100
Village Voice by Alan Scherstuhl
Collin and company are after climate, not weather. They steep us in our awareness that Morgan and his New York have been lost, that our glimpses of it must either be through memory or hazed-up photography — or the music itself.
80
The Hollywood Reporter by Boyd van Hoeij
An intriguing exposé of a gripping story.
88
Slant Magazine by Chuck Bowen
Director Kasper Collins imbues this documentary with an ambiguous, unsettlingly empathetic emotional force.
100
New York Magazine (Vulture) by David Edelstein
It’s mesmerizing, too vivid to be evanescent, too precious to hold.
91
The Playlist by Gary Garrison
More than anything else the film becomes a celebration of these two lives and the era of music that both created and destroyed them.
100
Variety by Guy Lodge
It’s fitting that Kasper Collin’s excellent documentary I Called Him Morgan, a sleek, sorrowful elegy for the prodigiously gifted, tragically slain bop trumpeter Lee Morgan, is as much a visual and textural triumph as it is a gripping feat of reportage.
100
The Guardian by Jordan Hoffman
Kasper Collin’s I Called Him Morgan isn’t just the greatest jazz documentary since Let’s Get Lost, it’s a documentary-as-jazz.
100
The New Yorker by Richard Brody
The backbone of Collin’s film is the sole audio interview with Helen Morgan, made in 1996, shortly before her death. The story that she tells combines with the story that Collin builds around it to provide a revelatory and moving portrait of a great musician.
90
Screen International by Sarah Ward
Collin attempts to do more than recount facts; if he can’t always wholly capture the figures at the film’s centre, he can convey a sense of the time and place that Lee and Helen inhabited.
75
The Film Stage by Tony Hinds
I Called Him Morgan hooks you from the first moments and glides effortlessly toward an emotionally impacting and enigmatic conclusion.