The Sky is Everywhere seems to operate under the idea that loss and desire are intertwined. Lennie Walker (Grace Kaufman) articulates this sentiment, saying, "The weirdest part of grief … The most inappropriate part is that … all of a sudden, since Bailey died, I can’t stop thinking about just falling into someone’s arms.” It feels like the screenwriter, Jandy Nelson, might be conflating sadness with adolescence. As far as I know, sexual desire isn't one of the recognized stages of grieving. However, this doesn't prevent Lennie from processing her sister Bailey’s (Havana Rose Liu) death by essentially becoming someone who enjoys playing two boys against each other – one of whom is Bailey’s “boyfriend” (a label that feels accurate even considering the circumstances), Toby (Pico Alexander). He reveals significant details about their relationship, like his impending marriage to Bailey and his role as the father of her unborn child, at carefully timed moments. It's so calculated, it would be complete if there was a sign announcing each dramatic reveal. The predictable storyline also introduces Lennie to a typical eccentric family, including Uncle Big (Jason Segel), who seems too old to embody that persona and “believe[s] in everything.” This makes me wonder how much of the character is drawn from the actor’s own beliefs – if Segel believes in this script, he probably believes in just about anything. Still, to emphasize her unconventional nature, Lennie experiences hallucinations, so a series of text messages appearing seemingly out of nowhere doesn't seem that strange. She has also read “Wuthering Heights” an impressive “23 times,” which even Emily Brontë might consider excessive. Ultimately, if all this hasn’t made my opinion clear, the film culminates in an emotionally-healing hot-air balloon ride, and as Ebert’s Little Movie Glossary points out, "no good movie has ever featured a hot-air balloon.” The Sky Is Everywhere doesn't break that rule.

Source on TMDB