Shot! The Psycho-Spiritual Mantra of Rock

Village Voice by Alan Scherstuhl

The talking heads (lower case) are fine, but the dream-drama music-video theater piece of Rock on a gurney while nurses and doctors consult around him takes too much time away from the reason people want to see this: what Rock saw.

IndieWire by David Ehrlich

Rock’s lack of self-importance prevents the doc from fetishizing the past, and Clay — who appears to have met the photographer on the set of a TV on the Radio video — is wise to assume that the world doesn’t need yet another reminder that it used to be full of gods.

The Hollywood Reporter by Frank Scheck

The tale is told entirely through Rock’s perspective, with no friends, colleagues, or talking heads weighing in. But that turns out to be no detriment, since the Cambridge-educated photographer proves a witty and rueful commentator whose observations are infused with self-deprecating humor.

The New York Times by Glenn Kenny

The movie’s approach is gratuitously grandiose.

Los Angeles Times by Katie Walsh

The maximalist approach isn’t necessary to enhance the wild tales, but the film does reflect its subject in its messy yet invigorating approach.

Movie Nation by Roger Moore

“Shot!” makes for a light, smart and often funny dance through an era with the man whose images made icons out of many, and burned those icons into our visual memory.

Time Out London by Tom Huddleston

Narrated entirely by its subject – no famous faces popping up to tell us what a ledge he is – the film is intimate and crisply told.

Slant Magazine by Wes Greene

Throughout, the content and tenor of certain stories told by Mick Rock ambitiously inform the film’s style.