeated gestures lacking deeper meaning, and hoping that a grand summarising speech at the end of it all can make up for that often directionless nature. It’s a film which evidently has many ideas, but Maine doesn’t embrace the contradictions, emotional turmoil or complexity the material requires, like Akhavan did for Cameron Post, and I didn’t feel like there was all that much specificity or detail on display. Any character who isn’t Alice frankly doesn’t convince as a character, they just aren’t developed enough to function as anything deeper than that scene’s sounding board or passive-aggressive antagonist, and Alice herself isn’t given much of a life or character outside of that sexual repression. Crucially, there’s little to no sense of what her home life or relationship with her parents are like, both of which are rather vital when the last 10 minutes shift into Lady Bird territory, so Dyer is left with the burden of carrying the film predominately on her shoulders.”