Hearts in Atlantis Reviews

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Top Critic
March 4, 2002
October 3, 2001
Hicks ... coats the film in a bogus idyllic mist that substitutes cheap sentiment for blunt truth.
October 2, 2001
The unblinking sympathy for kids struggling with evil and with the strange frequencies of prepubescent passion can, if your defenses are down, lay you out.
September 28, 2001
Hicks's film is magical, but its magic comes not from the inexplicable phenomena we most commonly associate with King, but from the charms of childhood.
September 28, 2001
A precious respite from the postmodern era and all that it entails.
September 28, 2001
Much of Hearts feels a little empty, a little unmotivated.
September 28, 2001
Unabashedly sentimental, it's meant to touch our hearts in profound and important ways, but misses the mark by drawing too deeply from a pool of schmaltz.
September 28, 2001
The story's enchantment feels forced and coy, its mysteries tricked-up and flimsy.
September 28, 2001
A fussy piece of schmaltz that makes you long for Stand By Me, a vastly superior coming-of-age tale from King's pen.
Top Critic
September 28, 2001
A sweet coming-of-age story set in the summer of 1960, akin in mood to [King's] Stand by Me.
September 28, 2001
Put simply, the movie drags.
September 28, 2001
All that early promise goes for naught when the picture approaches the final act, whereupon the various mysteries yield solutions that prove to be silly or sentimental or both.
September 28, 2001
The performances are all first-rate, reinforcing the promise Hicks showed in the beautifully acted Shine.
September 28, 2001
Going for transcendence, [Hicks] gives us lugubriousness.
September 28, 2001
A poignant and often beautifully acted film.
September 28, 2001
The acting is so good, you almost want to forgive the fact that they're not saying anything, and the film has no real point.
September 28, 2001
A pungently evocative, beautifully burnished mood piece.
September 28, 2001
All atmosphere and no action.
September 28, 2001
Rarely does a movie make you feel so warm and so uneasy at the same time.
September 28, 2001
A nostalgic fiasco so shameless it makes movies like Simon Birch and Frequency seem as austere as the work of Robert Bresson.
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