Metascore
51

Mixed or average reviews - based on 11 Critics

Critic score distribution:
  1. Positive: 5 out of 11
  2. Negative: 2 out of 11
  1. Reviewed by: Joe Brown
    80
    The Favor is a frisky, frank and funny female-buddy film - as if "Thelma and Louise" had stayed in the suburbs, making girl-talk about sex and satisfaction, married vs. single.
  2. The Favor is a pleasant romantic comedy, aimed at thirtysomethings and younger, and it affords solid roles for Harley Jane Kozak and Elizabeth McGovern. [29 Apr 1994]
  3. The Favor remains funny and credible in ways that prove feminist comedy is not an oxymoron.
  4. Reviewed by: Robert Faires
    67
    Writers Sara Pariott & Josann McGibbon and director Donald Petrie know how life is lived - tending to details - and have packed the film with them, such that it almost works as a slice of suburban life.
  5. 63
    The movie is still a little rough around the edges, featuring its share of scenes that, for one reason or another, don't work, but the overall effect is one of pleasant entertainment.
  6. 50
    The screenplay, by Sara Parriott and Josann McGibbon, has a good feel for female best-friend relationships, and the dialogue has life and edge to it.
  7. The movie is never much more than fluff. But, like director Donald Petrie's previous film, "Grumpy Old Men," it has an honest core that enables it to keep its balance. [29 Apr 1994]
  8. Reviewed by: Staff (Not Credited)
    50
    Ultimately, aside from the valiant efforts of pros like Elizabeth McGovern and the effortless Bill Pullman, The Favor is virtually indistinguishable from recent direct-to-video exploitation comedies
  9. Reviewed by: Kristi Turnquist
    50
    When all is said and done, The Favor is just another comedy about comfortable yuppies wondering what they might have done differently, dipping a toe in adventure, then returning to the cocoon of yuppie comfort. [03 May 1994]
  10. The Favor is a sex comedy without sex-and pretty much without comedy. [29 Apr 1994]
  11. Reviewed by: Leonard Klady
    30
    The direction and technical elements are obvious, bright and vapid, while the performers struggle against staggering odds to provide nuance.

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