Coronation Review like a black-and-white magical incantation that leaves one shaking—half with fright, half with laughter. The laughter is produced by the absurdity of the events ... the fear—perhaps anxiety is a better word—is evoked by the pace of the visual shocks counterpointed by the more stable, but unnerving, droning of the voice on the sound track. But there is something more that builds tension. There is the screen that has the dark, malevolent quality of some early German and some early American horror films. The pace, again, is of constant frenzy, as much within the shot as from shot to shot, never allowing the tension in the viewer to wane. And then there is that demonical laughter of the controlling presence at the pin-ball machine. Richard Myers, like Edgar Allan Poe in his early tales, has the kind of genius that dotes on both the weird and the absurdly humorous and achieves its artistic truth by piling detail upon detail.”

Earl Bodien, Film Quarterly

Richard Myers is one of the most talented and one of the most unknown filmmakers in the country. Personally and geographically isolated from the hysterical film propaganda machine, we seldom hear his name. Aside from the Ann Arbor Film Festival and its related tour, we never see his films. In the same sense that Bruce Baillie’s Mass is generally regarded to be the film masterpiece of 1964, Myers’ CORONATION ranks with the two or three very best experimental films of 1965. No experimental film that I know of can compare with CORONATION from the standpoint of sheer (real) spectacle. In this respect it ranks with ‘Hollywood,’ and in this respect I can pay CORONATION no greater compliment. If we ever wished for a film without a dull moment ... not one ... we can find it in CORONATION.”

George Manupelli, Filmmaker Director of the Ann Arbor Film Festival