Lower case Hitch, but diverting and sleek, with the climax early on. [review of original release]

The film rises above the level of agitprop by avoiding sloganeering and using the real words of real people to tell its story. Its feminism, too, is real and unforced, with women simply being shown struggling alongside--and when necessary defying--their male counterparts.

Nelson is most believable in a nonhoofing role.

Imbued with great atmosphere by director Jack Arnold, the film is genuinely frightening, but also elicits a certain amount of pathos for the creature, reminiscent of that that goes out to the unfortunate King Kong.

The first and best biker movie.

Extensive attention to detail of sets and costumes, superior photography, and standout performances by Taylor, Ferrer, and Woolf put this a cut above other Arthurian legend films.

The film is partly inspired by SHANE, accentuating the close relationship of hero-worshiping youngster to virtuous gunfighter, and its exterior shooting has the look of a John Ford work, but HONDO stands tall on its own.

Even if the screenwriters were obviously inspired by the mega-success of ANNIE GET YOUR GUN, that doesn't make this funny, rambunctious entertainment a mere rip-off. Whether dancing, singing, or hamming it up as the legendary tomboy, Day proves that she was second only to Judy Garland as the Golden-Age Hollywood Musical's consummate triple threat.

Though the story is a hackneyed one--the rise of an itinerant to a position of power--Cagney is so dynamic that he rivets the viewer's attention.

The massive James Jones novel, deemed impossible to put onscreen because of its strong sexual content and language, finally emerged as a lavish, star-studded spectacle, much bowdlerized but redeemed by a slew of fine performances.

The film has enough adventure and excitement to satisfy, and the faintly bittersweet note of the ending is made deliciously palatable by its artistic rightness.

Though it's bogged down by a stiff cast, a yawn-inspiring conventional romance, and a sappy religiosity, it remains a landmark in the history of special effects.

The world of professional golf gets the Martin and Lewis treatment in this mildly funny film.

Seamlessly directed by Vincente Minnelli, The Band Wagon is one of the finest musicals ever made. Playing its hackneyed story with tongue firmly in cheek, it simultaneously reflects upon the musical genre, satirizes its conventions and delivers marvelous entertainment.

Unlike previous POW films, Wilder and co-writer Edwin Blum's script, based on the play by Donald Bevan and Edmund Trzcinski, presents the prisoners not as paragons of patriotic virtue but as real, self-interested, bored soldiers trying to survive. Holden is magnificent as the heel-turned-hero, but Stalag 17 is full of wonderful, well-directed performances.

HOUSE OF WAX was stunningly directed by Andre de Toth who used the new 3-D process to its fullest potential without bogging down the narrative with too many "gee-look-what-I-can-do" tricks.

Although the film is often brutal, there is such a positive sense of morality displayed here that Shane should be seen by the whole family.

There was little room for Hitchcock's usual humor here, nor is there even much suspense.

Luxe MGM historical ransacking, locationed to the nines, beautiful to look upon, but with energy lapses in the soggy script of Sir Walter Scott's epic classic.

A wonderful movie.

Everyone's honeymoon haven at one time, Niagara Falls, is the deceptive setting for this offbeat, absorbing film with bowstring-tight direction from Hathaway and superb performances from Cotten as a jealous husband and Monroe as his neurotic wife.

This quintessential movie on movies is an engrossing, seductive Minnelli epic, graced with superb performances.

Hope and Crosby had been making "Road" films for 12 years when they did this, their sixth installment in the series, the only one in color. It was getting tiresome by that time, although they managed some fun out of the slim plot.

THE STAR would have been a much better film if all its loose ends had been gathered. As it is, the ending is too curt and too convenient to bring the tale to a close with a ring of truth.

LeRoy's direction is apparently nonexistent, but what this movie really lacks is a good musical score with tunes by someone like Harry Warren, Richard Rodgers, or Cole Porter.

Chaplin, as usual, is the whole show, superb in this swansong statement about his own career and the old-style entertainment he best represented.

One of the more successful attempts to bring Hemingway material to the screen, this story of a writer who has lost his intellectual and emotional bearings after enjoying early commercial success works splendidly under King's sure directorial hand, and is enacted with power and conviction by Peck.

The wonderful performances by Ford's stock company in these roles help make THE QUIET MAN an utterly moving and fascinating portrait of rural life in Ireland.