Critics’ reviews

Sleepless in Seattle (1993)

10 reviews from 10 publications. Critics’ score 68: 6 positive, 1 mixed, 1 negative.

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68
Positive
6
Mixed
1
Negative
1

Most critics respond warmly to Sleepless in Seattle, with praise clustering around Ephron’s wit, the supporting scenes and the performances of Tom Hanks and Meg Ryan. The favourable reviews find its old-fashioned sentimentality effective, even when the emotional manipulation is plain to see. Several also admire how it uses An Affair to Remember to explore expectations of romance, giving the familiar material something more to do than simply invite tears.

The disagreement centres on whether that charm compensates for the contrivances, with responses ranging from enthusiastic affection to outright boredom. Reservations extend to uneven momentum, excessive sweetness and a romance that can seem more calculated than convincing. The New Yorker finds Hanks appealing but sees little suspense or fresh emotion; the Evening Standard rejects the central pair as bland, making it the sharpest dissent from an otherwise broadly favourable consensus.

Empire
26 January 2006 · Mark Salisbury
85*

A hugely enjoyable romantic comedy that tugs at both the funny bone and tear ducts with equal success. Ephron's script is often uproariously funny with strong support from the cast, though the soundtrack is sometimes too literal.

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Radio Times
★★★★ · Adrian Turner
80

Ephron delivers a gloriously old-fashioned and manipulative romantic comedy that succeeds by keeping its stars apart for nearly the entire runtime while using An Affair to Remember as a clever touchstone.

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Time Out
11 February 2014 · ★★★★ · Tom Huddleston
80

The critic finds the 1993 romcom deeply sentimental and less insightful than Ephron’s earlier work with Ryan, but ultimately irresistible thanks to its stars and witty supporting scenes.

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The Guardian
13 February 2014 · Peter Bradshaw
75*

Ephron brings terrific flair, wit and nous to this smart 90s romcom, cleverly reversing the situation in An Affair to Remember by giving the man the heart-wrenching disability of bereavement. The perky performances of Tom Hanks and Meg Ryan stand out amid smart humour and the film's central conceit.

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Total Film
10 February 2014 · Emma Morgan
75*

A joyful rebuff to dating myths that has fun with male-female attitudes to romance. The romcom launched a thousand Empire State proposals and remains appealing despite some psychotic undertones.

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The New Yorker
12 July 1993 · Anthony Lane
55*

The film is a gentle meditation on fate with charm but little suspense or human impediment, relying on contrivances and secondhand elements while Hanks provides the best reason to watch. Ephron's direction favors words over images and repetition over fresh emotion.

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Evening Standard
14 February 2014
25*

The critic has never understood the appeal of this 1993 rom-com about two urbanites brought together by a child. The central pair are irredeemably bland and their cutesy long-distance romance is the perfect cure for insomnia.

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The New York Times
25 June 1993 · Vincent Canby

Ephron's feather-light romantic comedy about two lovers who meet only at the end works more effectively than expected as a stunt that manipulates emotions entertainingly. It is cannily concocted but smaller and more self-conscious than classic romances like An Affair to Remember.

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Variety
8 June 1993 · Brian Lowry

Ephron and writers make the film purposefully schmaltzy and almost cynical with contrivances, though the setup has appeal, Hanks and Ryan perform well, and it rallies for a heart-tugging finale after losing momentum. It may boost interest in An Affair to Remember more than stand as a sleeper hit.

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Paste
25 June 2023 · Jesse Hassenger
70*

The critic views the film as an unconventional, chaste dramedy that ponders romance through movie references more than delivering sparks, praising its meta-textual insights into how films shape perceptions of love while noting its unconventional structure and modern issues like perceived stalking.

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Ordered by the weight we give each publication, then by score. Scores are normalised to 100; * means inferred from an unrated review. Summaries are ours, not quotations; follow the links for the reviews themselves. How we rate