reviews from critics and has an overall approval rating of 51% on Rotten Tomatoes. Waking the Dead debuted at the Sundance Film Festival in January 2000. It opened in Brazil one week later and Austria in February and was shown at the Santa Barbara International Film Festival in early March before going into limited release in North America later that month. It went on to gross $327,418 in North America, well below its budget. In his review in The New York Times, Stephen Holden wrote, "In falling short of its goal, the movie raises the question of whether it's possible to film an intelligent tear-jerker that prompts us to think and cry at the same time. Or are serious suds and serious ideas a cinematic oxymoron? At its best, Waking the Dead suggests an intellectually upscale answer to Love Story. At its weakest, it comes off as a stiff, muted exercise in countercultural nostalgia ... [it] makes a terrible mistake by continually and abruptly cutting back and forth between the 70s and the early 80s. The movie is forever stumbling over itself and breaking its own spell. At exactly the moment it begins to draw us in to one of its stories, it makes another leap, and the mood is broken. Because it barely distinguishes between the two decades, the flashbacks have none of the resonance of treasured memories". Roger Ebert of the Chicago Sun-Times wrote the film "has a good heart and some fine performances, but is too muddled at the story level to involve us emotionally. It's a sweet film. The relationship between Sarah and Fielding is a little deeper and more affectionate than we expect in plot-driven melodramas". Entertainment Weekly gave the film a "C" rating and Lisa Schwarzbaum wrote, "the arbitrariness of the lovers' passion and the somber hysteria with which the novelist and filmmaker treat every issue, whether it's South American dictatorship or female armpit hair, is enough to anesthetize the living". In his review for the Chicago Reader, Jonathan Rosenbaum wrote, "I can cite only one unequivocal reason for seeing Waking the Dead, and that's Jennifer Connelly ... What makes Connelly so remarkable isn't her character's radicalism but her capacity to keep the character fresh every time she appears and to leave a lingering impression that makes the hero's (and the movie's) sense of loss acute". In the San Francisco Chronicle, Mick LaSalle called