9.00/10. Kurosawa biographer Stuart Galbraith IV, reviewing the Criterion Collection DVD, called the work "archetypal postwar Ozu" and "a masterful distillation of themes its director would return to again and again... There are better Ozu films, but Late Spring impressively boils the director's concerns down to their most basic elements." Norman Holland concludes that "Ozu has created—in the best Japanese manner—a film explicitly beautiful but rich in ambiguity and the unexpressed." Dennis Schwartz calls it "a beautiful drama," in which "there's nothing artificial, manipulative or sentimental." The Village Voice ranked the film at number 112 in its Top 250 "Best Films of the Century" list in 1999, based on a poll of critics. Leonard Maltin awarded the film four out of four stars, calling it "A transcendent and profoundly moving work rivaling Tokyo Story as the director's masterpiece." On August 1, 2012, the British Film Institute (BFI) published its decennial Sight & Sound "Greatest Films of All Time" poll, one of the most widely respected such polls among fans and scholars A total of 846 "critics, programmers, academics, distributors, writers and other cinephiles" submitted Top Ten lists for the poll. In that listing, Late Spring appeared in 15th place among all films from the dawn of cinema. It was the second-highest ranking Japanese-language film on the list. (Ozu's own Tokyo Story appeared in third place. Akira Kurosawa's Seven Samurai was the third-highest ranking Japanese-language film on the list, tied at 17th place.) In the previous BFI poll (2002), Late Spring did not appear either on the critics' or the directors' "Top Ten" lists. The film ranked 53rd in BBC's 2018 list of The 100 greatest foreign language films voted by 209 film critics from 43 countries around the world. Films inspired by Late Spring Only one remake of Late Spring has so far been filmed: a television movie, produced to celebrate Ozu's centennial, entitled A Daughter's Marriage (Musume no kekkon), directed by the distinguished filmmaker Kon Ichikawa and produced by the Japanese pay television channel WOWOW. It was broadcast on December 14, 2003, two days after the 100th anniversary of Ozu's birth (and 40th anniversary of his death). Ichikawa, a younger contemporary of Ozu's, was 88 years old at the time of the broadcast. The film recreated various idiosyncrasies of the late director's style. For example, Ichikawa included many shots with vividly red objects, in imitation of Ozu's well-known fondness