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Time Out saysThe passage of time has not been kind to what many view as Fellini's masterpiece. Certainly Di Venanzo's high-key images and the director's flash-card approach place 81⁄2 firmly in its early '60s context. As a self-referential work it lacks the layering and the profundity of, for example, Tristram Shandy, and the central character, the stalled director (Mastroianni), seems less in torment than doodling. And yet... The bathing of Guido sequence is a study extract for film- makers, and La Saraghina's rumba for the seminary is a gift to pop video. Amiably spiking all criticism through a gloomy scriptwriter mouthpiece, Fellini pulls a multitude of rabbits out of the showman's hat.