| Roger
Ebert |
"a movie that creates a specific place in your mind; free of plot,
lacking any final explanation, it exists as an experience" |
|
Sean McGinnis |
"Weir manages to create a horror film without horror and a mystery
without resolution" |
| Joe
Hart |
"a richly suggestive experience that renews the possibilities of cinema
at the same time that it challenges our perceptions of reality" |
|
Joe
Baltake |
"an existential thriller" |
| Jim
Ridley |
"mystical, hypnotic otherworldliness" |
|
Peter
Stack |
"visually hypnotic at every turn" |
| Leslie
Dunlap |
"Weir so perfectly captures the stilted and extravagant nuances of
Victorian emotional expression that it's easy to pretend the film was actually
made in 1900" |
|
Gary
Johnson |
"Weir takes us into a world of golden glows and gentle whispers, where
the characters exist as hazy, evocative recollections." |
| Natasha Wood |
"Eerie and surreal at times, “Picnic” is a must-see" |
|
Lura Burnette |
"a beautiful and profoundly troubling film" |
| Dan
Jardine |
"Enigmatic and poetic, it retains much of its power today." |
|
John Murphy |
"alternately fascinating and frustrating, both in equal measure" |
| Carlo |
"You will be able to watch it over and over and continue to discover
nuances and possibilities that you hadn't seen before." |
|
Terry
Brogan |
remains one of those films for which words like "haunting", "mesmerizing",
"beautiful", "hypnotic" and other such adjectives were invented |
| Bob Banka |
"handled subtly, and brilliantly, with a tapestry of beautiful images
and music, rather than plot and dialogue." |
|
Dave
Bennett |
"still mesmerizes after 23 years:" |