El Topo (1970)

The critic praises the film as a vital, visionary cult classic, despite its difficulty. He singles out its dense allegory and imagery for continuing to challenge and intrigue.

Croce sees the film as a delirious, inscrutable work whose impact depends on whether its private mythology connects with the viewer. He praises its immersive force and its memorable, often startling imagery.

The page is identified as a Great Movies review, but its verdict cannot be determined from the blocked content. No praised or criticized element is available to report.

Strick finds the film absurd and bewildering, but ultimately energetic and inventive. He singles out Jodorowsky’s inventive direction and hypnotic performance for praise.

The archive identifies this as Pauline Kael’s review of “El Topo,” but the review itself is unavailable here. The accessible listing does not reveal her verdict or what she singles out for praise or complaint.

The available description notes the film’s formidable reputation as a seminal midnight movie, but does not reveal the critic’s verdict. No specific element is singled out for praise or complaint in the accessible text.

The headline frames the article as questioning whether El Topo is a con. The blocked page provides no further information about the critic’s verdict or what they praise or criticize.

Bradshaw finds the film less impressive than its legendary reputation, though its opaque symbolism still fascinates. He especially singles out the desert imagery and the disturbing cult-horror scenes.

Bitel calls the film one of Jodorowsky’s finest, despite its dated aspects and self-indulgence. He praises its haunting imagery and the intelligence with which it juggles clashing symbols.