Bosley Crowther

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The New York Times
For 414 reviews, this critic has graded:
  • 41% higher than the average critic
  • 2% same as the average critic
  • 57% lower than the average critic
On average, this critic grades 3 points higher than other critics. (0-100 point scale)

Bosley Crowther's Scores

  • Movies
  • TV
Average review score: 69
Highest review score: 100 Forbidden Games
Lowest review score: 20 King Kong vs. Godzilla
Score distribution:
  1. Positive: 245 out of 414
  2. Mixed: 150 out of 414
  3. Negative: 19 out of 414
414 movie reviews
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    • 88 Metascore
    • 60 Bosley Crowther
    The Innocents
    Mr. Clayton and Miss Kerr have neglected to interpret the tale and character with sufficient incisiveness and candor to give us a first-rate horror or psychological film. But they've given us one that still has interest and sends some formidable chills down the spine.
    • 51 Metascore
    • 50 Bosley Crowther
    The Grass Is Greener
    Miss Kerr and Miss Simmons look attractive and Mr. Grant and Mr. Mitchum try hard to create the illusion of being moved by love and passion. But they both appear mechanical and bored. [24 Dec 1960, p.8]
    • The New York Times
    • 55 Metascore
    • 40 Bosley Crowther
    The Black Scorpion
    The back-lot boys working for producers Frank Melford and Jack Dietz have, for the most part, performed an adequate job. As for the human side of the plot, written by David Duncan and Robert Blees, just forget it.
    • 88 Metascore
    • 40 Bosley Crowther
    Strangers on a Train
    Mr. Hitchcock again is tossing a crazy murder story in the air and trying to con us into thinking that it will stand up without support.
    • 65 Metascore
    • 50 Bosley Crowther
    The War Wagon
    The Wayne-Douglas Western looks like something that the two saddle-sore stars cooked up to kill time and make a little money... It's not a bad picture, just obvious.
    • 41 Metascore
    • 40 Bosley Crowther
    The Kentuckian
    Some outdoor scenes in excellent color and the expanse of CinemaScope give a bit of magnificence to a picture that lacks it in every other way.
    • 63 Metascore
    • 60 Bosley Crowther
    Phantom of the Opera
    To be sure, the production is elegant. Settings and costumes are superfine and, photographed in technicolor, they all mawe a lavish display. But that richness of décor and music is precisely what gets in the way of the tale.
    • 49 Metascore
    • 40 Bosley Crowther
    Brigadoon
    Vincente Minnelli's direction lacks his usual vitality and flow. Brigadoon on the screen, we must say, is pretty weak synthetic Scotch.
    • 57 Metascore
    • 50 Bosley Crowther
    Ocean's 11
    Lewis Milestone's direction suits the movement of Harry Brown's and Charles Lederer's script, which is entirely centripetal, focusing exclusively on Mr. Sinatra and his gang. Young people are likely to find this more appropriate and bewitching than do their elders. The latter are likely to feel less gleeful in the presence of heroes who rob and steal.
    • 65 Metascore
    • 60 Bosley Crowther
    Destination Tokyo
    The chief fault, in our estimation, with the Warners' "Destination Tokyo" is that there is just too doggone much of it and is all too conventionally crammed in.
    • 76 Metascore
    • 60 Bosley Crowther
    The Tales of Hoffmann
    Oddly enough, despite its opulence, coupled with a brilliant rendering of the score by the Royal Philharmonic Orchestra under Sir Thomas Beecham's bristling baton and some masterly singing of the libretto (in English) by a host of vocal cords, this film version of the opera is, in toto, a vastly wearying show.
    • 88 Metascore
    • 40 Bosley Crowther
    Wild Strawberries
    This one is so thoroughly mystifying that we wonder whether Mr. Bergman himself knew what he was trying to say.
