Return to Me: Critic Reviews

The alluringly deadpan Duchovny can make no headway with Driver.

There is a satisfying, old-fashioned Moonstruck sensibility at work.

As if aware they are imprisoned in the subplot of a terrible movie, actors Carroll O'Connor, Robert Loggia, Eddie Jones, William Bronder and Marianne Muellerleile have a near mutiny on screen.

Ultimately too bland and safe.

Renders a bland, mall-bought local flavor.

Return to sender.

The movie suffers from a surfeit of affection.

Easily the most sane and encouraging romantic comedy since the far more polished, but equally expansive and ethnically flavored Moonstruck.

This PG-rated trifle is the perfect movie to take your parents to see without fear of embarrassment.

You've got a romantic comedy that ain't much of either.

Duchovny is surprisingly out-of-joint with the romantic atmosphere.

Return to Me manages to disarm with its charm and delight with its bite.

An unbelievable premise, but sweet and romantic.

Touches the audience's heart without being sappy.

Contrivances abound, no doubt, but the picture refuses any disingenuous pollutant access to the mix, instead leading with heartfelt, lived-in emotions, enjoying a deliciously homey mood of friendly flirtation and old-world wisdom.

Driver and Duchovny shine in romance with heart.

Every time I see this it is better and better. Bonnie Hunt is an amazing writer.

Characters you can enjoy watching and will care about, places you will enjoy spending time, and a charming, hopeful look at love amid the vagaries of life.

See this wonderful film and let it teach you about the warmth, the richness, and the renewal of life.

Have a heart.

[Hunt] chooses early emotional depth to fulfill later parts of the movie--a master stroke, as it turns out.

Return to sender. Except for David Duchovny.

A sweet love story, far more affecting than the average romantic drivel because it's so much less phony.

A charming romantic comedy tragically bogged down by the uncomfortable avoidance of its central plot point.

Every shot is squarely predictable, and you'd never guess that cinematographer Laszlo Kovacs has done major work like Paper Moon.