In its widest release, the film played on only 175 screens in the US. It grossed $4,210,379 domestically and $485,402 in foreign markets for a total worldwide box office of $4,695,781 .
Roger Ebert of the Chicago Sun-Times observed, "Here is a movie that knows its women, listens to them, doesn't give them a pass, allows them to be real: It's a rebuke to the shallow Ya-Ya Sisterhood."
In Variety, Todd McCarthy said, "Engaging, intermittently insightful but too glib to wring full value out of its subject matter, this brightly performed study of an extended family of females has enough going for it to quickly graduate from the fest circuit to a respectable career in specialized release . . . [it] evinces keen antenna for (mostly) female foibles, a good ear for dialogue, talent for directing thesps and a clean, unfussy visual style."
Mick LaSalle of the San Francisco Chronicle said, "Nicole Holofcener throws a bunch of issues on the table and takes time to linger over them, without worrying much about where her story's going or even if she has one. The result is a gutsy little picture and a nice slice of life."
In Rolling Stone, Peter Travers opined, "In this painfully funny and touching look at the vanities and insecurities that a mother can pass on to her daughters in the name of love, writer-director Nicole Holofcener does a chick flick right . . . Holofcener's film feels untidily honest. It's true to life, not to the Hollywood version."
Kenneth Turan of the Los Angeles Times said, "Like the best of personal, independent cinema . . . it is both marvelously observed and completely individual. There is no film like this film, and that is something you don't hear every day . . . it's so accurate about how people attempt meaningful emotional connections in an uncaring world of self-involvement, obtuseness and free-floating insecurity that it ought to be put in a time capsule."