I Used to Be Funny

On the review aggregator website Rotten Tomatoes, 83% of 12 critics' reviews are positive, with an average rating of 7.3/10.[7]

Jason Bailey of The Playlist wrote that "the flashbacks are reasonably well-integrated, though it takes a few scenes to hook into what they're doing and where we are, and some of the stylistic devices to signal them are a little shopworn (there are copious echoing voices haunting the soundtrack). But the construction isn't entirely effective. It ends up unwinding like a thriller, carefully hiding not a killer, but a secret, a device that borders on deception and tips into that territory — particularly near the end, when the details they've been withholding are released as easy exposition dumps in flat, pro forma courtroom scenes."[1]

For Exclaim!, Rachel Ho rated the film 7/10, writing that "Pankiw's use of mystery and thriller to build compelling tension shows a remarkable command over the tone of her film, particularly impressive in a first feature. Her confidence is evident as she reroutes and backtracks the story, going from point B to point A without losing focus."[2]

Jake Kring-Schreifels of The Film Stage graded the film a B, writing that "to her screenplay's credit, Pankiw manages to avoid a full-on mystery. The worry in these kinds of movies is that the effort to obfuscate and hint at the heart of the problem doesn't pay off. But the reveal here is thoughtfully constructed (a courtroom scene shows the humiliating way jokes can be taken out of context to serve a prosecutor's favor) and further clarifies Brooke's decision to abandon her family. "Don't think about Euphoria," Phillip tells Sam before she begins a feverish, final hunt for Brooke. It's a humorous touch to this contemporary story about reconciling the past by taking control of the present, and using your gifts to get you out of the dark."[8]

Peter Sobczynski of The Spool was more negative, writing that "Ultimately, I Used to Be Funny proves to be as aimless as its heroine, though nowhere near as interesting. It has ambitions, I suppose, but it doesn't know how to execute them. As a result, the feature kind of stumbles around before arriving at a finale nowhere near as cathartic as it would like. That said, Sennott is very good here. I cannot quite recommend that you see it. Still, hopefully, someone out there will catch her work here, realize her versatility, and give her a role in a project more deserving of her talents."[9]