Hardly even a shadow; Myrna Loy, William Powell, and Asta go through their paces for the fourth time, but the jauntiness is gone.

Moving and impressive in a big-Hollywood-picture-way.

An almost perfect visual equivalent of the Dashiell Hammett thriller...It is (and this is rare in American films) a work of entertainment that is yet so skillfully constructed that after many years and many viewings it has the same brittle explosiveness - and even some of the same surprise - that it had in its first run.

Turgidly predictable.

The Orson Welles film is generally considered the greatest American film of the sound period, and it may be more fun than any other great movie.

There's too much metaphysical gabbing and a labored boy-gets-girl romance, but audiences loved this chunk of whimsey.

Too bad that the director, George Cukor, doesn't have a little more feeling for the loony baroque; the story is treated much too soberly.

Terrible, but bearable; there's a fascination to its clunkiness.

The picture starts out in the confident Capra manner, but with a darker tone; by the end, you feel puzzled and cheated.

A frivolous masterpiece. Like Bringing Up Baby, The Lady Eve is a mixture of visual and verbal slapstick, and of high artifice and pratfalls.

In a long career of giving pleasure, this is one of the few occasions when (Rogers) failed; it isn't her worst acting but there's nothing in the soggy material to release the distinctive Ginger Rogers sense of fun.

Shiny and unfelt and smart-aleck-commercial as the movie is, it's almost irresistibly entertaining - one of the high spots of M-G-M professionalism.

Davis gives what is very likely the best study of female sexual hypocrisy in film history. Cold and proper, she yet manages to suggest the passion of a woman who'd kill a man for trying to leave her. She is helped by an excellent script (by Howard Koch) and by two unusually charged performances--James Stephenson as her lawyer and Herbert Marshall as her husband.

So klunky and poorly paced, and so loaded with sanctimonious moral lessons, that even the George and Ira Gershwin score doesn't save it.

There are agreeable overtones of Mark Twain tall tales in this good-humored, though uneven, version of the paradoxical life of Judge Roy Bean, with Walter Brennan in the part.

Intermittently first-rate.

The pugnacity of Walsh’s comic direction infuses turbulently free enterprise with tragedy.

Animated and bouncing, the movie is more Dickens than Austen; once one adjusts to this, it's a happy and carefree viewing experience.

Tennyson wrote Enoch Arden in 1864, and the movies have been making versions of it ever since D.W. Griffith did it in 1908 (and again in 1911). This one is the most famous and the funniest.

Magnificent romantic-gothic corn, full of Alfred Hitchcock's humor and inventiveness.

In spite of his problem of sentiment, it's a happy, unpretentious farce.

This famous film, high on most lists of the greatest films of all time, seems all wrong - phony when it should ring true. Yet, because of the material, it is often moving in spite of the acting, the directing, and the pseudo-Biblical pore-people talk.

Russell is at her comedy peak here...and as Walter Burns, Grant raises mugging to a joyful art.

Close to perfection--one of the most beautifully acted and paced romantic comedies ever made in this country.

The story, about the friendship between two lonely, vagrant ranch hands--the small, bedraggled, intelligent George and the simpleminded giant Lennie--is gimmicky and highly susceptible to parody, but it is emotionally effective just the same.

Though the film has its bright moments, and some weird ones, too, the first freshness is gone. Even the effects seem repetitive.

James Stewart is charming and even a little bit sexy as the mild-mannered Destry.

The third in the series, and without any new ideas except a bad one: still airily casual, Nick and Nora Charles (William Powell and Myrna Loy) are now the parents of a baby boy.