Like Sunday, Like Rain is a 2014 American drama film written and directed by Frank Whaley, and distributed by Monterey Media.

The film follows a cello prodigy, Reggie, and his latest caretaker, Eleanor, as they develop a friendship over the course of a summer in New York City.

In the Upper West Side, 12-year-old Reggie, a cellist and all-around genius who is bored and skeptical, lives a solitary life as his parents do not have time for him and relegate caretakers to watch after him.

His most recent caretaker had to go back to Panama so Reggie's mother, Barbara, posts an ad for a temporary sitter; Eleanor answers the call.

She explains she wanted to play the trumpet, but chose the cornet instead; she never made it to Juilliard due to lack of funds.

Eleanor feels the need to regroup at home to get her life back in order and they promise to stay in touch with each other before emotionally embracing.

On the doorstep of Eleanor's family home, Reggie arranges a gift for her: a cornet with the revised notes to Like Sunday, Like Rain.

Whaley was inspired to tell a good story, and interested in the subject of "childhood, and the loneliness and feelings of isolation and hopelessness that can sometimes accompany it".

"[3]Whaley says the biggest challenge with this film was to stay true to the story through the entire process and not change it based on investors' perspectives.

[21] Gary Goldstein of the Los Angeles Times also praised Meester and Shatkin for "deftly navigating roles that could have become phony or clichéd", and concluded: "A touching ending caps a quite wonderful journey, one that's greatly enhanced by Jimi Jones' fine camera work and a lovely score by Ed Harcourt".

"[23] John Hartl of The Seattle Times gave the film 2.5/4 stars, writing of the ending, "The pace slows, the music swells and Whaley's script threatens to turn sentimental and evasive.

[24] Justin Lowe of The Hollywood Reporter thought the film "shows an initial glimmer of promise", but ultimately its "playful tone and passable performances can't overcome an unremarkable premise and predictable plotting".

[8] Writing for The Village Voice, Nick Schager said the film "boasts what may be the most insufferably precocious protagonist in cinema history".