Buffy the Vampire Slayer

The Globe and Mail (Toronto) Jay Scott

Buffy The Vampire Slayer should be a mess, but it's not. It's a mini-comic triumph, and although it's technically a teen movie, it's in the tiny genre of sophisticated, darkly funny teen films such as Heathers and Pump Up the Volume. [4 Aug 1992, p.C1]

Christian Science Monitor Staff (Not Credited)

Moving from the Dark Ages of old Europe to the Lite Ages of new California, this brash comedy pits a Valley Girl against a vampire. Kristy Swanson heads the likable cast, with Donald Sutherland and Paul Reubens in standout supporting performances. [31 Jul 1992].

Los Angeles Times Kenneth Turan

Actress Kristy Swanson provides the ideal combination of energy and comic disdain that characterize a most unlikely savior. While it would be a mistake to oversell Buffy the Vampire Slayer, the sad and/or happy truth is that you could do worse on a warm summer night. A lot worse. [31 Jul 1992, p.1]

Washington Post Desson Howe

Buffy is amusing for a time but its destiny is to die in a disappointing, long-winded conclusion. The second half feels stretched out and muddled, as if screenwriter Joss Whedon drove a stake through his script. However, in his depiction of the vapid SoCal world, Whedon knows the territory.

Washington Post Hal Hinson

The movie is a mess from start to finish. But then again, this jerky, haphazard approach is part of the movie's goofy charm.

The New York Times Janet Maslin

Buffy the Vampire Slayer, a slight, good-humored film that's a lot more painless than might have been expected. Ms. Swanson's funny, deadpan delivery holds the story together reasonably well, as does the state-of-the-art Val-speak that constitutes most of Buffy's dialogue.

Empire Emma Cochrane

This spoof vampire flick's sole joke is that the heroine (Kristy Swanson) is a blonde, L.A. airhead rather than a beefed-up stake-toter, mentored by Donald Sutherland's deadpan Watcher.

Chicago Tribune Dave Kehr

Kuzui has imposed a heavily block-lettered feminist message on the movie, suggesting that Buffy discovers her empowerment as a woman by driving huge, phallic stakes through the hearts of her enemies. In this case, having it all means being feminine and bloodthirsty, too. [31 Jul 1992, p.B]

Austin Chronicle Marjorie Baumgarten

Buffy the Vampire Slayer is a fun movie; so much better than it has to be and so much better than you expect it to be. Buffy is to vampire movies what Valley Girl is to Romeo and Juliet stories: a fresh reworking of an old formula staged by up-to-the-second California teens.

Chicago Reader Jonathan Rosenbaum

The direction of Fran Rubel Kuzui (Tokyo Pop) suggests that she's more comfortable with character than action, and Joss Whedon's script has some fun with Valley talk (both genuine and ersatz) but strains to sell the story.

TV Guide Staff (Not Credited)

If you've seen Buffy the Vampire Slayer's poster, you've seen the movie. Otherwise, this pallid crossbreeding of vampire horror with Valley Girl vamping has no surprises.

Boston Globe Jay Carr

In short, when Buffy starts getting fangy, it stops being tangy. It gets all serious and earnest and flops as a teen-age love story and as a vampire thriller and even as a parody. It's not even a "Fright Night," much less a "Near Dark," and only hints at a "Lost Boys" ambience. [31 Jul 1992, p.38]

San Francisco Chronicle Mick LaSalle

Buffy, the Vampire Slayer is lightweight and fun -- not great fun, but it has its moments. The high school satire angle is both authentic and good-natured. [31 Jul 1992, p.D1]

Rolling Stone Peter Travers

Buffy isn't heinous, just disposable. As a friend tells Buffy while she eyes a fashion purchase, "It's so five minutes ago."

Seattle Post-Intelligencer William Arnold

Director Fran Rubel Kuzui ("Tokyo Pop") cannot begin to find the style that would give some unity and originality to this mess. The result is a grindingly dull horror comedy and an unnecessary satire of Valley Girls - a full decade after that phenomenon has come and gone. [31 Jul 1992, p.12]

Chicago Sun-Times Ernest Tucker

Neither funny nor scary, Buffy ends up as little more than a bunch of stereotypes (Reubens excepted) squaring off with each other as true love triumphs. Maybe it should have been called "Pee-wee's Big Denture," and given people something to sink their teeth into. But for now, Buffy remains lifeless. [31 Jul 1992, p.43]

Time Staff (Not Credited)

Director Fran Rubel Kuzui's frenzied mistrust of her material is almost total. Somebody should have given her a garlic necklace -- or a Miltown -- and told her to chill out.