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Based on 10 Reviews
critic reviews (10)
fan reviews ( )
  • 50
    Jami Bernard New York Daily News

    The acting runs the gamut, with Daly and Redgrave at the top and a few characters looking as if they wandered onto the wrong movie set. show more

  • 50
    Jonathan Foreman New York Post

    One of those exercises in romantic whimsy that misses its mark: It's alternately sappy and uncomfortably harsh. show more

  • 50
    Ken Fox TV Guide

    Surprisingly, some of the best moments come from supermodel Crawford and singer Connick, two acting tyros not generally known for their dramatic skills. show more

  • 50
    Michael Dequina Film Threat

    Given how much Yellen does right, it's all the more shameful that she so spectacularly sinks her film in the foot with one hugely questionable "creative" decision: adding a pair of ghosts into the mix. show more

  • 80

    Though picture is at times undermined by a lack of unifying perspective, its glimmers of greatness are a testament to the talent involved. show more

  • 70
    Kevin Thomas Los Angeles Times

    These formidable actresses [Redgrave and Daly], abetted by a persuasive Connick, and by Hurt as the most genteel and benevolent of ghosts, set a high standard for a splendid ensemble cast. show more

  • 60
    F. X. Feeney L.A. Weekly

    The interactions between the realms of the magical and the everyday are carried off with an easygoing charm. show more

  • 50
    Village Voice

    The film tries hard to avoid cliché but doesn't get very far. show more

  • 40
    Luke Y. Thompson New Times (L.A.)

    Since we know most of this cast is capable of acting, one must assume they received little instruction. Even if they did, who could blame them for not listening? After all, they are dealing with a script that tries to play scenes featuring drunken ghosts with silly accents for tragedy. show more

  • 30
    Stephen Holden The New York Times

    Might be described as a muddy, cliché-ridden sudsfest that lurches uncertainly between comedy and soap opera without finding its emotional or visual footing. show more

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