Som manusforfatter Bjørn Olaf Johannessen sier til Rushprint, så er Every thing will be fine et pionérarbeid som utforsker grensene for hva 3D kan uttrykke i tradisjonelt drama. Den er den første mainstreamfilmen innen arthouse-segmentet som forsøker å innlemme 3D i fortellingen, og det er noe kritikerne anerkjenner etter premieren på Berlinalen i går.

Men ellers er kritikerne i bransjepublikasjonene ganske lunkne. Verken Screen, Variety eller Indiewire synes filmen fungerer helt etter hensikten, selv om de anerkjenner James Francos innsats i hovedrollen.

”Every Thing Will Be Fine is a challenging visual experience as Wenders and his crew zone in on faces but struggle with depth-of-field, slashing or bisecting each frame with diagonals and verticals, creating depth and shadow in a disappointingly flat affair”, skriver Screens anmelder.

 Indiewires kritiker synes også 3D-effekten ikke er god nok:

 ”The idea of shooting an intimate human drama in 3D is interesting but ends up adding nothing, bar making Benoit Debie‘s photography feel muddier and dimmer in a film already rendered in a low-contrast palette of browns and greys. But the music does help things along, as Alexandre’s Desplat’s largely orchestral, strings-led score often brings notes of almost Hermann-esque intrigue and mystery to scenes that otherwise lie there flatly”.

Variety mener bruken av 3D trekker oss unna rollegalleriet – istedenfor å dra oss nærmere.

«It’s not that Wenders’ aptitude for the technology is entirely invisible here: He and ace d.p. Benoit Debie play striking games here and there with planes and perspective, often layering action within a single frame via glass reflections. Such occasional intricacy of technique, however, serves only to further distance viewers from these dully aloof characters and their vaguely articulated problems».