This screen version, directed by Lewis Milestone, is the one to see. Burgess Meredith is George and Lon Chaney Jr. is Lenny. Chaney never got to do much in movies, except rapidly grow hair as the Wolfman, but this movie proves that the younger Chaney inherited some of his father's genius. [24 Feb 2002]

This wonderful romp of a movie looks magical on the big screen: colors are a picnic for the eyes, details loom so clearly you can practically touch them and there's a sense of the larger-than-life with a film that's already larger than life.

Stagecoach both revived and elevated the Western.

The picture could easily have slipped into pure melodrama, but the blend of comedy, sophistication and political intrigue, as well as excellent character development, puts it in a class by itself. [25 Nov 2007, p.N36]

Not a great picture but an entirely entertaining one. [02 Nov 2008, p.N34]

This was Davis' return to the screen after her own legal battle with the studio to get meatier roles. She got one here, and she gives it her all. [09 Jul 2006, p.32]

Clark Gable was at his most virile and Charles Laughton at almost his most vicious and sneering in director Frank Lloyd's vigorous adaptation, the first and best screen version of the Bounty story. [22 March 1998, p.52]

Bride is often cited as Whale's masterpiece, and one of the reasons surely is his intentional lacing of humor throughout that never completely undercuts the horror or pathos.

The film is notable as the first English-language role of Peter Lorre, who is creepily appealing as the leader of the conspiracy. [03 Feb 2013, p.Q19]

Claude Rains' performance in the title role of The Invisible Man may be outtasight, but you can still see the hand of director James Whale.

Cagney, the film's best asset, is irrepressible. [07 May 2006, p.34]

The movie benefits from the frankness that filmmakers were allowed in these pre-censorship days. Dvorak, in her best showcase, is sympathetic as a woman bent on self-destruction, because we appreciate that she has desires she can’t contain.

The real reasons to see it are Barrymore, Barrymore and Crawford, the beating hearts of the picture. [21 Jun 2018, p.E5]

The 1931 version, directed by Rouben Mamoulian, is the standout, featuring two great performances, one by Fredric March (who won the Academy Award for the title role) and the other by Miriam Hopkins, as Ivy, the lovable trollop. [28 Dec 2003]

Gritty, bleak and sexy, the movie is also, between the lines, a strong feminist statement.

A sly comedy starring Henry Kendall and Joan Barry, about a newly rich couple who go a little crazy on an ocean liner. The witty script was co-written by Alma Reville, Hitchcock's wife and lifelong collaborator. [18 Feb 2007, p.26]

If there's a revelation to be gleaned from these youthful entries, it's that much of what made Hitchcock great was there from the beginning. [18 Feb 2007, p.26]

Excited with the possibilities of the relatively young film medium, Russia's Dziga Vertov took to the streets of Moscow, Odessa and Kiev to give us a portrait of an ever-changing world that is more essay than documentary. It's a 1929 silent film that added its punctuation in the lab - jump cuts, dissolves, split screens, etc. - to create an indelible work in cinema history. [13 Apr 2017, p.E8]

It’s a great film, but it must be added that it’s also an entertaining film. That is, it’s not at all a chore to sit through. People not only appreciate the film, but also enjoy it — though it’s a sober kind of enjoyment, given the subject matter.

For its look and its innovation, and for its ability to suggest shades of feeling with a minimum use of intertitles — and as a classic of the first order — Sunrise must be seen.

It is described as about a guy who came back to life, and clearly one of Dumont's aims in The Life of Jesus is to express a spirit of charity for flawed humanity amid the rhythms of ordinary life.