Critic Reviews

In this smart, funny, mostly breezy but occasionally thought-provoking series (I’ve seen all eight episodes, each just under a half-hour), Rudd makes great use of his inherent likability, his unique way of mining big laughs out of just a few words of dialogue and his underrated dramatic skill set.

Is this funny? Often, and at times, very. Is the writing sharp? Razor sharp, and in fact, there's a line later on that's draws blood it's so good, but context is important to see why. Rudd is excellent, both of them.

In both roles, Rudd is doing some of his best work. The script and his wide-ranging performances make it never quite clear which Miles the audience is meant to be rooting for, inviting sympathy (and disdain) for both.

The execution of Living with Yourself is mostly brilliant. These eight half-hour episodes go fast. If I have a quarrel with the show, it’s that too much time is spent on the admittedly rich storylines that can be developed from this premise. ... Really, you should watch Living With Yourself for Paul Rudd and... Paul Rudd. A role like the two Mileses requires a surprising amount of emotional range, and Rudd’s got it.

Living with Yourself is perfectly calibrated for binge-watching. Several of the episodes end abruptly, at the peak of cliffhanger tension, and the eight half-hour installments whiz by in a satisfying rush. We could all use a break from living with ourselves, so spend a few hours with Miles and Miles. You’ll come away refreshed.

The series arrives at a place of hope that will redeem it for many viewers, but its willingness to stagger towards that moment can be punishing. I can think of two full episodes I’d have excised from this show’s run, not merely because it feels and is too long and recursive but because the show has a tendency to want to say everything on its mind at once. And yet it remains curiously worth watching.

An intriguing and surreal serving of fun fantasy. It’s an ideal role for Rudd. Well, make that two ideal roles for Rudd.

The show feels breezy but also smart, entertaining but thought-provoking at the same time.

For all its messaging and repetition, its time travel and related wandering, the series (created and written by Timothy Greenberg, directed by Jonathan Dayton and Valerie Faris) maintains its compelling power from its hilarious beginning all the way—and it’s a long way—to its predictable end.

A bizarrely twisty, highly inventive dark comedy that, among other things, considers the elusive quest for happiness. The premise, frankly, really doesn't do this Netflix series justice, as the producers somehow keep pulling rabbits -- and unexpected wrinkles -- out of hats.