Reviews provided by RottenTomatoes
The subject of artistic creation is typically handled badly in the movies.... [Amadeus] treats the subject of creativity in a fresh way.
Reminds us that movies can be lyrical as well as vulgar, ambitious as well as playful, brilliant as well as down and dirty -- just like Amadeus himself.
New York Times:
As Mozart, Tom Hulce, though extremely American in looks and voice, gets better and better as the drama progresses.
Peter Shaffer's shrewdly orchestrated cultural evening gets a steady, dignified, moderately dull treatment from Milos Forman.
Forman's tormented, iconoclastic subjects are often pitted against iconic or impersonal antagonists, but Amadeus' conflict remains rivetingly intimate, in spite of its sumptuous, larger-than-life settings.
Dallas Morning News:
Remains a beautiful, deftly directed and superbly acted version of a witty and poignant drama.
This dark, exuberant epic is nearly 18 years old, yet remains the most popularly successful film ever to render the inner life of an artist.
New York Daily News:
The performance of Abraham, who won the Best Actor Oscar for it, is monumental, and so is Forman's direction.
It is arguably the best motion picture ever made about the process of creation and the creator.
Like the composers the film so wondrously depicts, Amadeus: Director's Cut is a divine work in need of a little earthly restraint.
The entire cast speaks in horribly intrusive American accents, but Forman makes some perceptive connections between Mozart's life and work.
On a production level and as an evocation of a time and place, Amadeus is loaded with pleasures.