Pauline Kael

Williams acts all over the place, yet the movie - 2 hours and 47 minutes of documentary seriousness - is so poorly structured that you keep wondering what's going on and why he has agreed to inform on his friends...Things don't begin to come together until you're heading into the third hour.

Too bad that the director, George Cukor, doesn't have a little more feeling for the loony baroque; the story is treated much too soberly.

The film is rather misshapen, particularly in the sections featuring William Holden, and the action that detonates the explosive finish isn't quite clear. However, Alec Guinness is compelling as the English Colonel Nicholson.

Bunuel's daring is fully apparent.

It's a tenderhearted feminist picture.

There's a total absence of personal obsession - even moviemaking obsession - in the way Crichton works; he never excites us emotionally or imaginatively, but the film has a satisfying, tame luxuriousness, like a super episode of "Masterpiece Theater."

1900 is a romantic moviegoer's vision of the class struggle -- a love poem for the movies as well as for the life of those who live communally on the land.

Most movies give so little that it seems almost barbarous to object to Bergman's not giving us more in Persona, but it is just because of the expressiveness and fascination of what we are given that the movie is so frustrating. There is, however, great intensity in many of the images.

The James Bond series has had its bummers, but nothing before in the class of this one.

The pictures seems dogged and methodical, though it is graced with a beautiful performance by Kotto.

This show-business farce is the first film directed by Richard Benjamin, and it's a creaky job of moviemaking, but it has a bubbling spirit; Benjamin is crazy about actors--not a bad start for a director.

Within its own terms the picture is sensitive and very well done, but it's also tiresomely fraudulent -- an idealization of a safe, shuttered existence, the good life according to M-G-M.

You're supposed to need a strong stomach to sit through this one, but it's so stupefyingly obvious and repetitive that you begin to laugh with relief that you're not being emotionally affected; it's just a gross-out.

Williams doesn't seem sure how to resolve the movie, but it's wonderfully entertaining.

It's so tastefully tame that there's no supsense.

There's so much going on you can't take your eyes off it, but none of it means anything.

Most of the movie lacks zest.

The film is a one-of-a-kind entertainment, with a kinetic, breakneck wit.

Tuggle keeps whomping us on the skull with good-evil symbolism, but the movie has no more depth than the usual exploitation film in which pretty girls are knocked off.

Lighthearted and charming story of a black and white team of con artists in the Old South. Very enjoyable.

The tragedy of these two peoples, killing each other because each has just claims to the same plot of ground, is presented with efficient, impersonal evenhandedness, so that we care about neither of them.

It's a pity the film, directed by Fred Wilcox, didn't lift some of Shakespeare's dialogue: it's hard to believe you're in the heavens when the diction of the hero (Leslie Nielsen) and his spaceshipmates flattens you down to Kansas.

A debonair macabre thriller--romantic, scary, satisfying.

The elements are all there, and Mitchum, looking appropriately square-headed, tries hard and has some good scenes. But you get the impression that the dialogue is moving faster than the action.

The Director, Douglas Sirk, shows his talent for whipping up sour, stylized soap operas in posh settings.

The introductory and closing scenes are tedious; the woman's whimpering is almost enough to drive one to the nearest exit. Yet the film transcends these discomforts; it has its own perfection.

We don't get enough understanding of Stroud to become involved in how he is transformed over the years.

It's a Velveeta comedy, processed like a Neil Simon picture, with banter and gags and an unctuous score. All its smart talk is low-key and listless. It stays on the surface, yet it's dissatisfied with the surface; it's a deeply indecisive movie.