Josephine Decker has a small but admirable filmography distinguished by surreal imagery, brutally confrontational emotional intensity, and collaborators whose talents she displays front-and-center. Recent works like Madeline’s Madeline and Shirley told meaningful stories of fictional females navigating their lives with poignant uncertainties, progressing through hyper-stylized worlds that highlighted the beauty and fear of existence. Decker's new film The Sky Is Everywhere technically contains all these elements, so viewers who only need the bare minimum of the above requirements should be satisfied. Unfortunately, the movie does not utilize her talents well enough to overcome a lack of any other justification for its creation, at least beyond the average sad adolescent movie.