68
Metascore
10 reviews · Provided by Metacritic.com
- 91The A.V. ClubNoel MurrayThe A.V. ClubNoel MurraySo what happens when people forget about all those people he stalked and snapped? Will his collection still be seen as an invaluable store of late 20th-century art, or the work of a celeb-obsessed hoarder?
- 80MovielineMichelle OrangeMovielineMichelle OrangeFittingly, there is something both thrilling and deeply unpleasant about looking at Galella's body of work -- there is casual genius in some of the captured moments, a combination of access, timing, and luck, with the subject almost always carrying most of the image's weight.
- 80SalonAndrew O'HehirSalonAndrew O'HehirHighly entertaining and skillful documentary.
- 70VarietyDennis HarveyVarietyDennis HarveyThis entertaining docu by "When We Were Kings'?" Leon Gast is more eccentric personality portrait than the in-depth scrutiny of celebrity-culture madness afforded by fellow Sundance preem "Teenage Paparazzo."
- 70Village VoiceVillage VoiceGast's documentary portrait has a freewheeling charm that perfectly matches its subject.
- 70The Hollywood ReporterFrank ScheckThe Hollywood ReporterFrank ScheckFilmmaker Leon Gast ("When We Were Kings") paints an entertaining portrait of the still-working 79-year-old photographer.
- 60The New York TimesA.O. ScottThe New York TimesA.O. ScottIn Smash His Camera Mr. Galella emerges as a kindred soul for the curious documentarian and as a large, complicated personality in his own right, not entirely likable but admirable for his persistence and the quickness of his index finger.
- 60New York Daily NewsElizabeth WeitzmanNew York Daily NewsElizabeth WeitzmanThere's no denying that paparazzo Ron Galella is a New York character. What's at issue in Leon Gast's entertaining documentary is whether he's an artist or a creep.
- 50Boxoffice MagazineJohn P. McCarthyBoxoffice MagazineJohn P. McCarthyLeon Gast's profile of the photographer is not devoid of entertainment value or unhelpful in understanding the history of photojournalism, however, the movie is as ephemeral as one of Galella's snapshots of a coked out, B-list celeb exiting Studio 54 circa 1975.