“A film that raises laughs even with its end credits, Whit Stillman's whimsical campus comedy ‘Damsels in Distress’ is an utter delight. Stillman's screenplay is a thing of beauty. “

— Leslie Felperin, Variety 

“American cinema can ill-afford to lose voices as distinctive and intelligent as Whit Stillman, which makes the writer-director’s return from a 13-year hiatus with the wonderfully off-beat comedy Damsels In Distress a cause for celebration.”

— Neil Young, Hollywood Reporter

“...an exhilarating gift of a comedy.... This is the world as Whit Stillman sees it, and to luxuriate for two hours in that retro bubble of sparkling wit is a pleasure not to be missed.”

— Peter Travers, Rolling Stone

“To some extent, the plot is just an excuse for the movie to gradually turn into a musical, one that features tap dancing, and an Astaire-and-Rogers-style ballroom number. Oh, and the Sambola. Sorry: Sambola!”

— Andrew O’Hehir, Salon.com

“[T]wo songs stand out, and both are produced by Suozzo. The first is a violin interpretation by Mikhail Shmidt of the aria “Casta Diva” from Bellini’s Norma, played during a tearful confession scene, and the second is “The Sambola! International Dance Craze” (co-written by Suozzo)...The latter song is catchy and Oscar-worthy, with its tropical beats and deadpan lyrics that would make Harry Belafonte proud.“

— Cary Wong, Film Score Monthly 

“...the acting and the music are delightful, the jokes arrive on schedule, and everything sort of glows.“

— John Anderson, Newsday 

“When it comes to Whit Stillman’s arch comedies of manners, the filmmaker has found a pleasant cocktail partner in composer Mark Suozzo, who’s brought musical class to the quips of “Metropolitan,” “Barcelona” and “The Last Days of Disco.” But Suozzo’s stylings for Stillman’s bon vivants have never been more cutely enjoyable then when he hits the college campus of 'Damsels in Distress.'“

— Daniel Schweiger, Film Music Magazine

"American Splendor uses scratchy comic book frames and captions that evoke the comic's edginess, and the free-floating jazz score by Mark Suozzo might remind you, subliminally, of Peanuts—which is also about a bunch of neurotics (disguised as kids) hanging out and griping and developing odd fixations. …This Halloween, I want to be Harvey Pekar."

— David Edelstein, Slate.com (also heard on NPR’s “Fresh Air”)

"The film has the dog-eared look of a homemade valentine and the improvised sound of '60s jazz, courtesy of a score by Mark Suozzo and a spirited soundtrack including Marvin Gaye's ''Ain't That Peculiar,'' which might be the film's anthem. Pekar's peculiar as can be. And surprisingly moving."

— Carrie Rickey, Philadelphia Inquirer

"An extra bonus is the great soundtrack, ranging from Coltrane's sublime version of "My Favorite Things" to a delicious Chocolate Genius cover of "Ain't That Peculiar" under the final credits: one last gift among many."

— David Ansen, Newsweek

"The movie is really a multimedia collage that juxtaposes animated sequences and cartoon-balloon language (and a tart jazz score) with documentary clips of Pekar as he is today."

— Stephen Holden, The New York Times

A film about a character for whom music is so important had better have a really killer score, and AMERICAN SPLENDOR does. From the opening credits, Mark Suozzo's jazzy score evokes a snarkier, bitter version of the kind of 1950's hipster effect John Williams was going for in Catch Me if you Can. Liberally peppered with music from jazz greats such as Lester Young, Oscar Peterson, not one but TWO versions of "Ain't that Peculiar", and a selection from R. Crumb and the Cheap Suit Serenaders, this is a movie soundtrack that more than sets off the film, it's music from a life.

—  Jill Cozzi, Mixed Reviews

 

"Among behind-the-scenes personnel, production designer Ginger Tougas gets the period touches right, while regular Stillman DP John Thomas and editor Andrew Hafitz work nicely against the continuous musical backdrop which seamlessly merges with Mark Suozzo's linking score."

— Michael Rechtshaffen, Hollywood Reporter

 

 

“Technically, Well-Founded Fear is well-rounded, particularly enhanced by Mark Suozzo's atmospheric and subtle musical score that aptly conveys the tension and continuity of this unsettling setting.”

—  Hollywood Reporter

 

“This just about perfect little picture -- adroitly served by Mark Suozzo's score and John Thomas's cinematography -- is a triumphant anomaly: a rude comedy of manners.”

— Peter Travers, Rolling Stone