Amarcord 1973

Vincent Canby, New York Times: When Mr. Fellini is working in peak condition, as he is in Amarcord, he somehow brings out the best in us. Read more

Dave Kehr, Chicago Reader: Uneven, loosely structured, and at times pretty vulgar as well as sentimental, but with some touching and lovely episodes. Read more

Wesley Morris, Boston Globe: Continues to resemble something a lewd, grouchy, fitfully indecent silent-movie director might have made for his first time using color and sound. That, at least, would explain the shouting. Read more

Kevin Thomas, Los Angeles Times: He [Director Fellini] leaves us with the hope that the human comedy just may be able to survive everything. Read more

Roger Ebert, Chicago Sun-Times: A totally accessible film. It deals directly, hilariously, and sometimes poignantly with the good people of this small town. Read more

Colin Covert, Minneapolis Star Tribune: Federico Fellini's films beg to be seen on a movie screen. Their panoramic, overstuffed frames and larger-than-life characters overflow the boundaries of home theater; their exuberant, generous humor is best enjoyed in a packed auditorium. Read more

Jay Cocks, TIME Magazine: Fellini is so bountiful with incident and observation that he makes most other film makers seem stingy. Read more

Ben Kenigsberg, Time Out: Read more

Time Out: Fellini at his ripest and loudest recreates a fantasy-vision of his home town during the fascist period. Read more

Variety Staff, Variety: This Fellini opus is his most accessible to mass audiences since La Dolce Vita. Read more

Lance Goldenberg, Village Voice: What positions the film among Fellini's greatest are its punctuation points of mysterious beauty. Read more

Philip Kennicott, Washington Post: Orthodox Fellini lovers will give primacy to La Strada or La Dolce Vita, but Amarcord has its fans, and it's easy to see why. Read more