Vanilla Sky (2001)

The review praises the film as an intelligent, thrilling psychodrama that successfully reworks the original. It singles out Cameron Crowe’s deft blend of pop-culture touches with the strong story structure, while noting occasional pacing and exposition issues.

Ebert gives the film a positive but qualified verdict. He praises its audacious, puzzle-like construction, while finding it short on time for its characters.

Errigo finds the film ambitious, unsettling and emotionally engaging, though it demands close attention. She particularly praises its visual design, strong performances and evocative use of music.

Gonzalez finds the film a reductive, self-centered pop-culture thriller that is less compelling than its source. He praises Crowe’s mise-en-scène and John Toll’s camerawork, especially in the club scene.

The review's verdict cannot be determined from the accessible page. No praised or criticized element is visible in the paywall shell.

The accessible page does not reveal the critic’s verdict. Its article text is blocked, so no specific praise or complaint can be verified.

The page presents the film as a very straight remake of the Spanish-language original. Its metadata suggests the original merits another viewing, but the critic’s full verdict and specific praise or complaint are unavailable.

Caro finds the remake glossy but disappointing, faulting it for losing the original’s psychological suspense. He singles out Jason Lee’s amusing performance and Cameron Diaz’s lively turn as pleasures.

McCarthy finds the film lively and well made but ultimately muddled and less provocative than its source. He praises the cast and craftsmanship, while criticizing the softened characterizations and excessive musical references.

Bradshaw finds the film cumbersome, bombastic and less distinctive than its Spanish predecessor. He objects to its pseudo-futuristic ideas and treats it as a poor Hollywood remake.

Tauchert gives the film a mixed but somewhat appreciative retrospective, finding it an ambitious and visually effective remake that has gained a cult following. She singles out Cameron Diaz’s performance and the empty Times Square scene for praise, while criticizing Tom Cruise’s limited depth and the film’s close copying of its source.

The critic finds the film confusing and ultimately tiresome. He objects that its shifting realities abandon the rules needed to make the central conceit work.