Critic Reviews
30
Metascore
Generally Unfavorable
positive
2(18%)
mixed
2(18%)
negative
7(64%)
Showing 11 Critic Reviews
70
But what truly distinguishes the movie is Cage's performance, which is so off the wall that even if you don't like it you have to watch in awe.
70
The picture seems to crumble... because the writer and director don't distinguish Loew's fantasies from his actual life... But with Cage in the role we certainly see the delusions at work. This daring kid starts over the top and just keeps going. He's airily amazing. [12 June 1989]
50
Playing a sleazeball who has stumbled upon an excellent excuse for his bent, Cage holds the movie together as best he can. More important, he nails down his unique approach to acting, managing to be simultaneously stylized and naturalistic. [7 June 1996, p.66]
40
A bold but ultimately doomed effort that will irritate all but cultists of the bizarre and the most rabid fans of Mr. Cage.
30
Cage's over-the-top performance generates little sympathy for the character, so it's tough to be interested in him as his personality disorder worsens.
25
Called upon to blend the fey and the fiendish, the usually fine Cage is reduced to acting like some kind of combination of Dudley Moore and John Carradine. Throughout, though, he seems to be enjoying it; I can't imagine why. [2 June 1989, Friday, p.E]
25
It's hard to tell if Cage's performance is a grand stab at all-out, no-holds-barred comic acting or one of the worst dramatic performances in a film this year. [2 June 1989, Daily Datebook, p.E8]
25
Yes, Vampire’s Kiss features one of Nicolas Cage’s most outlandish performances (which is saying something), but it’s also a dismal film, ugly and misogynistic in a particularly 1980s way.
20
Stone-dead bad, incoherently bad... Cage acts as if he has been taking hits off of Dennis Hopper's gas mask. There's no way to overstate it: This is scorched-earth acting -- the most flagrant scenery chewing I've ever seen.
20
The film is dominated and destroyed by Mr. Cage's chaotic, self-indulgent performance. He gives Peter the kind of sporadic, exaggerated mannerisms that should never live outside of acting-class exercises.
