Dances with Wolves (1990)

Costner's directorial debut is a personal and artistic triumph and a box-office winner. It is an evocative, hugely enjoyable epic with unprecedented affection for Native Americans, though overly sentimental in places.

The critic finds Costner's directorial debut a genuinely impressive epic Western with sincere sentiments and huge dramatic sweep. They single out the historical and cultural authenticity as an end in itself, while noting it looks great despite some sentimentalisation and a faltering final half-hour.

The critic views the film as a naive, middle-of-the-road New Age social-studies lesson that simplifies the Sioux as genial versions of whites and depicts white men as foul louts. It lacks narrative power or bite, coming across as childishly innocent and lightweight despite its vastness.

The critic calls the film a proficient but overrated epic that remains a well-polished but generic example of Hollywood filmmaking 13 years later. They single out its majestic landscape cinematography for praise while faulting its lack of thematic weight or emotional resonance.

The critic praises Costner's directorial debut as a stirringly fine frontier epic rich in character, action, and spectacle, with a clear-eyed vision that feels authentic and lyrical. She singles out the extraordinary buffalo hunt and the film's engaging focus on Sioux characters and humor.

The critic finds Costner's directorial debut a competent and ambitious frontier epic with the makings of a great work, recalling literary antecedents like Robinson Crusoe. It stands out for its natural performances, vast scope, and portrayal of a soldier's integration with the Sioux.

The critic commends Costner's directorial debut for its rare grace and feeling in an elegiac tale of discovery among the Sioux, with fresh and assured direction that makes the three-hour length engaging. She highlights the natural grandeur of the plains, John Barry's score, and strong Native American performances.

The critic praises Kevin Costner's achievement in making a three-hour subtitled Western that breaks Hollywood rules and revives the genre with integrity and conviction. They single out the film's natural depiction of Dunbar's integration into Sioux life and Costner's modest performance for particular praise.

The critic calls it a bold, ambitious first directorial effort that really works despite going against Hollywood trends, praising the photography, landscapes, and supporting cast while wishing for less narration.

The critic views the film as working primarily as a travelogue rather than offering deep insight, finding it safe and not a masterpiece but better than its over-hated reputation suggests, with praise for its nature photography and John Barry's score.