8½ (1963)

The critic praises the film as one of Fellini's masterpieces and a powerful personal statement that continues to beguile despite being divisive. It singles out the sprawling portrait of the artist and the creative process in crisis.

The film is a grim fable of modern man and a true art picture likely limited in general appeal but strong in art houses. It features penetrating and witty moments with strong performances, especially from Marcello Mastroianni, and excellent technical credits including editing and music.

The short review describes the film as post-modernism 1963-style about a director on the verge of a nervous breakdown. It notes that it is dated but fitfully arresting.

The critic describes the digitally restored re-release as a glorious portrait of a grand director folding in on himself. It ranks among the greatest movies about movies.

Turan describes 8 1/2 as a timeless classic of personal cinema about self-portraiture and the creative process. He singles out its ability to enthrall through imagination and instinct.

Ebert calls 8 1/2 a great film and the definitive work about director's block. He singles out its autobiographical elements and the famous harem daydream sequence for praise.

The critic praises Fellini’s hallucinatory masterpiece as a compelling meditation on films as dreams and memories that exerts an irresistible pull. The opening dream sequence stands out as one of the most incredible things in cinema.

Gill praises the film as marvellous and a comedy about life's absurdities and desirability. He highlights Fellini's inventive cinematic tricks, performances, photography, and witty script.

The review calls 8 1/2 an exciting, stimulating monumental creation that tops La Dolce Vita. It praises the intensely personal storytelling and Fellini's ability to confess innermost thoughts entertainingly.

The critic views 8½ as a singular, self-indulgent yet extraordinary act of creative expression that grows more stimulating with each viewing. They single out the memorable black-and-white images by cinematographer Gianni Di Venanzo and the dazzling dream sequences and scenes featuring the women from the protagonist's past.

The critic praises this restored rerelease of Fellini's classic as a darkly funny, brilliantly acted masterpiece about life, art and the psyche, centered on the chaotic world of filmmaking. They highlight the film's rare cohesion through striking black-and-white cinematography and Nina Rota's score, and urge viewers to see it on the big screen.