The French Connection is pure dynamite. Its trigger-fast, explosive scenes and high-tension chase sequences (the one in “Bullitt” pales by comparison) will have you literally gasping for breath.

Whew! It’s shocking - a horror film but extremely well done by producer Jerome Hellman and John Schlesinger, the British director who uncannily captures the feeling for tragedy in this locale, the forced gaiety of some who have sunk to the lower depths of despair and sympathy for the two disillusioned protagonists.

Oliver! is a timeless classic that will be as lovable in 10 or 20 years as it is today.

You can reexperience the humor and magic -- and the essence of Streisand -- in this William Wyler classic.

Polanski’s direction is smooth and the film itself happily understated. The tension created is practically unbearable.

Kubrick leaves himself wide open to ridicule from the minute he picks up Dr. Floyd’s space investigation of the mysterious monolith...The setting is a technical marvel, but advertising plugs make it a super-commercial and destroy its impact.

The Graduate, the erratic, jet-age film at the Coronet and Lincoln Art, has two standout performances - one from a young actor, who looks as if the worries of the world rested on his sawed-off body, and another from a director, still new to movies, whose spit and polish technique at times borders on genius.

It’s a pleasure, all too rare, to watch two splendid actors pitted against each other with equal force such as Sidney Poitier and Rod Steiger in the exceptional murder mystery, In the Heat of the Night. Over the years I remember a few extraordinary cases of this kind - Spencer Tracy and Clark Gable in “San Francisco.” Alec Guinness and Jack Hawkins in “The Prisoner,” Richard Burton and Peter O’Toole in “Becket.”

A faithful and beautifully impressive transition to the screen of Robert Bolt's superb historical play.

The strangely mesmerizing dance contest in "Pulp Fiction" was born of Jean-Luc Godard's 1964 New Wave classic Band of Outsiders.

Robert Wise has transformed the delightful Rodgers and Hammerstein musical stage production of "The Sound of Music" into a magical film in which Julie Andrews gives an endearing performance in the role of Maria, the governess.

It's phenomenal! A rare case in film history that a series projecting the same character, with the same star, improves as it goes along. The James Bond movies do. The first, "Dr. No," was good; the second, "From Russia With Love," was better; the best and the wildest is Goldfinger, a fun galore thriller that is one of the brightest lights of the holiday offerings on screens of De Mille and Coronet Theatres.

The picture sparkles with witty dialogue, titilates with droll situations, stirs the heart with its story of the metamorphosis of a London guttersnipe in a fine lady, and its romantic intervals glow with warmth and charm that fascinates the audience.

As joyously energetic now as the day it arrived.

Remains funnier than almost any comedy made in this generation. And since we are, once again, embarked in global warfare, it's as timely as it has ever been. [24 Apr 2004, p.67]

A fast-paced, tongue-in-cheek movie about an engaging foundling.

If French film makers would consider the story they have to tell as paramount to the technique of telling it, I'm sure they would interest a wider audience than they do now. [05 Sep 1962, p.37]

The film adaptation of Robert E. Griffith’s and Harold S. Prince’s stage production of “West Side Story” retains all the vibrant qualities of the original work while added brilliance and originality have been brought to the screen presentation.

The film moves at a leisurely pace at first, but it accelerates as it moves towards its exciting climax.

The obvious thing to say is that Hitch has done it again; that the suspense of his picture builds up slowly but surely to an almost unbearable pitch of excitement. Psycho is a murder mystery. It isn’t Hitchcock’s usual terrifier, a shocker of the nervous system; it’s a mind-teaser.

Production and direction wise, Wilder sustains his usual excellence. But his story is controversial and I am not one of those who can quite see The Apartment as the great comedy-drama he evidently intended it to be. He oversteps the bounds of good taste.

The race alone is well worth the price of admission.

The funniest comedy I’ve seen in years. There aren’t many of the hundred and four minutes of running time that doesn’t find the audience laughing its head off at the antics of Jack Lemmon, Tony Curtis and Marilyn Monroe.

It is a picture that will charm the young and tickle adults, since the old fairy tale has been transferred to the screen by a Disney who kept his tongue in his cheek throughout the film's animation. It is a beautiful and amusing cartoon.

The direction is excellent and Freed is to be congratulated on the production as a whole, as the story is presented in an original and enticing manner.

An artistic triumph for the master of mystery.

Brilliant performances are to be credited to Alec Guinness, as the British colonel, who insists on sticking to the rules of the Geneva Conference governing prisoners of war, and Sessue Hayakawa as the stubborn, cruel, proud Japanese officer.

For the new film generation, some minor chills are offered in this well-done production. [08 Aug 1957]