Vertigo 1958

Joshua Rothkopf, Time Out: Hitchcock's most tender story. Read more

Dave Kehr, Chicago Reader: One of the landmarks -- not merely of the movies, but of 20th-century art. Read more

David Ansen, Newsweek: Why is this movie Hitchcock's masterpiece? Because no movie plunges us more deeply into the dizzying heart of erotic obsession. Read more

Richard Brody, New Yorker: It's as much a wonder of suspense as it is a catalogue of the director's themes and an allegory for his own art of enticement-and for the erotic pitfalls of his metier. Read more

Bosley Crowther, New York Times: There! No more hints! Coming or not? What more's to say? Well, nothing, except that Vertigo is performed in the manner expected of all performers in Hitchcock films. Read more

Janet Maslin, New York Times: The lure of death, the power of the past, the guilty complicity of a clean-cut hero, the near-fetishistic use of symbol and color: these Hitchcock hallmarks are all mesmerizingly on view. Read more

James Berardinelli, ReelViews: From a craft standpoint, Vertigo represents the director in peak form. Read more

Roger Ebert, Chicago Sun-Times: It is about how Hitchcock used, feared and tried to control women. Read more

Peter Stack, San Francisco Chronicle: In its dark heart, the film is a sorrowful contemplation of love and the veils that manipulate sexual passions. Read more

TIME Magazine: The old master, now a slave to television, has turned out another Hitchcock-and-bull story in which the mystery is not so much who done it as who cares. Read more

Geoff Andrew, Time Out: Slow but totally compelling. Read more

Variety Staff, Variety: James Stewart, on camera almost constantly, comes through with a startlingly fine performance as the lawyer-cop who suffers from acrophobia. Read more

Desson Thomson, Washington Post: Do yourself an aesthetic favor: Take the plunge. Read more