Largely devoid of the usual Western histrionics, this 1957 film, thanks to the steady hand of veteran director Delmer Daves, represents one of the more sober depictions of the clash between chaos and order that has always been at the center of the movie Western. [26 Aug 2007, p.3E]

Stanley Kubrick was always infatuated with human clockwork, both in terms of what makes each of us tick and how we choreograph our lives, deaths, and sins. The Killing, his big heist movie, suits this obsession perfectly. It is often considered, and rightly, his first masterpiece.

There is not one word, one scene in the whole thing that doesn't ring the bell of truth, and anyone seeing it should emerge from the theater with a sense of satisfation rare in the movie-going experience. To put it simply, Marty is great. [18 Jun 1955, p.4]

Though Them benefits from a well-motivated script, it suffers from the same hackneyed ingredients that characterize most films of the same genre. [22 Jun 1954, p.12]

Aside from Brando's performance, The Wild One hasn't aged well. Although its leather and chrome iconography and Brando's hipsterism inspired biker and rebel cults for decades to come, it fits all too snugly into the musty category of "cautionary tale." Its story ultimately reduces Brando's biker to the quintessential crazy mixed-up kid. [27 Jan 2002]

It is a striking, ironical tribute to the vanishing glory of the silent screen, and a lively reflection of present-day conditions in Hollywood. [15 Sep 1950, p.14]

Winchester '73 has a little bit of everything, including a central conflict straight out of the Old Testament, and Mann's highly visual direction -- dialogue is sparse, and the movie looks gorgeous, filmed largely on location in Arizona -- shows that John Ford and Howard Hawks weren't the only directors able to translate their love of the Old West and its mythical figures to film. [05 Jun 2003]

The movie is impressive both as a celebration of the Old West and a tough, ambivalent depiction of a ruthless pioneer. [04 Jun 2004]

Carol Reed's Odd Man Out is the rare movie classic that grows more relevant and compelling with every passing year. [29 Dec 2006, p.5C]

Inspirational, heart-rending and the movie that made Taylor a star - what more do you want? [19 May 2007, p.9S]

Samson Raphaelson's marvel of a script unfolds in six sequences that rise and fall with the surprising weight of mini-lifetimes; under Lubitsch's tart-tender direction, the emotionally transparent Stewart and the electric, conflicted Sullivan create an immortal comic courtship. [13 Feb 2004]