Eyes Without a Face (1960)

Parkinson calls the film a weird masterwork and praises its intelligence. He singles out its brooding lyricism, which transforms a familiar pulp plot into something poetic.

Linden finds the film a disturbing, artful classic whose lyrical beauty and horror are seamlessly entwined. She singles out its austere imagery and restrained approach, which make its unsettling surgical scenes linger.

The critic finds the film an enduring, gorgeous fusion of opposing sensibilities. He singles out Franju’s ability to blend horror with tragedy as its special allure.

Cronk regards Franju’s film as a singular, unsettling horror classic whose stature has only grown over time. He praises its gripping atmosphere and austere compositions, while also commending the Criterion restoration’s even grain and detail.

Brody presents the film as a striking, hallucinatory thriller. He praises Franju’s understated juxtapositions and patient observation, which make its horrifying events more disturbing.

The review presents the film as an incredible blend of horror and fairytale. It singles out the contrast between visceral surgical horror and the heroine’s solitude.

The review finds the film chilling and macabre, praising how it pushes horror into queasier territory. It singles out the masked daughter and the disturbing facial surgery, alongside the eerie contrast of jaunty music and expressionist camerawork.

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The review finds the horror film queasy and occasionally suspenseful, but ultimately old-fashioned and plodding. It praises the cinematography while criticizing the stilted acting, repetitive effects, and leisurely editing.

Bitel finds the film haunting and remarkably prescient, blending horror and thriller conventions into something poetic. He singles out Edith Scob’s masked, ethereal Christiane and the film’s striking monochrome imagery.