St. Louis Post-Dispatch by Joe Pollack

As the climactic scenes approach, the audience must find a way through a number of large plot holes and suspend disbelief, but The Vanishing remains a strong, entertaining movie. [05 Feb 1993, p.3G]

Tampa Bay Times by Hal Lipper

Bridges is supremely creepy, while Sutherland is worse than grating, and, while this version doesn't hold up to its Dutch predecessor, it's impossible to deny The Vanishing's power. [05 Feb 1993, p.6]

Los Angeles Times by Kenneth Turan

Psychological thrillers are only as effective as their villains, and The Vanishing serves up one hell of a specimen.

Austin Chronicle by Marjorie Baumgarten

A good, psychological thriller that, I suspect, packs more of a wallop if you have not seen the original.

The New York Times by Janet Maslin

The new film is twice as busy as its quiet predecessor, and perhaps half as interesting (which still places it several notches above run-of-the-mill studio fare).

Entertainment Weekly by Owen Gleiberman

[Sluizer's] original, pitch-black ending would have sent people out of the theater giddy with shock; it’s doubtful anyone will remember his new one long enough to tell their friends.

Variety by Lawrence Cohn

Some last-reel thrills and cathartic violence provide commercial oomph to the otherwise tedious thriller The Vanishing. This is one remake that sacrifices much of what made the original work so well.

TV Guide Magazine by Staff (Not Credited)

While the original was a rather cerebral exercise in suspense, the American version has predictably been given a more visceral dimension. The new version is more simplistic, but still works on its own level.

Boston Globe by Jay Carr

The reconstituted Vanishing is a pretty banal proposition. [05 Feb 1993, p.27]

Washington Post by Desson Thomson

Screenwriter Todd Graff makes an inept, quasi-formulaic rehash of everything. He duplicates many of the original scenes but does so mechanically.