I watched this because of Lena Dunham's new show on HBO. It was very first world problemy, though a a few moments did have a certain emotional authenticity to them. I didn't mind it, though I was a little glad when it ended, which is never the best sign.

Boring and unfunny hipster crap with actors, who don't have any sense of delivery. Except for Merrit Wever and Jemima Kirke, who was kinda funny.

Small in scale but highly effective as a satirical and self-aware exploration of the immaturity and aimlessness of some of today's privileged youth. Dunham finds an assured and confident voice in this debut feature, the start of what will hopefully be a burgeoning career in filmmaking.

Somewhat overpraised. It's certainly impressive for a twenty two year old, but only for a twenty two year old. Our culture prizes precocity over achievement.

Well, this movie sucked.

Let’s be clear: despite what some critics say, this is far from funny. & any1 comparing Ms. Dunham 2 Woody Allen should b exorcised from film criticism. Low budget but visually polished, it still drags like mumblecore w/ the usual lost slacker that, thank God, gets more involving as it goes. Dunham slowly distinguishes her protagonist from the thoughtful sighers in other indies & shows us things we almost never c onscreen from women, but anything more than that is seriously overstating things.

I ultimately ended up enjoying this more than i probably should have, since it's often every bit as obnoxious as it is oddly impressive. I have to give Dunham credit for demonstrating more directorial sense than most of her mumblecore peers, with actual shot design and staging of her actors instead of the usual aimless handheld flailing (although for sheer visual beauty she's still nowhere near Aaron Katz). At best i was reminded of Campion cira Sweetie, although that might be overpraising it.

this changes everything

While it dragged a bit towards the end, this movie was great. Dunham has a self-assured voice and a good taste for satire. If you don't like movies about a trust fund kid's ennui after graduating, then don't watch this. But if you can relate to that emotional limbo one experiences in their mid-twenties, then you will most likely enjoy this little film.

Impressive for someone of her age, but I preferred the presentation of Lena Dunham's post-college life in an alternate universe on TV.

It had funny parts and represented the post grad slump, but it really missed the mark for me.

It is Dunham's disregard of privilege, her indifference to social climbing, that provides Tiny Furniture's disarmingly modest personal vision.

An insightful and honest portrait of the post-grad slump. Only occasionally self-indulgent.

I liked aspects of this but overall it was very dull.

that sister was such a douche though

It starts with a few interesting touches that differentiate it from most other films, but it quickly drags, following annoying, privileged characters. If this was done satirically or by someone with something to say, then at least it'd be interesting, but there is not a hint of that here. We may not be meant to entirely sympathize with the main character, but she is still a bad reflection of the director: A boring, entitled trust fund kid.

"It's witty, but it's kind of goofy."

Better than I expected it to be, enjoyed it for the most part, the dialogue sounds a little ridiculous sometimes especially with the average acting but didn't bother me too much. I don't know.

might as well start off 2012 with almost nowhere to go but up! miranda july's THE FUTURE confronts its protagonists' delusions with bold experiments in form; what passes for confrontation in TINY FURNITURE is delivered via excruciatingly-written and performed bits of witless screeching that make even swanberg's most unfortunate twaddle seem like bliss (and it goes without saying it's not even fascinatingly problematic like the best of his work consistently is)

Young indie filmmakers tend to lean on cultural references and elevated vocabulary in an effort to either heighten the intellectual perception of their work or to simply make it “cool” or “quirky.” Dunham does this, though often she tries to disguise it as lampooning those who use it as a crutch, but you get the feeling that she’s also reveling in it, giving in to the kind of arty douchebaggery she halfway wants to subvert. All that said, TF is still a nifty little 20-something-in-transit film.

"Everyone in the film hides behind words-no one more than the director herself." - Andrew Schenker