Hurrah! Poetry and passion, comedy and tragedy are fused into one absolutely marvelous affirmation of independent spirit in Dead Poets Society. [2 June 1989, Daily Notebook, p.E1]
100
Mr. Showbiz
Mr. Showbiz
One of Australian director Peter Weir's most sensitive films.
100
The New YorkerPauline Kael
The New YorkerPauline Kael
The picture draws out the obvious and turns itself into a classic. [26 June 1989]
90
Washington PostDesson Thomson
Washington PostDesson Thomson
Sure, the heroes and villains are arranged in a convenient moral gallery. But the performances, Weir's adroit direction and John Seale's superb cinematography take care of that banality.
90
The New RepublicStanley Kauffmann
The New RepublicStanley Kauffmann
Nothing about this film sounds, as described, novel. Yet it grips, because it has been made with plentiful feeling and vigor. [June 26, 1989]
90
Variety
Variety
Sings whenever Williams is onscreen.
80
Los Angeles TimesMichael Wilmington
Los Angeles TimesMichael Wilmington
Commands respect and affection. [2 June 1989, Calendar, p.6-1]
75
USA TodayMike Clark
USA TodayMike Clark
Williams is impressively restrained as well as funny, so fans need not fret. It only means that instead of Good Morning, Preppies, we're given a bittersweet, even eerie Goodbye, Mr. Hip. [2 June 1989, Life, p.1D]
70
TimeRichard Schickel
TimeRichard Schickel
Williams, who has comparatively little screen time, has come to act, not to cut comic riffs, and he does so with forceful, ultimately compelling, simplicity. [June 5, 1989]
50
Chicago Sun-TimesRoger Ebert
Chicago Sun-TimesRoger Ebert
Not the worst of the countless recent movies about good kids and hidebound, authoritatian older people. It may, however, be the most shameless in its attempt to pander to an adolescent audience.