Ivan Groznyy (Ivan the Terrible, Part One) Reviews

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Mark R. Leeper
rec.arts.movies.reviews
December 24, 2005
You won't learn much history but you will be able to tell people you've seen it.
Full Review | Original Score: 6/10
Brian Gibson
Vue Weekly (Edmonton, Canada)
May 4, 2009
Most revealing as an unintended allegory for Russian rulers' continuing will, in their aspiration for absolutism, to lead a powerful and menacing empire, regardless of those people far below who get crushed by an iron fist.
Top Critic
Jonathan Rosenbaum
Chicago Reader
October 22, 2003
This is one of the most distinctive great films in the history of cinema -- freakishly mannerist, yet so vivid in its obsessions and expressionist angularity that it virtually invents its own genre.
Robin Clifford
Reeling Reviews
October 8, 2004
| Original Score: 4/5
Dennis Schwartz
Ozus' World Movie Reviews
March 7, 2005
The historical melodramatic biopic is wonderful to behold visually and for its camp.
Full Review | Original Score: B
Jake Euker
F5 (Wichita, KS)
February 18, 2007
| Original Score: 4/5
Steve Crum
Kansas City Kansan
October 30, 2004
Hilarious six by the master comedian.
| Original Score: 5/5
Donald J. Levit
ReelTalk Movie Reviews
September 3, 2011
Eisenstein's 'Ivan' is a magnificence of parts, four-fifths of it a visual wonder beyond the man himself.
John Esther
Pasadena Weekly
August 22, 2003
| Original Score: 4/5
Boo Allen
Denton Record Chronicle (TX)
January 14, 2006
Brilliant, innovative film still holds up today.
| Original Score: 5/5
Ken Hanke
Mountain Xpress (Asheville, NC)
March 8, 2004
Rich cornucopia of Fieldsiana.
| Original Score: 4/5
James Kendrick
Q Network Film Desk
May 9, 2001
A brilliant cinematic work that was a thinly veiled portrait of not only Stalinism at its worst, but also the failed Bolshevik Revolution.
Full Review | Original Score: 4/4
Emanuel Levy
EmanuelLevy.Com
June 14, 2005
| Original Score: 5/5

TV Guide's Movie Guide
July 24, 2001
Full Review | Original Score: 5/5

Film4
May 27, 2003
Under strict instructions not to employ conceptual devices such as montage, Eisenstein still manages to provide powerful images and, with set pieces, distil the sense of pomp and circumstance surrounding the Tsar.
Top Critic
Roger Ebert
Chicago Sun-Times
May 11, 2012

Film4
December 27, 2005
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