| Media Transactions | Release Date: October 20, 1982 | CRITIC SCORE DISTRIBUTION | ||
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Positive:
16
Mixed:
1
Negative:
0
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Critic Reviews
Stalker is a movie to be watched as many times as physically possible, to be picked apart, discussed, argued over, written about, to inspire music, books, poetry, other movies, teachers, philosophers, historians, governments, even the way an individual might chose to live their life. It really is that astounding.
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Tarkovsky realizes the allegorical tale with an overwhelming density of visual detail; the riot and clash of textures—between black-and-white and color, agonized contrasts of light and murk, shimmery reflections on vast pools of water, and abrading striations of grass and stone—form a frenzied vocabulary and lend the film the torrential inner force of Dostoyevskian rhetoric.
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Like Solaris, his earlier meditation on the future, Tarkovsky's 1979 film Stalker is mysterious and compelling though in my view not, like Andrei Rublev, in the realms of greatness: a vast prose-poem on celluloid whose forms and ideas were to be borrowed by moviemakers like Lynch and Spielberg.
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