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Christa Banister (Crosswalk) acknowledges its "intriguing premise, a talented cast" and "picturesque scenery." But then she notes that "the story plods along at a painfully slow pace without even a hint of that romantic spark we're supposed to be all excited about between the lead characters. And if that wasn't bad enough, there's not much of a central plot either as the story segues from a love story to a family melodrama to a clichéd commentary on how too much emphasis on one's career leads to a lonely existence where you're forced to play chess with your dog on your day off like Kate does."

Harry Forbes (Catholic News Service) calls it "an intriguing if slow-moving time-warp love affair that is, at the very least, quite unusual in its concept. … In its theme of love transcending time, the film resembles such cinematic fantasies as A Portrait of Jennie, Somewhere in Time and Kate and Leopold." He points out that there are "plenty of head-scratching loopholes so you need to apply a major suspension of disbelief."

Bob Smithouser (Plugged In) says it's "a sweet time-warp story that, despite asking audiences to suspend a certain amount of disbelief, adheres pretty well to its own internal logic. I could've done without the profanity, but Argentinean director Alejandro Agresti does a marvelous job of avoiding other offensive content that a dyed-in-the-wool Hollywood insider might've thrown in just to get a PG-13. Agresti's visual style is equally impressive. … More than anything, it's wonderful to watch as the main characters grow to love each other based on friendly conversation, not physical attraction or some personal agenda."

The film's found a few fans among mainstream critics … but only a few.

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