57
Metascore
19 reviews · Provided by Metacritic.com
- A laugh-in-the-dark funhouse ride that provides nearly two hours of slightly sinister sight gags and Gothic giggles, is creepy, kooky, even altogether ooky enough to satisfy any Addams addict.
- 78Austin ChronicleMarc SavlovAustin ChronicleMarc SavlovTruthfully, it's hard to imagine a better screen adaptation of this queer household. Addams would have been proud.
- 70IGNIGNTowards the end of the ride you are ready to get off... but if ride films are your thing, you'll be surprised at how much you enjoy this, even if you don't remember much about it afterwards.
- 60EmpireAngie ErrigoEmpireAngie ErrigoDeliciously sick and delightfully cast.
- 60The New York TimesJanet MaslinThe New York TimesJanet MaslinThe film's aimlessness and repetitiveness eventually become draining. And its small touches often work better than its more elaborate ones, like an extended party sequence that seems awkward and largely unnecessary.
- 58Entertainment WeeklyOwen GleibermanEntertainment WeeklyOwen GleibermanIt might have helped had the film included a few more representatives of the straight world. As it is, there’s almost nothing for the family to play off. We’re shut up in that mansion right along with them, and the kookiness grows fatally quaint.
- 50Chicago Sun-TimesRoger EbertChicago Sun-TimesRoger EbertThis is the kind of film that isn't as much fun to see as it is to hear about.
- 50Time Out LondonTime Out LondonBarry Sonnenfeld setting a cracking pace in his directorial debut, but suggesting that Tim Burton might have given the film the edge it lacks. Ooky the Addamses may be, subversive they ain't; it plays like a paean to the nuclear family.
- 40Despite inspired casting and nifty visual trappings, the eagerly awaited Addams Family figures as a major disappointment. First-time director Barry Sonnenfeld never really gets past the skeletal plot, which plays like a collection of sitcom one-liners augmented by feature-film special effects.
- 38Boston GlobeJay CarrBoston GlobeJay CarrUltimately, the film's self-censoring will to sweetness and innocence is even more fatal than the flimsiness of the plot. [22 Nov 1991, p.33]