100
Arizona Republic by Bill Goodykoontz
It's powerful stuff.
What are people saying?
What are critics saying?
85
Sprawling, and hugely ambitious, and containing a glorious Wellesian Falstaff who is as majestic in folly as he is in girth.
30
The New York Times by Bosley Crowther
A confusing patchwork of scenes and characters.
100
Entertainment Weekly by Chris Nashawaty
It’s a feast for the ears, eyes, and soul.
100
The one Welles film that deserves to be called lovely; there is also a rising tide of opinion that proclaims it his masterpiece.
100
The A.V. Club by Ignatiy Vishnevetsky
The best and most touchingly personal of all Shakespeare adaptations, Chimes At Midnight is pervaded by melancholy and loneliness, even though its characters are almost seen never alone.
100
Chicago Tribune by Michael Phillips
Chimes at Midnight is one of Welles' peak achievements. Its depth of feeling seems very real, very deep indeed.
100
The Guardian by Peter Bradshaw
Playing Falstaff might have been Welles’s creative and physical destiny: in the character he found a dignity and sensuality in his, by then, overweight form. The confidence and panache of his staging is a treat.
100
Christian Science Monitor by Peter Rainer
It is quite likely the greatest Shakespearean film ever and, except for Citizen Kane and The Magnificent Ambersons, it’s also Welles’s greatest film – which is saying something.
100
Chicago Sun-Times by Roger Ebert
A masterpiece.