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Critic scores range from 0 to 100, with higher scores indicating more favorable reviews.
Freshly viewed, the movie's melancholy seems to fit uncannily well in the moment we find ourselves now. In the film there are mentions of nuclear annihilation and worries that heedless lust and wanton partying could bring Rome a second fall. Read full review
In this one masterpiece, Federico Fellini achieved the ideal balance -- between social observation and unconscious imagery, between artistic discipline and freedom, and between the neo-realism of 1950s Italian cinema and the orgiastic flights of his later work. Read full review
A profound film by a legendary director in the greatest period of his career. Read full review
One of the cinema's true classics. Read full review
Films don't get more essential than this. Read full review
A brilliantly graphic estimation of a whole swath of society in sad decay and, eventually, a withering commentary upon the tragedy of the overcivilized. (Review of Original Release) Read full review
The movie is made with boundless energy. Fellini stood here at the dividing point between the neorealism of his earlier films (like "La Strada") and the carnival visuals of his extravagant later ones ("Juliet of the Spirits," "Amarcord''). Read full review
A brilliantly conceived epic fable. Read full review
The performances are uniformly excellent. Mastroianni is perfect in the key role of the basically good and honest boy who succumbs to the sweet life. Ekberg is a revelation as the visiting star, while Furneaux almost runs off with the picture as the reporter's instinctive, possessive mistress. (Review of original release) Read full review
In one movie, at least, the ethical baseline (heisted, you could argue, from "Sweet Smell of Success") gave Fellini's roaming, cluttered mise-en-scène a chilling gravity he could never genuinely locate again. Read full review