The Graduate (1967)

This landmark satire on America's bourgeoisie thrust Dustin Hoffman into the limelight and won a best director Oscar for Mike Nichols. The critic highlights Hoffman's sensational performance, the biting screenplay, innovative camerawork and the perfect Simon and Garfunkel soundtrack.

The re-released classic remains beguiling fifty years on, largely thanks to Dustin Hoffman's breakthrough performance as the awkward, panicked Benjamin, which mixes humour, boredom and vulnerability in equal measure.

Mrs Robinson emerges as the sympathetic heroine in this reappraisal of the classic, far more dignified and complex than Hoffman's spoilt, creepy Benjamin. Nichols's direction and the performances highlight her conflicted humanity amid the film's generational and marital tensions.

Mike Nichols’s near-flawless class satire still feels as sly, modern and bracing as it must have in 1967. The critic praises the iconic scenes that have entered the culture and the magnificent chase-to-the-church finale with its unnerving closing shot.

Ebert calls it the funniest American comedy of the year with a clear subversive point of view against upper-middle-class conformity. He praises Mike Nichols as a major new director, Dustin Hoffman's awkward ethical performance, and Anne Bancroft's sexy, shrewish turn.

The review highlights the film's formal experimentation, use of long takes, pop music soundtrack, and examination of discomfort and anomie over typical teen sex comedy tropes. It praises the performances, especially Hoffman, Bancroft, and Ross, and Nichols and Surtees' inventive cinematography and editing.

Crowther hails the film as one of the best of the year and a sharp seriocomic social satire in the vein of Preston Sturges. He singles out its sophisticated wit, excellent performances by Bancroft, Hoffman, and Ross, and first-rate staging and music.

Mike Nichols delivers biting satire on late-60s American values and social dysfunction through a witty script and assured direction; standout performances from Hoffman, Bancroft and Ross, plus Simon & Garfunkel songs, create an enduring, funny and sharply observed classic with an ambiguous ending.

Mike Nichols’ 1967 film is a great tonic for anyone suffering from post-university blues, creating a touching portrait of anxiety and dislocation from society. The critic singles out the dinner party scene and the metaphor of Ben submerged in the swimming pool for praise.

The film remains a time capsule that captures a pivotal shift in American moviegoing consciousness, making audiences newly aware of cinematic technique through its innovative style and storytelling. It praises the film's visual and editing choices, such as deep-focus setups and seamless transitions between scenes, as groundbreaking and influential.

The critic calls it a brutally funny look at contemporary youth that is on target for most of its course and will benefit from enthusiastic word of mouth. They praise the adaptation's preservation of the novel's dialogue and Nichols' visual and stylistic approach suited to the subject.

The review finds the film one of the liveliest gifts of the season thanks to its novelty and substance, with strong performances especially from Hoffman and Bancroft. It faults Nichols' direction for making it more prankish and less savage than the material deserved.

Murphy deems it a delightful satirical comedy-drama with strong box-office prospects, crediting the screenplay, cast led by Bancroft, Ross, and Hoffman, and Nichols' modern direction. He notes it works best in its hilarious first two-thirds before faltering in pacing.

The film is not as exciting or groundbreaking as its reputation claims and relies on packaging tricks, but it is very funny. Nichols excels at capturing absurdity and non-communication in the early sections, with strong performances from Hoffman and Bancroft, though it later descends into pretension.

The review highlights the film's enduring appeal as a zeitgeisty yet timeless satire on suburban expectations and youthful uncertainty, crediting human performances and sharp commentary. It notes the excellent 4K restoration enhances its landmark status across generations.

The critic finds the film as fresh and inventive as ever, praising Mike Nichols' direction, the sharp screenplay, and Dustin Hoffman's benchmark anti-hero performance. It singles out the precise editing and memorable satirical performances that capture phony suburban life.

The critic finds the film still good but dated, with hazy motivations and an unfair portrayal of female characters, especially Mrs. Robinson. He praises its wit, cleverness, and visual storytelling while noting it remains frozen in its 1960s era.