    • 63 Metascore
    • 60 Bosley Crowther
    Holiday Affair
    An amiable little romance in which a boy meets a girl at Christmas-time, and the sentiments are quite as artificial and conveniently sprinkled as the snow is provided—for those who like such things—in RKO's Holiday Affair.
    • 65 Metascore
    • 40 Bosley Crowther
    Carmen Jones
    There is nothing wrong with the music—except that it does not fit the people or the words. But that did not seem to make much difference to Mr. Hammerstein or Mr. Preminger. They were carried away by their precocity. The present consequence is a crazy mixed-up film.
    • 64 Metascore
    • 40 Bosley Crowther
    Saboteur
    To put it mildly, Mr. Hitchcock and his writers have really let themselves go. Melodramatic action is their forte, but they scoff at speed limits this trip.
    • 67 Metascore
    • 50 Bosley Crowther
    Lord of the Flies
    A curiously flat and fragmentary visualization of the original.
    • 51 Metascore
    • 50 Bosley Crowther
    Angel on My Shoulder
    The story is so imitative—and is repeated so dutifully—that it's hard to feel any more towards it than a mildly nostalgic regard.
    • 61 Metascore
    • 50 Bosley Crowther
    The Big Country
    For all this film's mighty pretensions, it does not get far beneath the skin of its conventional Western situation and its stock Western characters. It skims across standard complications and ends on a platitude.
    • 56 Metascore
    • 50 Bosley Crowther
    White Christmas
    Everyone works hard at the business of singing, dancing and cracking jokes, but the stuff that they work with is minor.
    • 74 Metascore
    • 60 Bosley Crowther
    The Naked City
    There are countless more fascinating facets to this city than the work of cops with crime and countless more striking characters in it than genial detectives and mumbling crooks. However, within that range of interest, Mr. Hellinger has done a vivid job in this, his appropriate valedictory, which comes to you spontaneous and unrehearsed.
    • 68 Metascore
    • 50 Bosley Crowther
    Some Came Running
    It is all very complex and confused. Indeed, it is so oddly garbled that John Patrick and Arthur Sheekman, who did the script, have to go for a melodramatic shooting to bring it all to a tolerable end.
    • 89 Metascore
    • 60 Bosley Crowther
    The Hidden Fortress
    This is not to say that the action is not vivid, exciting and tense, or that Kurosawa's camera is any less graphic than it usually is. This is simply to say that The Hidden Fortress is essentially a superficial film and that Kurosawa, for all his talent, is as prone to pot-boiling as anyone else.
    • 74 Metascore
    • 50 Bosley Crowther
    Key Largo
    The script prepared by Mr. Huston and Richard Brooks was too full of words and highly cross-purposed implications to give the action full chance.
    • 67 Metascore
    • 60 Bosley Crowther
    The Wild One
    Although the reality of it goes soft and then collapses at the end, it is a tough and engrossing motion picture, weird and cruel, while it stays on the beam.
    • 69 Metascore
    • 50 Bosley Crowther
    Doctor Zhivago
    And this is the weakness of the film. Mr. Bolt has reduced the vast upheaval of the Russian Revolution to the banalities of a doomed romance.
    • 63 Metascore
    • 40 Bosley Crowther
    Crime in the Streets
    The production, which Donald Siegel has directed from the screen play of the original author, Reginald Rose, is cramped and flimsy. It matches the rest of the show.
    • 66 Metascore
    • 60 Bosley Crowther
    Take Me Out to the Ball Game
    For all its high spots, however, the show lacks consistent style and pace, and the stars are forced to clown and grimace much more than becomes their speed. Actually, the plotted humor is conspicuously bush-league stuff. Don't be surprised if you see people getting up for a seventh-inning stretch.
    • 87 Metascore
    • 40 Bosley Crowther
    Imitation of Life
    This modernized remake of Miss Hurst's frankly lachrymose tale is much the same as its soggy predecessor. It is the most shameless tear-jerker in a couple of years.
