It's an exciting experience, dazzling and entertaining and thought-provoking. I saw it at Cinema 21 last week and immediately wanted to see it again. I couldn't, so I started researching and read everything I could about it. It's truly great.

A seamy milieu, but we sense the firm moral order outside of which the outlaws suicidally place themselves. [29 Nov 1996, p.23]

Shot on location in New York by director Ted Tetzlaff, it's tense and fresh and, at 73 minutes, remarkably taut. [14 Sep 2012]

Made with brisk energy, shot with Powell's limitless ingenuity, written with fairy-tale echoes and steeped in a love for northern Scottish folkways, it's apt to become a favorite film the first time you see it. [02 Mar 2001]

This one wraps up with a melodramatic finale that doesn't really deal with the issues raised earlier. Nevertheless, until then, it is an intelligently written, well-acted film that deals sensitively with the disorientation of guys who find adapting to peace as difficult in its way as adapting to war had been. [13 Mar 1988, p.06]

Garfield is customarily strong and energetic as a desperate guy on the edge. Famous for her work in tight sweaters and halters, Turner was no thespian. But the combination of Garfield and Garnett, or something, fired a performance from her that is, in its way, perfect. [05 Mar 1999]

The Harvey Girls isn't really anything special, cinematically speaking. This run-of-the-mill Judy Garland musical is notable mostly for its Oscar-winning song, "On the Atchison, Topeka and the Santa Fe."[10 May 2002]

The clues keep leading to increasingly darker thickets. [27 Apr 2001]

Here is another legendary case of actors following their characters' lead. [14 Feb 1997, p.36]

It's all done in perfect taste. Sturges' specialty was sophisticated films about largely unsophisticated characters, and his talent shines here. [28 Jul 1991, p.34]

Hitchcock has fun playing with Grant’s suave onscreen image, pulling the rug out from under our expectations, only to keep replacing it and yanking it over and over again.

Rita Hayworth plays her, doing good work as a Gay '90s gal finally revealed as shallow, conceited, greedy and mean. But that glorious hair distracts dentist James Cagney long enough to think he lost a lot when a rival got her. And that glorious hair is seen only in black and white. [13 Jun 1997, p.39]

A crisp, witty comedy on the Enoch Arden theme. [02 Apr 1999]

The play is hilarious, and Hawks enlivened it with his famous staccato direction. He gives no breaks for viewers to laugh without missing the next line. The brilliant dialogue comes so thick and fast that you almost have to tape the film to get it all. So, do. [31 Mar 2000]

The movie was solidly directed by Hollywood vet Lewis Milestone [All Quiet on the Western Front], but it's the performances by the two leads that takes it to another level. [23 Mar 2001]

It's amazing that this deeply evocative tale of courage, nobility and the price of family loyalty is the last serious remake of P.C. Wren's best-known Foreign Legion adventure novel. [27 Aug 1999]

This is padded a bit but still faithful and entertaining. [11 Dec 1992, p.AE15]

Flynn is sexy, valiant, athletic and true: a movie star in every sense of the term. [13 Sep 1996, p.30]

The historical details of costumes and settings are exemplary and the cast superb. Those best of times and worst of times must have looked much like this. [12 Jul 1996, p.39]

Lighting changes subtly from shot to shot within a scene to highlight a chin, a cheek, a profile, a shoulder -- whatever carries Von Sternberg's message. To sully this monochromatic beauty with electric colors would be a crime and a sin. [15 Aug 1990, p.E05]

Don't let its age fool you -- Wings is no rickety antique. Wellman' s aerial battle scenes remain impressive, even in the digital age. Bow is charming and terribly funny, especially when trying to rescue Rogers from a Parisian brothel. The boys are quite good, too, but their efforts pale next to a brief cameo by Gary Cooper, who positively smolders as the existential rookie who makes his own luck.

August Winds is a contemplative, nearly formless depiction of rural life. Mascaro regularly hangs back, adopting an unobtrusive vantage point, letting the moments form so that his characters can live out their lives.