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Vincent Canby, New York Times: There are excesses in the film, but they are balanced by scenes of such unusual beauty and vitality that I couldn't care less. Read more
Joshua Rothkopf, Time Out: The Conformist is celebrated for cinematographer Vittorio Storaro's tumbling autumn leaves, but its emotional impact involves a tumbling soul. Read more
Jonathan Rosenbaum, Chicago Reader: Ravishing to the eye but less than fully satisfying to the mind. Read more
Kevin Thomas, Los Angeles Times: ... seems every bit the masterpiece it was when first released by Paramount. Read more
David Thomson, L.A. Weekly: A great film, drunkenly beautiful and deeply disturbing. Read more
James Berardinelli, ReelViews: Storaro and Bertolucci have fashioned a visual masterpiece in The Conformist, with some of the best use of light and shadow ever in a motion picture. Read more
Andrew O'Hehir, Salon.com: The unsettling blend of images and ideas in this movie cannot satisfactorily be disentangled or decoded, and it's the very strangeness of Bertolucci's masterpiece that has made it so influential in cinema history. Read more
Tom Milne, Time Out: Juggling past and present with the same bravura flourish as Welles in Citizen Kane, Bertolucci conjures a dazzling historical and personal perspective. Read more
Calum Marsh, Village Voice: Bertolucci's boldest and most expressive film ... Read more
Michael Atkinson, Village Voice: An eye-watering testimony to the erstwhile dash of international cinema. Read more
Stephen Hunter, Washington Post: The movie is pure magic as story, as drama, as photography, as conviction, as everything except its ideas. Read more
Hal Hinson, Washington Post: The brilliant mix of ideas, the audacity and originality of approach, the sensualist delight in the ravishing play of light and shadow -- all these remain, as bracing and inspirational as ever. Read more
Desson Thomson, Washington Post: More like a symphonic poem than a movie. Your breath is taken away by its baroque compositions. Read more