    • 63 Metascore
    • 40 Bosley Crowther
    The Man with the Golden Arm
    It is a pretty plain and unimaginative looksee at a lower-depths character with a perilous weakness for narcotics that he miraculously overcomes in the end.
    • 61 Metascore
    • 50 Bosley Crowther
    Under Capricorn
    It is an overlong, overlabored essay on the torments of conscience and love which Mr. Hitchcock has beautifully filmed in Technicolor but pointed in glaring blacks and whites.
    • 70 Metascore
    • 40 Bosley Crowther
    The Barefoot Contessa
    The story that's told against this background is a curiously empty tabloid tale, and the title performer, Ava Gardner, fails to give it plausibility or appeal.
    • 60 Metascore
    • 60 Bosley Crowther
    Cat Ballou
    Cat Ballou does have flashes of good satiric wit. But, under Elliot Silverstein's direction, it is mostly just juvenile lampoon.
    • 86 Metascore
    • 40 Bosley Crowther
    The Big Sleep
    The Big Sleep is one of those pictures in which so many cryptic things occur amid so much involved and devious plotting that the mind becomes utterly confused. And, to make it more aggravating, the brilliant detective in the case is continuously making shrewd deductions which he stubbornly keeps to himself.
    • 69 Metascore
    • 40 Bosley Crowther
    Abbott and Costello Meet Frankenstein
    Most of the comic invention in Abbott and Costello Meet Frankenstein is embraced in the idea and the title. The notion of having these two clowns run afoul of the famous screen monster is a good laugh in itself. But take this gentle warning: get the most out of that one laugh while you can, because the picture...does not contain many more.
    • 65 Metascore
    • 40 Bosley Crowther
    High Society
    As flimsy as a gossip-columnist's word, especially when it is documenting the weird behavior of the socially elite. And with pretty and lady-like Grace Kelly flouncing lightly through its tomboyish Hepburn role, it misses the snap and the crackle that its un-musical predecessor had.
    • 72 Metascore
    • 50 Bosley Crowther
    East of Eden
    In short, there is energy and intensity but little clarity and emotion in this film. It is like a great, green iceberg: mammoth and imposing but very cold.
    • 55 Metascore
    • 50 Bosley Crowther
    The Pink Panther
    There is one thing about this picture that is clever and joyous, at least. That is a cartooned pink panther that runs through the main titles at the start making mischief with the lettering, insistently getting in the way. He is so blithe and bumptious, so sweet and entirely lovable, that he's awfully hard to follow. It's questionable whether the picture does.
    • 62 Metascore
    • 60 Bosley Crowther
    McLintock!
    If the film doesn't quite come off, it is not for lack of effort. Mr. Wayne is in there swinging all the way, as a reactionary old cattle baron coping with encroaching homesteaders, discontented Indians, a marriageable daughter and a rebellious wife.
    • 50 Metascore
    • 50 Bosley Crowther
    Million Dollar Mermaid
    Like the stage show, this Technicolored shindig, which laughingly pretends to be a biography of the famous swimmer, Annette Kellerman, is a luxuriance of razzle-dazzle that includes Hippodrome acts, water ballets, bathing suit shows, diving performances, low comedy, anachronisms and clichés. It also includes an abundance of Miss Williams and Victor Mature, but it does not include the felicities of a reasonably fascinating script.
    • 78 Metascore
    • 40 Bosley Crowther
    All That Heaven Allows
    Solid and sensible drama plainly had to give way to outright emotional bulldozing and a paving of easy clichés.
    • 71 Metascore
    • 50 Bosley Crowther
    An Affair to Remember
    Mr. McCarey's direction is unpropitiously and unaccountably slow. Could it be, too, that a brand of make-believe that was tolerable eighteen years ago, before color and CinemaScope and other intrusions, is just a little discomforting now?
    • 51 Metascore
    • 40 Bosley Crowther
    The Bad Seed
    Mervyn LeRoy, who produced and directed, has lost a great deal of the bite of the play. He has done it in a style of presentation that is ostentatious and often insincere.
