Metascore
58

Mixed or average reviews - based on 17 Critics

Critic score distribution:
  1. Positive: 10 out of 17
  2. Negative: 2 out of 17
  1. Reviewed by: Judy Stone
    100
    Green Card demonstrates that explicit nudity is not necessarily an essential ingredient in creating an erotic atmosphere, but that it does take a director's sensitive understanding of the various ways in which emotion creates desire. When that understanding is combined with a sense of the human comedy, it's cause for celebration. [11 Jan 1991, p.E1]
  2. The film is a charming little romantic comedy based on a high-concept premise - one of those fraudulent marriages whereby an alien marries an American citizen to get his green card, or permanent residency. [11 Jan 1991, p. 6]
  3. Reviewed by: Mat Snow
    80
    Better than Ghost but not as good as When Harry Met Sally, here's a dating movie where the other woman really should have got her man.
  4. Depardieu and MacDowell seem to share an uncommon honesty and generosity of spirit. So as the sexual tension between their characters grows, their scenes together are charmingly open and uncompetitive. The sense is that if these two ever become lovers, it will be because they have first become friends. On that startling note, in today's climate of explicit, loveless love, the film floats to its heady conclusion. [11 Jan 1991, p.6]
  5. 75
    Weir is good with his actors and good, too, at putting a slight spin on some of the obligatory scenes.
  6. Reviewed by: Staff (Not Credited)
    70
    Although a thin premise endangers its credibility at times, Green Card is a genial, nicely played romance.
  7. Green Card is quite pleasant to watch mainly because Mr. Weir hasn't disturbed its simple virtues with undue portent. Sometimes a plate of spaghetti with a simple tomato sauce is just the thing, and this is the movie equivalent of that. [10 Jan 1991, p A12]
  8. 63
    Don't look for the originality and grit that distinguished Weir's Australian films Picnic at Hanging Rock and Gallipoli, Green Card has all the heft of a potato chip. But Depardieu's charm recognizes no language barriers, and MacDowell, the revelation of sex, lies, and videotape, proves a fine, sexy foil.
  9. Reviewed by: Staff (Not Credited)
    63
    Peter Weir's talent, so evident in his Australian work, remained dormant here, but Depardieu's lively performance is a redeeming factor.
  10. Like Pretty Woman, Green Card doesn't aim high - comedy, sentimentality, sex and pathos are sufficient for its scheme of fantasy things - but with the exception of MacDowell, it achieves its modest aims unerringly. [11 Jan 1991, p.C1]
  11. Reviewed by: Caryn James
    60
    That understated style at times makes Green Card seem too stiff and vacuous, as if Mr. Weir were inspired by the surface of a Jane Austen work and left out the wicked social observations. But the film is magnificently redeemed by Mr. Depardieu.
  12. 60
    Like "Ghost" and "Pretty Woman," this romance is blissfully dependent on our staying good and starry-eyed, seduced by the charisma of the leads. And we do, despite its lackadaisical pace and disappointing ending.
  13. 50
    Depardieu has so much life on screen, so much bounding energy and insistent physicality, that he almost brings it off.
  14. Reviewed by: Jay Carr
    50
    Despite its lush photography, Green Card has the texture of peanut butter. It's more romantic than comedic, but there isn't an abundance of either. [11 Jan 1991]
  15. Reviewed by: Desson Howe
    40
    It is slightly disconcerting to realize that this pleasant but lightweight movie was produced, directed and written by Peter Weir. This means Touchstone Pictures didn't throw this the Australian director's way; he came up with it himself.
  16. Reviewed by: Staff (Not Credited)
    30
    In his first big Hollywood film, French superstar Gerard Depardieu cheerfully goes slumming with sex, lies, and videotape's Andie MacDowell. Peter Weir's comedy offers a little charm, less story and virtually no movie.
  17. As effective as MacDowell was in sex, lies, and videotape, she's clearly no match for the talented Depardieu; perhaps she'd seem less out of her depth if the script wasn't so implausible and threadbare.

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