According to the film's official blog, a new cut of the film, featuring an updated soundtrack and other changes, was created for the formal release. Yesterday Was a Lie was released theatrically in the U.S. on December 11, 2009. Home video The film was released on DVD on April 6, 2010. In 2019, Yesterday Was a Lie was acquired by IndiePix Films. The film was remastered and given a "tenth anniversary" re-release in November on DVD, digital, and, for the first time, on Blu-ray. The re-released discs included deleted shots, outtakes presented by Brown and Kerwin, and video of the cast's WonderCon panel, in addition to the commentary track and behind-the-scenes special features which were included on the earlier Entertainment One DVDs. Reception In a review published after the film's U.S. theatrical opening, Variety praised the film's "stunning black-and-white HD cinematography" and "impressively atmospheric tone" and its recreation of the "classical Hollywood [visual] aesthetic". The film's "sultry jazz score" was also singled out for mention. However, the review also criticized the casting of the film—calling the acting "stiff" and "hopelessly amateurish"—as well as the plot, which it described as a "clunky David Lynchian cosmic mystery" leading to "grand (yet underwhelming) revelations about the nature of reality." Other mainstream reviewers were critical of the film as well. Kevin Thomas in the Los Angeles Times wrote that "The film seems like an atmospheric shampoo commercial in which glamorous models pose in gritty back alleys with fog machines going full force. ... There's lots of talk about the 'interconnected of consciousness' and 'the totality of consciousness' and how those who can plug into it can control reality ... [The] film is hard to connect with and is way too vague to inspire the urge to try to do so." while John Wheeler in LA Weekly wrote that the film's "pitch" was "'a metaphysical noir about a beautiful alcoholic detective searching for the key to understanding nonlinear time'" but commented that the "film can't hope to live up to that premise, and it doesn't." It comments that "the film jumps around aimlessly, repeating dialogue and images of Hoyle's search while using non sequitur discussions of Dalí and Eliot to justify its often impenetrably surreal structure." It praises the film as being in "gorgeous black-and-white and lit by some extremely competent artisans" but concludes that "the film is finally too disjointed and incomprehensible to be