The things that make me love the movie are the mood, the hardboiled but good-hearted morality, Hawks' consummately professional eye-level style and those wonderful characters. [28 Jul 2006, p.C7]

Hollywood's great holiday musical is this sparkling adaptation of writer Sally Benson's memoir: a movie that takes us on a Currier and Ives 1903 holiday tour of St. Louis with the postcard-perfect Smith family. [08 Jan 2004, p.N1]

Somewhat illogical but full of terrifyingly sustained sado-masochistic emotion. [05 Dec 1997, p.L]

It sounds slightly absurd, but McCarey was a master of on-set improvisation, and Going My Way has the easy-going rhythm, humanity and warmth of life itself. [09 Feb 2007, p.C6]

One of the great, outrageously irreverent American movie comedies. [27 Sep 2005, p.C3]

The suspense is pulse tearing, but Hitchcock, in a movie made explicitly for the war effort, gives it an extra edge. Also, in his favorite and most ingenious cameo role, Hitch solves the problem of appearing in a film with no extras -- the cast consists only of the other shipwreck survivors -- by having himself photographed before and after losing 100 pounds on a special crash diet. [15 Nov 2005, p.C3]

One of the most appealing, beautifully made and well-loved of all the classic children's animal movies. [21 Sep 2001, p.C1]

Judy Garland and Mickey Rooney out West at a boys school/dude ranch. Their best movie musical, adapted from the Ginger Rogers-Ethel Merman stage show, with that great George and Ira Gershwin score. [13 Apr 2007, p.C6]

Nobody ever gathered together a sharper, more pungent international "Golden Age" cast (including Claude Rains, Sydney Greenstreet, Peter Lorre, Paul Henreid, Conrad Veidt, S.Z. Sakall, Marcel Dalio, Leonid Kinskey, John Qualen and Curt Bois) in a more imperishable exotic movieland cabaret (Rick's) than Warner Bros. producer Hal Wallis and director Michael Curtiz did in this greatest of all Hollywood World War II adventure romances.

Shadow is the acme of Hitchcock's special principal of dramatic counterpoint. The surface is sunny and buoyant; dark, deadly currents flow underneath. [26 Nov 1999, p.A]

Cat People is an admirable first entry into the brainy, elegant, spooky world of Val Lewton. [09 Sep 2005, p.C4]

An odd premise for a Spencer Tracy-Katharine Hepburn film--an anti-fascist melodrama with Tracy as the no-nonsense reporter investigating a beloved but tarnished American icon, Hepburn as the icon's wife--but they give it their trademark polish. [24 Feb 2006, p.C7]

Perhaps the most typical of all the "Road" pictures: melodic, low-pressure, funny. [02 Apr 2000, p.C38]

Much-loved 1942 piece of super-romantic schmaltz. [19 Jul 2005, p.C3]

This is perhaps the quintessential stiff-upper-lip homefront drama, with Minivers Greer Garson and Walter Pidgeon at their noblest, Teresa Wright at her most adolescently angelic and assorted English-Hollywood expatriates (Dame May Whitty, Reginald Owen, Peter Lawford) at their hardiest. [11 Oct 1996, p.J]

It's a pleasant movie, not quite up to its reputation. [06 Aug 2000, p.23C]

It's very smart, very sleek and one of the great Hollywood romantic comedies. [04 Jul 2003, p.C2]

A classic comedy. [25 May 2007, p.C7]

Errol Flynn deifies Gen. George Armstrong Custer in a silly though well-directed biopic. [25 May 2001, p.C1]

If Hitchcock had kept the book's annihilating original ending, though, "Suspicion" might have been one of his three or four best films. As it is, it's a model domestic thriller that manages to survive a ridiculous turnabout climax. [26 Nov 1999, p.A]

This fourth entry is still full of sophisticated charm and slick thrills. [01 Jul 2005, p.C7]

Based on Richard Llewellyn's stirring memoir of his Welsh boyhood, this is one of the great John Ford films, a multiple Oscar winner (it beat out Citizen Kane) and a strong, lyrical, deeply moving family saga set during a time of labor turbulence and social change. [11 Sep 1998, p.K]

This likable heavenly fantasy comedy was a big '40s crowd-pleaser. [14 Aug 1998, p.M]

The elements don't quite jell here, and the ending doesn't work, but they all have a racy charm anyway. [19 Dec 1999, p.34]

The second, and some say best, of the "Road" series. Paramount's patty-caking pals, Bing Crosby and Bob Hope, invade Lightest Africa for some songs, dances and snappy patter. [02 Apr 2000, p.38C]

The stars are at their best and most rambunctious and so is Walsh. If you have any taste for Warner Brothers Golden Age studio classics--and want to catch a gem you may have missed--this one hits the spot. [17 Nov 2006, p.C6]

Bette Davis gave one of her best and nastiest performances in Wyler's stylishly sordid 1940 romantic murder-mystery from W. Somerset Maugham's story. [02 May 2008, p.C5]

Energetic but unusually foolish "Hey, kids, let's put on a show!" high-school musical, redeemed by the exuberantly talented Mickey Rooney-Judy Garland combo, as a couple of kids preparing jaw-dropping numbers (choreographed by Berkeley) for a Paul Whiteman radio contest. [12 Dec 1997]