Critic Reviews



Based on 17 critic reviews provided by
Not since "Love Story" has there been a movie that so shrewdly and predictably manipulated the emotions for such entertaining effect.
Ephron homes in on what's been missing in movies and in life: ardor, longing and smart talk about the screwed-up notions that pass for love.
In Sleepless, though, we're as stuck on these people as the director is, and it puts us in a receptive, forgiving mood. We fall -- and I think a lot of people will fall hard for this movie -- even though we know we shouldn't.
There are no surprises in Sleepless, and the audience is ahead of the characters every step of the way. But people seem to like it that way. And, hey, it works like a charm.
Los Angeles Times
We don't make those kind of Lubitsch-Wilder-Capra movies anymore, because it's hard to kid about what goes on behind bedroom walls when the bedroom doors have long since been flung open. So Ephron invents strategies to keep us, teased, outside the boudoir. [25 Jun 1993 Pg.F1]
This is a dreamy, romantic fantasy whose mood falls somewhere between magic and reality.
Ephron develops this story with all of the heartfelt sincerity of a 1950s tearjerker (indeed, the movie's characters spend a lot of time watching "An Affair to Remember" and using it as their romantic compass).
Chicago Reader
Nora Ephron, who wrote and directed this, repeatedly alludes to the 1957 "An Affair to Remember" as her principal point of reference, yet at no point does she indicate any awareness of what makes that tragicomic love story sublime and this one merely cutesy.
Entertainment Weekly
The movie is so prefab, so plastically aware of being ''corny,'' ''romantic,'' and ''old-fashioned,'' that it feels programmed to make you fall in love with it.
While celebrating the lushly romantic, it also tweaks the tradition so that Sleepless in Seattle ends up something akin to a feature-length Taster's Choice commercial.

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