    • 69 Metascore
    • 60 Bosley Crowther
    Melody Time
    Walt Disney has let his animators and his color magicians have free rein in his latest cartoon package-picture, Melody Time. And again, as in Make Mine Music! he has come up with a gaudy grab-bag show in which a couple of items are delightful and the rest are just adequate fillers-in.
    • 64 Metascore
    • 40 Bosley Crowther
    The Brides of Dracula
    Here is but another repetition of the standard tale of the vampire bugaboo who likes to sink his oversized dentures into the necks of pretty girls.There is nothing new or imaginative about it.
    • 58 Metascore
    • 40 Bosley Crowther
    Romance on the High Seas
    As a brash little night-club singer who is supposed to act like a swell, Miss Day is most plainly the victim of the writers' unutterable ennui. Furthermore, Michael Curtiz's direction of her and the rest of the cast is as slapdash and void of distinction as it can professionally be. Not only has he let the young lady spread noisiness all over the place, but he has wasted the few minor talents that he had in a most provoking way.
    • 90 Metascore
    • 60 Bosley Crowther
    Paths of Glory
    Mr. Kubrick has made it look terrific. The execution scene is one of the most craftily directed and emotionally lacerating that we have ever seen. But there are two troubling flaws in this picture, one in the realm of technique and the other in the realm of significance, which determine its larger, lasting worth.
    • 75 Metascore
    • 50 Bosley Crowther
    Cul-de-sac
    Is Mr. Polanski endeavoring to tell us anything about life or crime or perversion in this complex and terminally morbid joke?If he is, I sure don't get it — except maybe that people are sick, that even good humor isn't funny and that social sterility is.
    • 79 Metascore
    • 60 Bosley Crowther
    Pat and Mike
    It is smoothly directed by George Cukor and slyly, amusingly played by the whole cast, especially by its due of easy, adroit, experienced stars.
    • 93 Metascore
    • 60 Bosley Crowther
    Yojimbo
    As in most Westerns, the dramatic penetration is not deep, and the plot complications are many and hard to follow in Japanese. Kurosawa is here showing more virtuosity than strength. Yojimbo is a long way (in the wrong direction) from his brilliant Rashomon.
    • 73 Metascore
    • 50 Bosley Crowther
    Rope
    At all events, the picture takes on a dull tone as it goes and finally ends in a fizzle which is forecast almost from the start.
    • 43 Metascore
    • 60 Bosley Crowther
    Without Love
    Miss Hepburn gives a mischievous performance as the girl who really wants to be chased, and Mr. Tracy is charmingly acerbic when confronted with her cool or coy wiles.
    • 60 Metascore
    • 60 Bosley Crowther
    The Caddy
    For the most part, this scatter-brained fiction, in which Mr. Lewis is teamed with his popular partner, Dean Martin, is a cut-to-size Martin-Lewis farce, wherein the two playmates lightly fancy that they are a golf contestant and his caddy, respectively.
    • 85 Metascore
    • 40 Bosley Crowther
    Cat People
    The Cat People is a labored and obvious attempt to induce shock. And Miss Simone's cuddly little tabby would barely frighten a mouse under a chair.
    • 46 Metascore
    • 60 Bosley Crowther
    The Appaloosa
    Essentially a film of mordant feeling in which violence is always just below the surface of pokerfaced bluffing and fake Old-World Spanish courtesy.
    • 49 Metascore
    • 40 Bosley Crowther
    None But the Brave
    IF the threat of Frank Sinatra as a film director is judged by his first try on "None But the Brave," it is clear that there need be no apprehension among the members of the Screen Directors Guild.
    • 87 Metascore
    • 50 Bosley Crowther
    Goldfinger
    What they give us in Goldfinger is an excess of science-fiction fun, a mess of mechanical melodrama, and a minimum of bedroom farce...It is good fun, all right, fast and furious, racing hither and yon about the world as Double-Oh Seven pursues the intrigues of a mysterious financier named Goldfinger.
