The story is a familiar one--Robin Hood and his band of merry men trying to save the poor folks of Nottingham from Prince John's greedy ways--but, given the Disney treatment, the legendary heroes and events seem even more romantic.

The point isn't what happens, but how it happens, and under the direction of George Cukor--working from the script by Garson Kanin and Ruth Gordon--Tracy and Hepburn turn in unforgettable performances.

While the dizzying array of design elements and magnificent vocal performances is impressive, 138 minutes is just too long to keep the interest of any but the pure opera devotee.

A rare misfire from the normally reliable team of Powell and Pressburger (THE RED SHOES), this 1890s British-based film was taken from a fair novel and only barely came up to the novel's standards, despite an excellent and lively turn by Jones in the lead.

It's big, it's garish, it's loud, and most of all, it's wonderful. This is Cecil B. DeMille's superlative salute to the circus world, and all its glamour and flashy hoopla suits perfectly the director whose middle name was epic.

Very likely the greatest musical MGM or anyone else ever produced, SINGIN' IN THE RAIN has everything--great songs, great dances, a wonderful, nostalgic story, and a dependable cast, although we're beginning to find Kelly and O'Connor a trifle overanimated in scenes they needn't be (butthen whenever we see the talented yet obsequious Mr. Kelly play modest, we get a strange olfactory sensation--that of ham baking)

A film that has everything--adventure, humor, spectacular photography and superb performances.

The story's authenticity was enhanced by the real-life marriage of Grant and Drake and their resulting on-screen rapport.

One of the most brilliantly constructed films of all time, RASHOMON is a monument to Akira Kurosawa's greatness, combining his well-known humanism with an experimental narrative style that has become a hallmark of film history.

One of MGM's biggest box-office hits, the epic QUO VADIS offers a spectacular cast to match its overwhelming production; there's plenty to enjoy, but don't look for greatness. Over it all looms a loony Ustinov as Emperor Nero, despite director LeRoy's best efforts to keep him from chewing the scenery as he enjoyably steals the show.

De Sica handles his fantastic material subtly and with simplicity, yielding an original mix of sharp satire and poetic fable that extended the limits of the neo-realist style.

On Dangerous Ground is tautly directed by that master of stark dramas, Nicholas Ray. Ryan and Lupino give sterling performances but the story line is broken up into two distinct segments, which lessens the film's impact and cohesiveness.

If the naive dramatic situations and trite idealism can be ignored, the viewer is in for an amazing spectacle of special effects in WHEN WORLDS COLLIDE.

The songs are all Gershwin Brothers standards; Kelly's choreography is breathtaking; the original screenplay by playwright Alan Jay Lerner is alternately witty and touching; and Minnelli's direction feels buoyantly assured.

Detective Story is methodical in its depiction of the sometimes traumatic events of one day in a precinct but the marvelous quirks and shadings of these characters create highly exciting drama.

Great performances by all make this a little gem of a film.

A hilarious tongue-in-cheek crime comedy, one of the finest to come out of the Ealing Studios during their most prolific years.

Superb performances by all involved, restrained direction by Wise, and a magnificent and innovative score by Bernard Herrmann help keep this 35-year-old film just as relevant today as it was the day it was released.

A STREETCAR NAMED DESIRE features some of the finest ensemble acting ever offered on the screen, speaking some Williams's most vivid dialogue. Kazan's direction, however, sometimes verges on the pedestrian, as though he's struggling to recreate his Broadway staging in a much more visually demanding medium.

The film is dazzling in its use of color and odd shapes and is enhanced by the distinctive voices of Ed Wynn as the Mad Hatter, Sterling Holloway as the Cheshire Cat, Jerry Colonna as the March Hare, and Verna Felton as the Queen of Hearts.

Although a passable war film, Flying Leathernecks must be considered something of a disappointment for fans of Wayne, Ryan, and director Nick Ray.

Clift fell in love with his leading lady and helped her through her most difficult scenes, with spellbinding results.

Maybe not Oscar material but a very enjoyable piece of entertainment.

The sets are as much a part of the story as the dialogue, and set designer John Bryan's work is effectively photographed by Guy Green. All the acting is first-rate, and there is not a false note from the cast.

Adapted from Booth Tarkington's Penrod stories and his Alice Adams, the Warner Bros. production suffuses its folksy story in nostalgia but never completely warms the hearts it aims for.

Strangers on a Train ranks at the top of Hitchcock's most accomplished works, a masterpiece that is so carefully constructed and its characters so well developed that the viewer is quickly intimate and comfortable with the story long before Bruno turns killer.

Spencer Tracy could hold his own acting opposite anyone, and in this excellent sequel to FATHER OF THE BRIDE (1950), he proves that not even a baby can upstage him.

Though the mystery is a little thin and sometimes muddled, there are some nice moments here, and the cast is not bad despite troubles with the script. Vidor's direction is okay, though his fans will surely be disappointed, knowing full well that he had done much better earlier work.