There is hardly a shot in Orson Welles’ towering achivement that doesn’t employ some sort of ingenious trick involving the camera, editing, sound, staging or production design. Kane didn’t invent all of its techniques, but it’s one of the few pictures I can think of that uses almost every one in the movie playbook. The film is like a dictionary of the cinematic language.

Its surface is as much fun as any movie ever made. Its depths surpass understanding. I have analyzed it a shot at a time with more than 30 groups, and together we have seen, I believe, pretty much everything that is there on the screen. The more clearly I can see its physical manifestation, the more I am stirred by its mystery.

Roger Ebert

Chicago Sun-Times