    • 67 Metascore
    • 50 Bosley Crowther
    The Time Machine
    The drama, for all its invention, is creaky and a bit passé. (Apparently there has still been no contact with other planets in 800,000 A. D.) And the mood, while delicately wistful, is not so flippant or droll as it might be in a fiction as fanciful and flighty as this one naturally is.
    • 46 Metascore
    • 40 Bosley Crowther
    The Invisible Man's Revenge
    Unfortunately, trick photography is not sufficient to maintain a whole film, and this one reveals quite plainly that you don't see much when you see an "Invisible Man."
    • 55 Metascore
    • 50 Bosley Crowther
    Torn Curtain
    In these times, with James Bonds cutting capers and pallid spies coming in out of the cold, Mr. Hitchcock will have to give us something a good bit brighter to keep us amused.
    • 61 Metascore
    • 40 Bosley Crowther
    36 Hours
    What is annoying about this picture is that the set-up for pulling off the plot is just too slick and artificial, too patly and elaborately contrived.
    • 55 Metascore
    • 60 Bosley Crowther
    To Sir, with Love
    A cozy, good-humored and unbelievable little tale.
    • 58 Metascore
    • 60 Bosley Crowther
    Sunday in New York
    Well, the extent of the film's disconcertion and delight for a viewer will depend upon how prone one may be to a juvenile quandary and to the nimble performing of a pleasant cast.
    • 73 Metascore
    • 50 Bosley Crowther
    The Dirty Dozen
    Sadistic, anti-Nazi slaughter mission. Entertaining as a blowtorch.
    • 67 Metascore
    • 60 Bosley Crowther
    Blackboard Jungle
    As a straight melodrama of juvenile violence this is a vivid and hair-raising film.
    • 77 Metascore
    • 60 Bosley Crowther
    Zulu
    If you're not too squeamish at the sight of slaughter and blood and can keep your mind fixed on the notion that there was something heroic and strong about British colonial expansion in the 19th century, you may find a great deal of excitement in this robustly Kiplingesque film.
    • 75 Metascore
    • 40 Bosley Crowther
    What Ever Happened to Baby Jane?
    The feeble attempts that Mr. Aldrich has made to suggest the irony of two once idolized and wealthy females living in such depravity and the pathos of their deep-seated envy having brought them to this, wash out very quickly under the flood of sheer grotesquerie. There is nothing particularly moving or significant about these two.
    • 77 Metascore
    • 60 Bosley Crowther
    The Misfits
    Mr. Huston's direction is dynamic, inventive and colorful. Mr. Gable is ironically vital. Miss Ritter, James Barton and Estelle Winwood are amusing in very minor roles, and Alex North has provided some good theme music. But the picture just doesn't come off.
    • 69 Metascore
    • 40 Bosley Crowther
    The Man I Love
    The Man I Love is both silly and depressing, not to mention dull.
    • tbd Metascore
    • 60 Bosley Crowther
    Julie
    There is one mark of distinction: Mr. Stone has shot much of this film along the beautiful California seacoast in the vicinity of Monterey. That makes it easy to look at. Indeed, it makes it thrilling, at times.
    • 51 Metascore
    • 50 Bosley Crowther
    Harper
    The action is swift and the mystery fetching in this handsomely made color film. But eventually it seems a bit too obvious, imitative, old-fashioned and, worst of all, stale.
    • 60 Metascore
    • 40 Bosley Crowther
    The Horn Blows at Midnight
    The script is neither satire nor good, fresh, fanciful corn. It is a batch of old-fashioned nonsense put together without distinct charm.
    • 60 Metascore
    • 60 Bosley Crowther
    Make Mine Music
    Vivid, motley, ornamental and just-a-bit questionable in spots.
