At 155 minutes, this screen adaptation of Shakespeare's most celebrated play bears scars from deep cuts in the text.

Stewart seems uncomfortable playing an intellectual; his dull performance never displays the disturbance or authority that it needs.

There have been many classic westerns but this Hawks masterpiece certainly ranks among the best of the genre.

This is Wilder at his most acerbic and cynical, and the film was originally attacked by critics who considered it a monument to tastelessness. But the hypnotic performance he draws from sultry Dietrich shows his continuing mastery of the medium.

Hitchcock tried mightily but didn't quite overcome the rambling, overlong script of this film--much of which was penned by producer Selznick, who sent the director scenes as he finished writing them, a practice Hitchcock hated.

A great premise which doesn't quite deliver what it promises but it's fun anyway.

Hilarious spoof of the classic Universal horror films of the 1930s and early 40s, with Abbott and Costello playing railway porters who unwittingly deliver the "undead" bodies of Frankenstein's monster (Glenn Strange) and Dracula (Bela Lugosi) to a wax museum, where the bodies are revived.

Essentially a compendium of unrelated shorts, the delightful Melody Time incorporates visual styles as varied as the subjects of its segments.

This one has more talk than a Senate filibuster and is only a tenth as interesting.

This superior movie made the world aware of the plight of these children and money poured in to the UNRRA to help their plight.

This superlative film set the pattern for myriad documentary-type dramas to come.

The picture runs on a bit long and it does pale by comparison to the book, but it was a welcome smile in 1947 and has the same effect today.

Arguably John Huston's greatest film, this powerful study of masculinity under pressure retains its power.

The plot is a bit busy but the performances are solid, even though Douglas seems to be doing a reprise of his role in OUT OF THE PAST (1947) as a cruel, unfeeling villain.

New songs--"Pass That Peace Pipe" and "The French Lesson"--and sensational choreography contributed to making this an impressive debut for director Charles Walters and a big hit for MGM in 1947.

Lots of laughs.

An odd, unsettling film which suggests the dangers of both emotional restraint and unchecked passion, Black Narcissus is also one of the most visually beautiful films ever made in color.

This quintessential film noir catapulted contract player Robert Mitchum into superstardom and set the standard for the genre for years to come.

Carefully constructing Power's rise and fall, director Goulding is merciless in his inspection of a character who is rotten through and through

A relatively minor work in the Disney oeuvre, but it's still quite entertaining, and it also marks the last time that Walt Disney himself would provide the voice of Mickey Mouse.

An example of how star power can compensate plot, this is the least electric of the Bogart-Bacall pairings; luckily, there's Agnes Moorehead, the screen's best hornet, to intervene whenever the going gets too lackadasical.

Pretty melodramatic stuff, given poor technical production by the studio, but saved by Quinn's bravura performance.

Powell is nothing less than magnificent as the mustached philosophizing patriarch, and Dunne casts a warm glow beside him. Elizabeth Taylor, Martin Milner, Jimmy Lydon, and Edmund Gwenn all contribute strong supporting performances; Michael Curtiz provides his usual sure-handed direction.

Silly premise allows sophisticated Grant to explode into side-splitting antics, aping the teenaged set. If you adore Grant, you'll enjoy this farce, but Loy's breezy charm is wasted and Temple has reached that age where her preciousness can be irritating to behold.

The last entries of series are, as a rule, bad. This one breaks the mold and, while hardly in a league with the earlier films, can hold its own against any B movie mystery of the period.

Rozsa's pounding score and a savage climax make Brute Force first rate all the way.

A touch labored but lovable.

A masterful realization of Charles Dickens's novel, this may be the best cinematic translation of the author's work, as well as director David Lean's greatest achievement.