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Tokyo Story
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HEROES OF "Tokyo Story"
Tokyo Story
CRITICS OF "Tokyo Story"
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Antagony & Ecstasy
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April 07, 2015

It's entirely possible that Tokyo Story isn't the best movie ever made. But I suspect that it might be the most perfect.
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Time Out
Resource

February 09, 2006

The way Ozu builds up emotional empathy for a sense of disappointment in its various characters is where his mastery lies.
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Minneapolis Star Tribune
Resource

December 30, 2004

Ozu doesn't sentimentalize or condemn; he merely observes human nature with calm and clarity.
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Village Voice
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November 23, 2010

Ozu's long shots, knee-high camera placement, and collapsed perspective -- as gorgeous and unsettling as a Cézanne -- gather power over the duration, but time itself is the master's most potent weapon.
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Chicago Sun-Times
Resource

January 15, 2004

It ennobles the cinema. It says, yes, a movie can help us make small steps against our imperfections.
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ReelTalk Movie Reviews
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July 19, 2012

With its debt to Leo McCarey's 'Make Way for Tomorrow,' Yasujiro Ozu's 'Tokyo Story' is no less true, shattering, and not for viewers fretting about unsympathetic grown-up children.
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Slant Magazine
Resource

November 24, 2010

In this exquisite merging of specific and universal, infinite and infinitesimal, Tokyo Story perhaps most clearly illuminates that Ozu is not the most Japanese of filmmakers, but the most human.
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Movie Metropolis
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December 19, 2013

It soon becomes clear that they have planned their trip at a bad time; it is equally clear that every time is a bad time.
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ColeSmithey.com
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April 06, 2015

[VIDEO ESSAY] Yasujirô Ozu's beloved masterpiece of postwar Japanese cinema speaks to audiences from all backgrounds because of the cross-generational familial truths that the prolific director/co-writer lovingly metes out.
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Projected Figures
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September 01, 2010

Ozu has made a film as simple in form and complex in nature as life itself. Here, every viewer is cast as a tourist, and yet will feel right at home.
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Time Out
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January 05, 2010

This remains one of the most approachable and moving of all cinema's masterpieces.
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New York Times

May 21, 2003

Luminous in its freedom from the sentimentality or the satire that so often obscure an artist's vision of normal living.
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