IndieWire

It could, from premise alone, sound like an Austen-ish comedy of manners, and perhaps the film that Ozu might have made early in his career. Here, though, it’s an immaculate, gentle drama in which society gets in the way of the happiness of a father and daughter, and growing up and moving away isn’t so much a victory as a bitter cost of time and change.

Village Voice

You either get it or you don't. I get it. At least until I see some Ozus I've missed, Late Spring seems to me his greatest achievement, and, thus, one of the 10 best films of all time. [17 Aug 1972, p.57]

Chicago Sun-Times by Roger Ebert

Late Spring is one of the best two or three films Ozu ever made.

The A.V. Club by Ignatiy Vishnevetsky

Each shot in Late Spring is striking on its own; the mature Ozu belongs to that rare category of filmmakers whose work can be recognized from a single frame. But together—with all their abrupt shifts in visual perspective and time—they become a mosaic, deeply poignant and ultimately mysterious in the way it envisions a relationship between two people trapped by how much they care for one another.

San Francisco Chronicle by G. Allen Johnson

To watch Ozu's films is to watch elegant simplicity, although they are meticulously complex. It's even a relaxing experience - you can almost feel your heart rate lowering - yet there is much human drama on the screen, and much wisdom.

Christian Science Monitor by David Sterritt

Superb performances by Setsuko Hara and the great Chishu Ryu also contribute to the film's impact, which is at once deeply moving and profoundly thoughtful about moral and spiritual issues. [10 Nov 1994, p.12]

Chicago Tribune by Michael Wilmington

The actors who play these parts--Chishu Ryu as the father and Setsuko Hara as the daughter--are the most emblematic members of Ozu's famous stock company. Her warm beauty and his stoic rigor--and the frequent smiles both use to cover their feelings--convey oceans of meaning beneath the drama's polite, humorous, carefully etched surface, where immaculate interiors and lovely scenery reflect a world in very delicate balance. [07 Jan 2005, p.C2]

TV Guide Magazine by Staff (Not Credited)

One is left with an overwhelming sense of knowledge about these characters and of human nature, and finally, a recognition of the profound sadness of everyday life. LATE SPRING is truly transcendent.

Paste Magazine by Robert Davis

An understated masterpiece

IndieWire by Oliver Lyttelton

It could, from premise alone, sound like an Austen-ish comedy of manners, and perhaps the film that Ozu might have made early in his career. Here, though, it’s an immaculate, gentle drama in which society gets in the way of the happiness of a father and daughter, and growing up and moving away isn’t so much a victory as a bitter cost of time and change.

Village Voice by Stuart Byron

You either get it or you don't. I get it. At least until I see some Ozus I've missed, Late Spring seems to me his greatest achievement, and, thus, one of the 10 best films of all time. [17 Aug 1972, p.57]

The New Yorker by Richard Brody

Rigid formality leaves much unsaid in Yasujiro Ozu’s 1949 film, but the director reveals the hidden depths of ordinary life with a quiet astonishment and observes his characters with an exacting subtlety of expression.

Chicago Reader by Dave Kehr

Yasujiro Ozu’s 1949 film inaugurated his majestic late period: it’s here that he decisively renounces melodrama (and, indeed, most surface action of any kind) and lets his camera settle into the still, long-take contemplation of his gently drawn characters.

Slant Magazine by Jaime N. Christley

Few films have expressed, with as much force and lyricism as Ozu’s Late Spring, the various emotions (melancholy, bittersweet joy, impassioned regret, taciturn resignation) associated with the ongoing, perpetual dissolution of “the world as we know it.”

LarsenOnFilm by Josh Larsen

We observe family dynamics that could take place in any home, at any time; as Noriko and Shukichi tentatively negotiate the future of their family, they’re enacting a story that’s both distinct to post-war Japan and straight from the pages of Jane Austen.

The New York Times by Vincent Canby

Ozu's recognition of the wall of skin separating the mind of the character from the viewer is an integral part of his philosophy. It amounts to a profound respect for their privacy, for the mystery of their emotions. Because of this—not in spite of this—his films, of which Late Spring is one of the finest, are so moving.

Empire by Kim Newman

Not as affecting as Ozu's classic Tokyo Story, Late Spring still charms with it's similar theme of development of the parental bond as the children mature and become more independent. Although well acted, the visual are equally arresting but when the themes are so similar a new approach is required to keep it interesting.