Reviews provided by RottenTomatoes
It's Fellini's last black-and-white picture and conceivably the most gorgeous and inventive thing he ever did.
New York Magazine/Vulture:
Its opening [has] perhaps the greatest dream scene of all: Marcello Mastroianni's Guido stifled in a silent traffic jam, onlookers gazing blankly at him as he rises through the sunroof of his car, high into the sky. The rest of the film isn't too shabby.
New York Times:
Here is a piece of entertainment that will really make you sit up straight and think, a movie endowed with the challenge of a fascinating intellectual game.
Unless Fellini's problem has been preying on the mind of the viewer, he may not care to take on the director's doubts and confusions.
Amiably spiking all criticism through a gloomy scriptwriter mouthpiece, Fellini pulls a multitude of rabbits out of the showman's hat.
Here is the author-director picture par excellence, an exciting, stimulating, monumental creation.
The ensuing decades have brought forth a deluge of bogus masterpieces, and Fellini's, by comparison, holds up rather well.
[Fellini] is that rare sort of artist who can be loved, revered and just barely tolerated, all at the same time.
Somehow, the movie is more than the dated crisis of a naval-contemplating artist. It's about the inability in all of us to make sense of our lives, put it all together and come up with something meaningful.