Ennio

The Hollywood Reporter by John DeFore

Happily, the film is more than a greatest-hits rundown (and at nearly three hours, it had better be): In addition to nuts-and-bolts musicology, it offers real engagement with a complicated character, endearingly stubborn and self-effacing, whose inventiveness changed both his chosen field (“absolute” music) and the one, film scoring, he entered only reluctantly.

The Guardian by Leslie Felperin

It’s not so much the running time of 156 minutes that will tire you out as the incredible sonic, visual and emotional overload generated by the work itself; perhaps this is ideally seen first in a cinema for maximum impact and then again in small, digestible chunks at home.

NME by Mark Beaumont

A career of such breadth and note deserves deep exploration, certainly, but so much of the greatness of Morricone’s music speaks for itself that exposing the workings rarely enhances the piece.

Little White Lies by Saskia Lloyd Gaiger

Although it celebrates Morricone’s particular genius, this documentary is not greedy with the nostalgia it generates as it casts light on so many parts of 20th century culture.

The Irish Times by Tara Brady

In common with Edgar Wright’s recent portrait of Sparks, Tornatore’s film largely eschews such niceties as documentary structure in favour of enthusiastic chronology. And then Ennio worked with Pasolini; and then he worked with Dario Argento. And so on. It’s an interesting biography, nonetheless.

The Observer (UK) by Wendy Ide

As a tribute to the man and his legacy it’s fascinating stuff.