    • 74 Metascore
    • 40 Bosley Crowther
    For a Few Dollars More
    The fact that this film is constructed to endorse the exercise of murderers, to emphasize killer bravado and generate glee in frantic manifestations of death is, to my mind, a sharp indictment of it as so-called entertainment in this day.
    • 58 Metascore
    • 40 Bosley Crowther
    Help!
    The boys themselves are exuberant and uninhibited in their own genial way. They just become awfully redundant and—dare I say it?—dull.
    • 86 Metascore
    • 60 Bosley Crowther
    The Great Escape
    There are a few moments when Richard Attenborough as the chief engineer of the whole project demonstrates some impressive strength and poise. But for much longer than is artful or essential, The Great Escape grinds out its tormenting story without a peek beneath the surface of any man, without a real sense of human involvement. It's a strictly mechanical adventure with make-believe men.
    • tbd Metascore
    • 60 Bosley Crowther
    Mrs. Parkington
    Writers, director and producer have all of them obviously conspired to give the two stars a rapturous workout and let reason fall where it may. As a consequence, we see here a picture in which the clichés of ideal romance have been piled up so richly and warmly that a point of suffocation is almost reached.
    • 54 Metascore
    • 40 Bosley Crowther
    Song of the South
    Apparently the Disney wonder-workers are just a lot of conventional hacks when it comes to telling a story with actors instead of cartoons.
    • 69 Metascore
    • 60 Bosley Crowther
    King Solomon's Mines
    There is more than a trace of outright hokum in this thriller...but there is also an ample abundance of scenic novelty and beauty to compensate.
    • tbd Metascore
    • 50 Bosley Crowther
    The Racers
    It is something for racing fans to see. But the business that passes for a story in between and among the racing scenes is depressingly unoriginal and banal.
    • 82 Metascore
    • 60 Bosley Crowther
    They Live by Night
    They Live by Night has the failing of waxing sentimental over crime, but it manages to generate interest with its crisp dramatic movement and clear-cut types.
    • 61 Metascore
    • 40 Bosley Crowther
    Don't Bother to Knock
    It requires a good deal to play a person who is strangely jangled in the head. And, unfortunately, all the equipment that Miss Monroe has to handle the job are a childishly blank expression and a provokingly feeble, hollow voice. With these she makes a game endeavor to pull something out of the role, but it looks as though she and her director, Roy Baker, were not quite certain what.
    • 68 Metascore
    • 60 Bosley Crowther
    Dark Passage
    Indeed, it is in the bizarre contacts of Mr. Bogart with shady characters such as those played by these well-directed actors that Dark Passage achieves tension and drive. Perhaps he should be given more time with them.
    • 77 Metascore
    • 50 Bosley Crowther
    Bedazzled
    Maybe the brand of British banter and buffoonery that Peter Cook and Dudley Moore bombard us with in Stanley Donen's Bedazzled would be very funny if it came in small bursts at not too frequent intervals in an expansive musical comedy or revue. But fired at you exclusively and endlessly for more than an hour and a half in this pretentiously metaphorical picture...it becomes awfully precious and monotonous.
    • 38 Metascore
    • 50 Bosley Crowther
    Turnabout
    So far as we're concerned, this self-conscious fantasy of a husband and wife who reverse their biological status is a tired and tiresome jape, as subtle as a five-cent stogie and just as aromatic.
    • 87 Metascore
    • 50 Bosley Crowther
    Spartacus
    It is a spotty, uneven drama in which the entire opening phase representing the basic-training program in a gladiatorial school is lively, exciting and expressive, no matter how true to history it is, and the middle phase is pretentious and tedious, because it is concerned with the dull strife of politics.
    • 55 Metascore
    • 40 Bosley Crowther
    Far from the Madding Crowd
    The environment is more impressive than the slow, mawkish drama it contains, and the peasants are more assertive and colorful than the main characters. Scenes of sheepherding, farm gatherings, harvest suppers and assemblies at markets and fairs are more energetic and entertaining than the bloodless confrontations of the principals.
