It’s far from a dull movie, but it’s certainly a very strange one; it’s an enshrinement of the mixed-up kid. Here and in Rebel Without a Cause, Dean seems to go just about as far as anybody can in acting misunderstood.

Once again, a "daring" Hollywood movie exposes social tensions--touches a nerve--and then pours on the sweet nothings. But along the melodramatic way, there are some startling episodes (and one first-rate bit of racial interchange), and recordings by Bix Beiderbecke, Stan Kenton, Bill Holman, and others set quite a pace.

This movie is terribly uneven -- best when it's gaudy and electric, worst in its more realistically staged melodramatic moments, especially toward the end. Overall, it's an entertaining show.

Grandiose, emotionally charged musical version of the 1937 tear-jerker. This updated version is a terrible, fascinating orgy of self-pity and cynicism and mythmaking.

The movie is so ornate and so garrulous about telling the dirty truth that it's a camp classic: a Cinderella story in which the prince turns out to be impotent.

Probably the material was too precious and fake-lyrical to have worked in natural surroundings, either, but the way it has been done it's hopelessly stagey.

Every step depends on stifled emotions and closely guarded secrets, resulting in a buildup of operatic passion that endows everyday gestures and inflections with grandeur and nobility.

It's marred by a holiday family-picture heartiness--the M-G-M back-lot Americana gets rather thick.

A pedagogical tone, reminiscent of the 30s, is maintained throughout much of the movie: these strikers are always teaching each other little constructive lessons, and their dialogue is blown up to the rank of folk wisdom.

Low-grade horror.

This clumsy, naive film was banned and argued about in so many countries that it developed a near-legendary status.

Doris Day is at her friendliest and most likable as the tomboy heroine of this big, bouncy Western musical about Jane's romance with Wild Bill Hickok.

Gable certainly doesn't have the animal magnetism he had in the earlier version, but when Gardner and Kelly bitch at each other, doing battle for him, they're vastly entertaining anyway.

The movie offers, amid its hectic and rowdy melodrama, a constant and underlying vision of the crucial power of government to serve the public good—and the ease with which that power can, almost invisibly, be shifted to the unfair advantage of the rich and the connected.

The movie succeeds by the smooth efficiency of Fred Zinnemann's lean, intelligent direction, and by the superlative casting.

The Comden-Green script isn't as consistently fresh as the one they did for Singin' in the Rain, but there have been few screen musicals as good as this one, starring those two great song-and-dance men Fred Astaire and Jack Buchanan.

Mel Ferrer smiles his narcissistic, masochistic smiles as the crippled puppeteer who can speak his love to the 16-year-old orphan girl Lili (Leslie Caron) only through his marionettes. Canon is much too good for him, but the movie doesn't know it.

The gallows humor is entertaining, despite some rather braod roughhouse effects.

This George Stevens film is over-planned and uninspired: Westerns are better when they're not so self-importantly self-conscious.

The premise of this Hitchcock thriller is promising, but the movie, set in Quebec and partly shot there, is so reticent it's mostly dull.

No one could say this wasn't a rousing movie. It's also romantic, big, commercial, and slick, in the M-G-M grand manner.

This isn't a good movie but it's compellingly tawdry and nasty -- the only movie that explored the mean, unsavory potential of Marilyn Monroe's cuddly, infantile perversity.

The director, Vincente Minnelli, has given the material an hysterical sytlishness; the black-and-white cinematography (by Robert Surtees) is more than dramatic--it has termperament.

Very bad...Davis throws her weight around but comes through in only a few scenes.

The picture's only claim on one's attention is in the two sequences staged by Busby Berkeley.

Chaplin's sentimental and high-minded view of theatre and himself.

One of John Ford's most popular films--but fearfully Irish and green and hearty.

Marilyn Monroe as a psychotic babysitter. She wasn't yet a box-office star, but her unformed--almost blobby--quality is very creepy, and she dominated this melodrama. In other respects, it's standard, though the New York hotel setting helps, and also the young Anne Bancroft, as a singer who works in the hotel.