a total worldwide box office of $26 million. Critical response On Rotten Tomatoes, the film has an approval rating of 78% based on reviews from 36 critics, with an average rating of 6.84/10. The site's consensus states: "Mighty Aphrodite may not stand with Woody Allen's finest work, but it's brought to vivid life by a thoroughly winsome performance from Mira Sorvino." On Metacritic it has a score of 59 out of 100 based on 16 reviews from critics, indicating "mixed or average reviews". Audiences surveyed by CinemaScore gave the film a grade "B+" on scale of A+ to F. In her review in The New York Times, Janet Maslin said, "Even when it becomes unmistakably lightweight, Mighty Aphrodite remains witty, agile and handsomely made." Roger Ebert of the Chicago Sun-Times called the film "a sunny comedy" and added, "The movie's closing scene is quietly, sweetly ironic, and the whole movie skirts the pitfalls of cynicism and becomes something the Greeks could never quite manage, a potential tragedy with a happy ending." In the San Francisco Chronicle, Leah Garchik said the film was "an inventive movie, imaginative and rich in detail" and added, "Woody Allen's incredible wit is at the heart of all that's wonderful in Mighty Aphrodite, and Woody Allen's incredible ego is at the core of its major flaw . . . He fails when he attempts . . . to get the audience to suspend its disbelief and accept Allen, a withered Romeo, as a sweet-natured naif. The crotchety charm of the shy and awkward characters he played as a young man has worn off; nowadays, he comes across as just plain crotchety." Peter Travers of Rolling Stone said, "The film is a showcase for Sorvino, actor Paul's Harvard-grad daughter, who gives a sensational performance. She shows startling humor and heart without trading on sentiment." In Variety, Todd McCarthy described the film as "a zippy, frothy confection that emerges as agreeable middle-range Woody . . . There is perhaps a bit too much of the chorus galavanting about delivering their increasingly colloquial admonitions and too few convulsive laughs, but the writer-director has generally pitched the humor at a pleasing and relatively consistent level . . . The film's biggest surprise, and attraction, is Sorvino . . . [who] goes way beyond the whore-with-a-heart-of-gold externals of the part in developing a deeply sympathetic and appealing character. None of the