The Nightcomers, '71: 'Effective neither as a horror story nor as a psychological study. It leaves the viewer cold - perhaps even repelled. How could anyone think this movie would be entertaining?' Pauline Kael, 1001 Nights at the Movies.
Scorpio, '72: 'Winner directs with typical crass abandon.' Time Out Film Guide.
The Mechanic, '72: 'Glossy, violent, pointless.' Time Out Film Guide.
The Stone Killer, '73: 'Film-making as painting by numbers.' Sight and Sound.
Death Wish, '74: 'The gospel according to Michael Winner.' Sunday Times Guide to Movies on Television.
Won Ton Ton, The Dog Who Saved Hollywood, '76: 'A well-deserved box-office bust.' Son of Golden Turkey Awards.
The Sentinel, '77: 'Director Michael Winner and novelist Jeffrey Konvitz have been blaming The Sentinel on each other since its release. Actually, they are an ideal match, executing their tasks with equal tastelessness and pretension.' Nightmare Movies.
The Big Sleep, '77: 'The 1946 film takes on even more stature in light of this. For a Winner film, however, it's quite good.' Variety Film Guide.
Firepower, '79: 'Inane.' Movie and Video Guide.
Death Wish II, '81: 'Bad art is one thing, but Death Wish II is ludicrous.' Variety Film Guide.
The Wicked Lady, '83: 'The images look as cheap as expensive greetings cards.' Sunday Times.
Scream for Help, '84: 'A hybrid so mind-boggling that viewers may rush back to Winner's Death Wish to reassess a hitherto unsuspected comic talent.' Time Out Film Guide.
No Entry. International Dictionary of Films and Filmmakers Volume II, 1984.
Appointment with Death, '88: 'Mind-numbing inertia.' T O Film Guide.
Bull'seye, '89: 'A bomb.' Leonard Maltin's Movie and Video Guide.
Dirty Weekend, '93: 'Arguably the most pornographic film ever to pass the British censor.' Sunday Times, quoted on the Dirty Weekend poster.
'His own best publicist.' Halliwell's Companion.
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