Two advantages of the British version: It's tauter and much faster. [26 Nov 1999, p.A]

The musical evergreen, with Irene Dunne billed over Fred and Ginger. [03 Nov 2006, p.C5]

The movie suffers a bit from the sentimental, violin-underscored valentine approach favored in Selznick movies, but the characterizations, particularly in delivering Dickens' cartoon grotesqueries, are plum. None is better than W. C. Fields, who might be faulted for bringing his own legendary screen persona to Mr. Micawber, but he does so superbly, without sacrificing Dickens' own creation. [13 Aug 1989, p.20C]

First of the classic Fred and Ginger plots. [03 Nov 2006, p.C5]

It's a terrific mix of screwball comedy and detective story, full of wit, romance and suspense. [23 Nov 2007, p.C10]

Fred meets Ginger in this goofy South American romance; they were secondary leads who stole the show. [03 Nov 2006, p.C5]

The Four Marx Brothers -- Groucho the Gabber, Harpo the Honker, Chico the Chiseler and Zeppo the Zero -- were the wildest, most anarchically funny movie comedians of their era. (Of any era.) And this is the high water mark of their unique cinematic insanity: a ferocious satire on government, war and diplomacy that leaves no propriety or pretension unpricked, no sacred cow unslaughtered. [19 Sept 1997, p.O]

Another Universal classic, based on H.G. Wells' tale of an invisible madman. [13 Aug 2007, p.C6]

Busby Berkeley's finest hour comes in this flabbergasting Warners musical, with James Cagney as a Berkeley-like choreographer who directs, for a string of Broadway theaters, a series of "preview" dance numbers that blow your socks off.

42nd Street is the quintessential '30s backstage song and dance movie-and one of the most influential and much-copied movie musicals ever. [09 Mar 2007, p.C6]

An essential Carole Lombard film, it's her one screen pairing with her eventual husband Clark Gable. To call their scenes electric is putting it mildly. [30 Dec 1993, p.9A]

An unpretentious, rowdy, lecherous good show. [28 Nov 1999, p.35]

One of the quintessential Hollywood shipboard romances, with William Powell and Kay Francis as the seemingly doomed lovers who meet on the high seas. [26 Mar 2000, p.35]

From Vicki Baum's novel, scrumptiously directed by Goulding, with a constellation of a cast that includes Greta Garbo, John and Lionel Barrymore and Joan Crawford. [28 Nov 1999, p.35]

The Marx Brothers in one of their messiest, sloppiest, greatest Paramount comedies. [27 Feb 2015, p.C5]

Gangster classic. [21 Jan 2005, p.C6]

Wallace Ford co-stars, but make no mistake, it's the actual sideshow talents whose unusual traits have kept this film singular and unforgettable. [19 Oct 2007, p.C5]

Great Hollywood kitsch, supremely visualized by Von Sternberg and cinematographer Lee Garmes. [07 Nov 2003, p.C6]

Fredric March plays the split personality doctor/killer in this stylish early version of Robert Louis Stevenson's shivery classic. [06 Apr 2007, p.7]

For its influence alone, this is a movie that more than deserves its classic status. [23 June 2000, p.M]

Volcanically funny. [23 Dec 2005, p.C7]

James Cagney, wielding gats and grapefruit, became a star playing the murderous young Irish-American hood Tom Powers, a character modeled on Capone rival Dion O'Banion, in this classic, grim, unusually violent gangster film. [26 Jun 2009, p.C5]

Lewis Milestone preserves more of the original play than Hawks in His Girl Friday, but it's a much thinner movie: more mechanical, less chilling or ripe in its cynicism, the pace less nimble and charged. Still, the dialogue is gritty, magical, top-flight. Modern screenwriters, see this and weep. [25 Jul 1999, p.43C]

The closing shot of Charlie Chaplin's face in City Lights, his heart breaking: the highest form of screen acting, the most effective tear extraction exercise the medium has yet to offer.

Highly inventive, full of perverse touches and clever flourishes. [26 Nov 1999, p.A]

It remains an anti-war masterpiece. [09 Feb 2007, p.C6]

Hitchcock's first talkie, begun as a silent film and then converted midstream, alternates stiff dramatic scenes with brilliant, highly visual suspense sequences. [26 Nov 1999, p.A]

One of the cinema's imperishable visions of faith against injustice. [20 Feb 1997, p.9E]