[7] James Rettig of Stereogum wrote "Meredith’s music has always been playfully dark, which lends itself well to the early adolescent pubescence that the film explores.

There’s whimsical cotton candy-hued segments that also sound sort of terrifying, like the rush of emotions you’d typically feel when you’re 13 and awkward as hell and also excited all the time, for seemingly no reason.

"[8] The Guardian's Mark Kermode praised Meredith's score as "mesmerising" and "intrinsically interwoven into the fabric of the film as Giorgio Moroder's Oscar-winning electronic accompaniment to Midnight Express (1978) or Mica Levi's unnerving sonic explorations for Under the Skin (2013)".

He further wrote "From pulsing woozy disorientation to spiralling anxiety and transcendent aspiration, Meredith’s music strikes the perfect chord throughout, as thrillingly expressive and magically immersive as this wonderful film deserves".

[9] Vulture's Emily Yoshida called the score as "excitable" and lends "a pulsating thump to Kayla’s doofy, dreamy-eyed crush, and a shakily hopeful buzz to the chaos of a middle-school hallway".

From the war-like dread of the pool party scene, to the chipper resilience that backdrops the bits where young Kayla Fisher finally comes into her own, Meredith’s score is present and alive — hyper-reactive to the world around it, but also out of sync with its surrounding.