Akira Kurosawa's talent for analysis, interpretation and projection is again apparent in "To Live." [30 Jan 1960, p.22]

It is a sentimental, heart-warming, simple story of a couple of ugly ducklings who find compensation for their lack of good looks in each other's love.

It is full of goodness of purpose, sweetness and nobility of character. [05 Aug 1954, p.38]

Outstanding performances are turned in by Karl Malden in the role of a priest who makes the waterfront characters his particular charge, by Lee J. Cobb, as the big bully who bosses the boys, by Rod Steiger, John Hamilton and a couple of well-known pugilists, Tony Galento and Tami Mauriello.

The threatened catastrophe, as destructive as any H-bomb, is handled with enough realism and tension to be plenty scary. [04 Jul 1954, p.20]

There isn't a dull moment in the picture.

Peter Pan has been done in the style for which Disney is noted. It is one of his best productions and, I believe, is closer to the author's idea than any other presentation of the story, as the Disney medium is ideally adapted to the fantasy.

It has comedy, drama, thrills, melodrama, tragedy and great heart. [11 Jan 1952, p.54]

In this picture, the screen’s greatest dancer contributes some of his art of choreography for the special pleasure of movie audiences.

Kelly is superb as dancer and comedian, but a little less than that as a singer of Gershwin songs. Leslie Caron, who dances like an angel, is no beauty, according to Hollywood standards, but she is endowed with great grace and personal charm. She is an exquisite dancer. An American in Paris, in short, is definitely a picture to see.

All About Eve is not only a brilliant and clever portrait of an actress, it is a downright funny film, from its opening scene to the final fadeout.

It is a realistic drama, conceived and written into a brilliant and provocative screen play. [11 Aug 1950, p.52]

Newton's eye-rolling Silver has been much impersonated but never equaled. Disney's first live-action feature was vividly shot in Technicolor by Freddie Young. [10 Nov 2002]

A brilliant, thrilling, vital transference of the play to the screen.

It is light, it is charming, it is delightfully funny and completely captivating. It is all that, and something more. It has an undefinable spiritual quality that raises the spirits of the beholder into a happy, hopeful mood.

The film is too sprawling in extent, too noisy as to background music and voices and much too obvious in the application of its social significance notes. But while it isn’t the best picture to come out of Hollywood this year, nor is it Capra’s masterpiece, it tells a good story and its conclusion has a heart-warming effect on the audience.

The dialogue is superb and the situations natural. The comedy touches are delightful. They spring from the inherent character of the people in the story, rather than the obvious contriving of playwright and director...A satisfying, heart-warming, deeply moving picture.

Paramount may have made a more appealing, more tenderly human and amusing picture than Going My Way, during its many years of film-making, but if so, I have missed it.

Ingrid Bergman makes a charming and beautiful refugee and Paul Henried gives a convincing performance in the role of the ardent anti-Nazi leader. Claude Rains gives one of his best performances as the police chief and Conrad Veidt is properly menacing as the Nazi officer. Sydney Greestreet is wonderful as the slick proprietor of the Blue Parrot and Rick’s rival in the cafe business.

As the story unreels, one can feel the warmth of the writers' and director's hearts for their subject and inspired playing of the cast.

The picture, produced by Alexander Korda, under Lubitsch's direction, has some deliciously funny moments and every now and then a serious sequence is injected that startles the audience into an attitude of taut suspense. But it seems to me that the background of the Melchior Lenggel story is a bit too grim for joking.

The dialogue follows the quaint Welsh dialect of the book and the picture is as faithful a transcription of novel to screen as it is possible for a scenarist and director to achieve. The screen play, by Philip Dunne, retains all the honest vigor and tender charm of the book.

Welles displays touches of genius in the handling of his story. His cast, made up of players from his Mercury Theatre group, respond like sensitive musicians to the movements of the conductor’s baton.

The suspense of the story is magnificently sustained throughout the film, which didn't surprise us, as maintaining suspense in a story has always been Director Hitchcock's forte

Walt Disney has waved his magic wand over Collodi's world-famous fairy story, Pinocchio, and presto! he has changed it into the most enchanting film ever brought to the screen.

The picture is real, full of vitality and of so much human waywardness and nobility of spirit that it tears your heart out in sympathy with its tender and tragic passages and makes you want to shout with joy at its hearty humor.

Judy Garland is perfectly cast as Dorothy. She is as clever a little actress as she is a singer and her special style of vocalizing is ideally adapted to the music of the picture.