Both Stern and the less-seasoned Feldman are appealing performers who’ve written themselves characters they know and can play well, in both their righteous moments and their deeply flawed ones. And even when the story sags here and there, This Close is a reminder of the creative value of more inclusive storytelling.

This Close has a lighter, more hopeful spirit than any of its “sad in California” counterparts, and its characters are more inherently decent. Stern and Feldman are both convincing in their roles.

The show has a rhythm all its own, one that is easy to fall in step with. The long stretches without spoken dialogue gives "This Close" an original flavor--it engages the eye more than the ear--and when someone does speak, it's jarring, like suddenly hearing inelegant American voices in a French cafe.

It’s a tender, compellingly realistic story about modern relationships. Its charm comes through loud and clear, even when words are not spoken aloud.

The narrative arcs aren't always original, but Stern and Feldman's touching performances make the series this close to perfect. [16 Feb 2018, p.49]

It’s an unconventional love story that needs another season to figure out what it really wants to be, and how best to get there. At least the most important elements--or both of them, anyway--are in place.

This Close is raw and insightful, but it’s only fair to mention that it’s also messy, a little cliche, and ends with a questionable cliffhanger. ... When This Close works, though, it’s reminiscent of the best of HBO’s wonderful Looking.