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TIME Magazine: A lingering, calf-eyed look at backstage ballet's little world of overworked egos and underdone glands. Read more
Bosley Crowther, New York Times: We must be contented with repeating that The Red Shoes is one you must see. Read more
Joe Morgenstern, Wall Street Journal: The Red Shoes was shot in three-strip Technicolor, a process that's no longer used because of expense and technical complexity, but one that yielded some of the most spectacular images in cinema history. Read more
Moira MacDonald, Seattle Times: One of the most beautiful films ever made. Read more
Jonathan F. Richards, Film.com: The shoes have never been redder. The color of passion that drenches the Technicolor world of The Red Shoes has been restored to its original luster. Read more
Dave Kehr, Chicago Reader: A look beneath its lushly romantic surface reveals a dark, complex sensibility, and that surface, rendered in the somber tones of British Technicolor, reflects a fantastically rich cinematic inventiveness. Read more
Melissa Anderson, L.A. Weekly: The greatest film about ballet ever made. Read more
Anthony Lane, New Yorker: No wonder Britain, still rationed in color, food, and feeling in the wake of an exhausting war, could not cope with what the movie proposed. Catch it here now, and you will not just be seeing an old film made new; you will have your vision restored. Read more
Roger Ebert, Chicago Sun-Times: The film is voluptuous in its beauty and passionate in its storytelling. You don't watch it, you bathe in it. Read more
Tom Huddlestone, Time Out: Blending impressionist art and expressionist film, blurring the barriers between theatre and cinema, body and camera, reality and dream, drawing equally on the avant-garde and the classical. Read more