Francis X. Clines of The New York Times described the film as "a documentary about the protest events that made Catonsville, Maryland, an unpretentious suburb on the cusp of Baltimore, a flash point for citizens' resistance at the height of the war.
"[1] Michael O'Sullivan of The Washington Post wrote that Sachs "uses a mosaic technique and seemingly random shots of plants and houses to create a moody, subjective portrait of an era as much as a group of people.
"[2] Molly Marsh of Sojourners magazine called the film "wonderfully intimate; Sachs brings the camera within inches of her subjects' faces, capturing their thoughtful reminisces and personal regrets.
[3] Fred Camper of the Chicago Reader called it a "poetic essay" with "no omniscient narrator talking down to the viewer ... while "images like a newspaper going in and out of focus remind us that shifting contexts alter our understanding of complex events.
"[4] Lee Gardner of the Baltimore City Paper wrote that "Sachs cannily avoids the usual documentary dance of talking heads and file footage by interspersing impressionistic shots.