I liked Me and You and Everyone We Know a lot, primarily because I found Miranda July's insights and observations exceedingly personal, a distillation of a unique and idiosyncratic way of looking at the world. I was particularly moved by Richard's bewilderement when faced with family breakup, his anxiety about remaining a vital presence in his boys' life post-separation, and his reticence about initiating a new relationship before the wounds from the previous one have healed. I empathized instantly with Christine's efforts to exhibit her art and defeat loneliness. I found her unabashedly pro-active maneuvers to get what she needs thoroughly endearing.
The characters who are minors appear mostly preoccupied directly or indirectly with sexual coming-of-age issues, with trying to make sense of it somehow. The scenes involving two high school girls seemed specially well-observed, although Me and You strikes a single false note when a bachelor posts erotic messages to the girls on his window, where any passerby would see them. Then again, my favorite scene in the movie involves a kid and a grown-up meeting at the park, a rendezvous made possible by an anonymous sex-chatroom encounter. It's to July's credit that she has the courage to deal with this type of material and the vision and skill to make it work.

*Chris, I think our almost oppositional reactions to Me and You and Everyone We Know can perhaps be encapsulated by your finding "no passion behind it", and "no chemistry" between Hawkes and July. I had a completely different reaction.