- Critic Score
- Most active
- Publication
- Most clicked
-
100One of the screen's great portrayals of the hell-raising and malaise of young men in their 20s, hit Italy like a comic thunderbolt when it was released there in 1953 -- and it struck the American art-house audience in much the same way when it premiered here in 1956. Now it returns, and unlike its five aging-boy protagonists, this movie hasn't lost its first youth.
-
100It was this ineffably poignant semiautobiographical reverie that unleashed fully Fellini's shimmering, flowing poetic style, echoed perfectly in a plaintive score by Fellini's potently evocative collaborator, Nino Rota.
-
100Full of brilliantly executed coups de théâtre, showing the director's natural flair for spectacle.
-
91Its elements all come together with an unforced perfection, every scene feels real and alive in a way that many of his more surrealistic later films do not, and Leonard Maltin, for one, has argued that I Vitelloni is no less than Fellini's masterpiece.
-
Though still realist in approach, its aura of bitter nostalgia places it squarely among Fellini's most personal and atmospheric works.
-
80This semiautobiographical work by Federico Fellini was the first film to bring him a measure of world attention.
-
80It’s as wistful and sad as it is funny and charming, with the first of Nino Rota’s great scores to keep it burbling along.
-
75It's a film of sensitivity, observation and humor - a must-see for Fellini enthusiasts and a worthwhile investment for everyone else.
-
70Moving from cafés to poolrooms to movie theaters, it's the prototypical male ensemble film.
-
70Federico Fellini, long a scripter, in his second feature film satirizes the 'wastrels', the do-nothing sons of middle-class Italian provincials whose life ranges from schoolroom to poolroom.