Man with a Movie Camera(Человек с киноаппаратом)

The New York Times by

It is a disjointed array of scenes in which the producer, Dziga Vertoff, does not take into consideration the fact that the human eye fixes for a certain space of time that which holds the attention.

The Independent by Geoffrey Macnab

It is more a film poem, an ode to modernity and a symphony of a city.

The Observer (UK) by Jonathan Romney

This is an exuberant manifesto that celebrates the infinite possibilities of what cinema can be.

The A.V. Club by Keith Phipps

It's a unique, unforgettable, enlightening experience.

The Dissolve by Noel Murray

The film would be exciting to watch even completely silent, both because it’s a valuable record of Soviet city life at the end of the 1920s, and because it explodes with visual ideas.

The Guardian by Peter Bradshaw

The combustion engine gave humanity the new experience of speed; now the movie camera gave us a dizzying new speed of perception and creation.

RogerEbert.com by Roger Ebert

It was about the act of seeing, being seen, preparing to see, processing what had been seen, and finally seeing it. It made explicit and poetic the astonishing gift the cinema made possible, of arranging what we see, ordering it, imposing a rhythm and language on it, and transcending it.

The Irish Times by Tara Brady

No other film – not even by Georges Méliès at his most fantastic – trumpets early cinema's status as a magical science and scientific magic, quite so loudly or melodically.

Time Out by Tom Huddleston

Vertov’s experimental essay proclaims its ‘complete separation from the language of theatre and literature’ in the opening titles. What follows is cinema in its purest form: movement, sensation, action and visual trickery.