This is one of the greatest films of the 1950s, a prophetic film about the dangerous power of modern media.

The film is filled with unintentional laughs and with other moments that are simply jaw-droppingly absurd, either for the histrionic acting, the dated style of writing, the pseudo-science or just the spectacle of evil in pigtails. One could easily make the case that the movie is simply awful. Yet everything dated and peculiar about it is fascinating and does not detract -- it may even enhance -- the fun of the central premise. [05 Sep 2004, p.28]

The crack in the pretty picture of America goes a lot deeper than we thought, thanks to Ray's brooding vision.

John Ford and Mervyn LeRoy directed this fine adaptation of the stage hit, a comedy-drama about a first officer on a cargo ship (Henry Fonda) who wants to be reassigned to combat duty. [05 Jul 1998]

Part fairy tale and part bogeyman thriller -- a juicy allegory of evil, greed and innocence, told with an eerie visual poetry.

They don't make 'em like Land of the Pharaohs anymore, but you wished they did.

Sixty-seven minutes in, I looked up and noticed the movie had 53 minutes left to go, even though every plot element had been resolved. And that's precisely where the movie went to hell. [23 Nov 2014, p.M21]

There's no shortage of well-staged oater action by director John Farrow (including some trick 3-D effects lost in this otherwise 2-D version) as Wayne and his buckskinned pal Buffalo Baker (Ward Bond) ride out to save a band of settlers from marauding Indians. [23 Oct 2005]

Although the mix of buffoonery and earnestness often doesn't work, it's priceless to see director Otto Preminger (who was Jewish) play a peevish Nazi commander who has his boots put on simply for a phone call to Berlin. [19 Mar 2006, p.32]

One of his better efforts, not up there in the Vertigo-North by Northwest-Psycho stratosphere, but a cut above his competent thrillers such as Foreign Correspondent, Saboteur and Lifeboat. [19 Dec 2004]

One of the most incisive and perceptive Hollywood films about Hollywood.

A wonderful parody of the birth of talkies that has great wit, an intelligent script, terrific music and dancing that can't be beat.

A penetrating study of the subjectivity of truth and perception, changed cinema forever and inspired the phrase "the Rashomon effect."

If there is no other reason to see An American in Paris than its fabled 18-minute ballet scene -- well then, that, during the last reel, is worth the price of admission. Choreographed by Kelly -- no doubt with a smile -- it is a stunning series of homages to French painters Toulouse-Lautrec, Dufy, Utrillo, Renoir and the like. It is a masterpiece of filmic creations -- nothing quite like it before or since. [11 Dec 1992, p.C11]

Brando's performance is so idiosyncratic -- the nasal delivery, the muffled diction and, of course, the screaming, ''Stel- lahh!'' -- that it's easy to forget its technical brilliance. But from Brando's first scene he exudes menace, even while talking calmly. His eyes always on the lookout for some slight, Stanley is ready to lash out every second he is on screen. He's impossible not to watch -- he's too odd, too dangerous. [Director's Cut; 11 Feb 1994, p.C3]

Structured like a 17th century comedy of manners, the picture is a social critique of the idle rich that's part comic and part tragic, that's light and airy and yet haunted with meaning. [08 Feb 2004]

As played by Douglas, he is a man with a free flow from his spirit through the instrument. It's instinctive. He becomes involved with two women, and this is where the movie could become hokey, but it doesn't. [12 Jun 2005]

An admirable film, not a great one -- yet. It drags a bit.[Restored version]

Force of Evil is a more thoughtful kind of film noir than we are used to but still employs the traditional black-and-white contrasts and shadows.

You can almost hear a Universal Studio executive coming up with the idea: "Let's take our two top comedians (Bud Abbott and Lou Costello) and throw in our top money-making creatures - Frankenstein's monster, the Wolf Man and Dracula. The fans'll love it!" They sure did.

Shot on the streets of New York and offering vistas of the city before all the glass and steel skyscrapers, The Naked City, which won Oscars for cinematography and editing, boasts an impressive pedigree. [04 Jan 2004]

Out of the Past is cinematic perfection, a Hollywood classic that's as great and as enjoyable as its reputation has promised.

It's a one-of-a-kind experience -- dark, bleak, twisted carnival noir.

De Sica has to be considered one of the great directors of children, and the film, which won the first Academy Award for best foreign film and has been championed by Orson Welles and Martin Scorsese, is as valuable for its location shooting as its storytelling. [03 Jul 2011, p.P22]

A bit of a soap opera, but still compulsive watching. [22 Aug 1999]

A solid WWII movie that's been lost among myriad others about the same war. [02 Jul 2006, p.28]

It’s an engaging product, typical of its era and elevated by Crosby’s non-singing breeziness and Astaire’s all-around brilliance, plus the appeal of Marjorie Reynolds, who has to pretend that she’s enthralled every time Crosby warbles something in her direction. Now that’s acting.

In many ways, the film is typical Hitchcock, with his camerawork check out the scenes with the umbrellas, the windmill, Big Ben, an airplane crash and others, thrilling plot lines, casting against type and employing attractive lead actors and actresses. But it's also very unusual because of the director's use of propaganda, unusual for him. [06 Apr 2014, p.R19]