The Guardian by Peter Bradshaw

Barry Lyndon is an intimate epic of utter lucidity and command.

CineVue by John Bleasdale

Barry Lyndon is a rich cinematic experience which fully deserves to once more be seen on the big screen and enjoy its status as one of Stanley Kubrick’s greatest achievements.

Total Film by Kevin Harley

Between the vast exteriors and candlelit interiors, the expressive authority of Kubrick’s direction is breathtaking.

Time Out London by Tom Huddleston

This is a story of identity, and the lack of it. And it’s fascinating.

The Observer (UK) by Wendy Ide

One of the most beautiful of all Stanley Kubrick’s films, originally released in 1975, this slyly savage tale of social climbing in the 18th century is also arguably his funniest.

Chicago Tribune by Michael Wilmington

Kubrick's beautiful adaptation of the William Thackeray novel follows a young Irish gambler, rogue and romantic adventurer (Ryan O'Neal) though a painterly 18th Century English landscape of frozen elegance and upper-class hypocrisy.

Village Voice by J. Hoberman

Barry Lyndon could be considered Kubrick’s masterpiece. At the very least, this cerebral action film represents the height of his craft.

Time Out by Tom Huddleston

Barry Lyndon is best known for its photography – Kubrick borrowed a low-light camera from Nasa so he could shoot in candlelight – and it is uniquely, heart-stoppingly gorgeous. But there’s much more to it: this is a story of identity, and the lack of it. And it’s fascinating.

San Francisco Chronicle by Mick LaSalle

This is one of Kubrick's best, not gimmicky or arch, not somnambulant or mannered, just finely detailed, measured, richly photographed and, at every step of the way, entertaining and interesting.

Entertainment Weekly by Owen Gleiberman

To watch Ryan O’Neal’s performance as the upwardly mobile Barry, part victim and part cad, is to see Kubrick’s perverse genius with actors. He cast a dullard only to jolt us, by the end, with the revelation of the bastard within.

The New York Times by Vincent Canby

Barry Lyndon is another fascinating challenge from one of our most remarkable, independent-minded directors.

The Atlantic by David Sims

It’s a movie that actually makes the past look otherworldly, unlike many period pieces, which strive to make history seem easy to slip into.

Chicago Sun-Times by Roger Ebert

Barry Lyndon isn’t a great success, and it’s not a great entertainment, but it’s a great example of directorial vision.

LarsenOnFilm by Josh Larsen

Barry Lyndon is a costume epic that pokes fun of other costume epics even as it outdoes them.

Empire by Ian Nathan

Kubrick's superb version of William Thackery's first novel is meticulous and philosophically stimulating but it can leave some audiences unmoved on an emotional level.