    • 74 Metascore
    • 60 Bosley Crowther
    The Haunting
    So it looks as though this film simply makes more goose pimples than sense, which is rather surprising and disappointing for a picture with two such actresses, who are very good all the way through it, and produced and directed by the able Robert Wise.
    • tbd Metascore
    • 60 Bosley Crowther
    Knights of the Round Table
    Don't look for something in the mood of Tennyson's "Idylls of the King" or Malory's "Morte d'Arthur" in this extraordinarily eye-filling film. The poetic eloquence and grandeur of those distinctly literary works have been replaced by a sweep of graphic action and romantic symbols that is straight Hollywood.
    • 92 Metascore
    • 50 Bosley Crowther
    Alphaville
    What it comes to is simply that the dazzle of Mr. Godard's cinematic style is not matched by the hackneyed idea of a robot society that is expounded in the script.
    • 72 Metascore
    • 60 Bosley Crowther
    A Face in the Crowd
    Mr. Schulberg and Mr. Kazan spawn a monster not unlike the one of Dr. Frankenstein. But so hypnotized are they by his presence that he runs away not only with the show but with intellectual reason and with the potentiality of their theme.
    • 75 Metascore
    • 50 Bosley Crowther
    The Professionals
    The scenery provided for this picture is clearly more profound than the script, and the sense of magnitude in the environment more engrossing than that in the plot.
    • 70 Metascore
    • 50 Bosley Crowther
    Camelot
    What it basically needed in its transfer to the screen was a drenching in cinema magic to remove all the dull and pretentious patches of realism and romantic cliché that kept it from sparkling in the theater. And that's what we all hoped it would have. Well, it hasn't, alas.
    • 54 Metascore
    • 40 Bosley Crowther
    Suddenly, Last Summer
    Joseph L. Mankiewicz' direction is strained and sluggish, as is, indeed, the whole conceit of the drama. It should have been left to the off-Broadway stage.
    • 55 Metascore
    • 40 Bosley Crowther
    Rhapsody in Blue
    The performers are quite naturally restricted by the limitations of the script—and by the purely pedestrian direction that Irving Rapper has given them.
    • 78 Metascore
    • 40 Bosley Crowther
    Lady and the Tramp
    Not the best he has done in this line. It is a coyly romantic story, done with animals. The sentimentality is mighty, and the use of the CinemaScope size does not make for any less awareness of the thickness of the goo.
    • 85 Metascore
    • 40 Bosley Crowther
    Harakiri
    You may not get much satisfaction from the tortured human drama in this film, but you should get an eyeful graphic exercise.
    • 48 Metascore
    • 40 Bosley Crowther
    Lady on a Train
    It's an empty and careless little fable, intended to be a mystery farce, about the wholly incredible mix-up of a debutante in a murder plot.
    • 85 Metascore
    • 60 Bosley Crowther
    Out of the Past
    The style is still sharp and realistic, the dialogue still crackles with verbal sparks and the action is still crisp and muscular, not to mention slightly wanton in spots. But the pattern and purpose of it is beyond our pedestrian ken.
    • 83 Metascore
    • 60 Bosley Crowther
    Baby Doll
    Mr. Kazan keeps the courtship bouncing between the emotional and the ludicrous. The nonchalance of the pursuer is its most entertaining grace.
    • 65 Metascore
    • 60 Bosley Crowther
    A Fistful of Dollars
    Clearly, the magnet of this picture, which has been a phenomenal success in Italy and other parts of Europe, is this cool-cat bandit who is played by Clint Eastwood, an American cowboy actor who used to do the role of rowdy in the Rawhide series on TV. Wearing a Mexican poncho, gnawing a stub of cheroot and peering intently from under a slouch hat pulled low over his eyes, he is simply another fabrication of a personality, half cowboy and half gangster, going through the ritualistic postures and exercises of each.
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