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Michael Wilmington, Chicago Tribune: Few movies have communicated with such dark hilarity all the anxiety and flamboyant misery of youthful sexual initiation Read more
Andrew Sarris, Village Voice: The emotional elevation of the film is due in no small measure to the extraordinarily engaging performances of Anne Bancroft as the wife-mother-mistress, Dustin Hoffman as the lumbering Lancelot, and Katherine Ross as his fair Elaine. Read more
David Edelstein, New York Magazine/Vulture: Be agog at Anne Bancroft's Mrs. Robinson in some of the most hilariously icky seduction scenes ever filmed. See Mike Nichols (with help from Simon & Garfunkel) take control of the Zeitgeist. See the mood go dark -- darker than you remember. Read more
Jonathan Rosenbaum, Chicago Reader: The light ribbing of conspicuous consumption in southern California and the Simon and Garfunkel songs on the sound track both play considerable roles in giving this depthless comedy some bounce. Read more
John Mahoney, Hollywood Reporter: The remarkably true ring of Webb's dialogue is preserved and augmented, the visual potential lifted to next power in absurdity. Read more
Stanley Kauffmann, The New Republic: The Graduate gives some substance to the contention that American films are coming of age -- of our age. Read more
Kathleen Carroll, New York Daily News: As it stands, the vacuum of that warped, moneyed Los Angeles society is too exaggerated, too incredible. But one can't help but believe in Hoffman if not in the disjointed character he portrays. Read more
Bosley Crowther, New York Times: Makes you feel a little tearful and choked-up while it is making you laugh yourself raw. Read more
Roger Ebert, Chicago Sun-Times: It is a good topical movie whose time has passed, leaving it stranded in an earlier age. I give it three stars out of delight for the material it contains; to watch it today is like opening a time capsule. Read more
Robin Dougherty, Salon.com: A simple romantic comedy whose "countercultural" message, insofar as it has one, is decidedly retrograde. Read more
TIME Magazine: The screenplay, which begins as genuine comedy, soon degenerates into spurious melodrama. Read more
Chris Petit, Time Out: The film itself is very broken-backed, partly because Anne Bancroft's performance as the mother carries so much more weight than Katharine Ross' as the daughter, partly because Nichols couldn't decide whether he was making a social satire or a farce. Read more