Literate, but not at the expense of the cinematic, THE BODY SNATCHER is one of Lewton's greatest works and contains what is arguably Karloff's finest performance.

Perhaps the only time Elizabeth Taylor's costar matched her visual scene stealing. He's a horse, albeit a gelding. One of MGM's most beloved films, NATIONAL VELVET was the picture that made a star out of Taylor.

The dialogue is sharp, the direction first-rate, and the acting superb, but To Have And Have Not is undoubtedly best remembered for the on- and offscreen romance between Bogart and Bacall.

Minnelli proves his eye for detail and captures the era and its values in richly colored, gentle images, displaying a startling balance of emotions from scene to scene, song to song.

The film was a big hit at the box office, but, although the series would produce one more episode, the fizz was definitely gone.

Remarkable in its accuracy, this movie even uses film footage from the actual raid.

Both a starkly realistic and a carefully stylized masterpiece of murder.

The climax is a workmanlike rise of psychological terror, but the whole exercise looks self-consciously careful.

A warm and moving sleeper hit.

Miraculously mad masterpiece.

The entire cast is superb, but the standouts are Bankhead, as the spoiled, wealthy dilettante writer whose expensive furs and jewelry are worth more to her than the lives of her fellow survivors, and Bendix, as the compassionate but not-too-bright stoker whose gangrenous leg poses a threat to his dreams of returning home to dance with his sweetheart.

This film is a fairly well-balanced effort, and if you're in the mood for an evening of obvious sentiment, this boy-and-his-dog film works quite well.

Irresistible entertainment.

Universal Studios' elaborate and expensive remake of their classic 1925 silent horror film The Phantom of the Opera boasts fabulous sets, gorgeous costumes, and stunning Technicolor photography--but fails in the horror department, because of an excess of music and low comedy.

One of the first American films to present the philosophy--rather than just the warmongering--of fascism as a danger, WATCH ON THE RHINE is rather dully helmed by stage director Shumlin, who too often fails to avoid the static pitfalls of so many play adaptations.

Cast mostly with Russians in all the Hispanic roles, this glamourfest is Hollywood politics at its most apolitical, lacking even the energy of a good B movie.

More an icon than a work of art, CASABLANCA is still thoroughly entertaining romantic melodrama, flawlessly directed, subtly played, lovingly evoking our collective daydreams about lost chances and lost loves and love versus honor; everything about CASABLANCA is just right--it seems to have been filmed under a lucky star.

The sly Hitchcock made this chiller all the more frightening by having his crafty homicidal maniac intrude into the tranquility of a warm, middle-class family living in a small town, deeply developing his characters and drawing from the soft-spoken Joseph Cotten one of the actor's most remarkable and fascinating performances.

A haunting and subtle film, filled with desires gone awry and everyday settings turned inexplicably nightmarish.

A deeply moving film, marked by superb direction of its intricate story from Mervyn LeRoy, and by the strong performances of Colman and Garson.

This is an offbeat gothic drama with elements of mystery, that would be nothing more than a muddle if not for the compelling presence of Tracy and Hepburn.

The third, and best, in the "Road" series, Road to Morocco has everything going for it. Bob Hope and Bing Crosby were not yet tired of the formula, and their breezy acting wafts the picture along in a melange of gags, songs, thrills, and calculated absurdities.

It's Grade-A schlock, but not without depth: critics have detected feminist overtones in this movie, one in which men prove eminently dispensable in the quest for happiness.

The film's worth as a propaganda piece was considerable, but too many long-winded speeches about people uniting to fight the Germans date the film somewhat now.

The Lolita of the 1940s, and just as sexy. A sparkling farce that marked Wilder's American directorial debut after years of writing witty screenplays for other directors, The Major And The Minor sails along breezily from its very first scenes until its romantic ending.

Dowdy and thin.

This honest, non-sugar-coated approach to the hard truths of life, however, is what gives Bambi its lasting emotional power, and makes it stand apart, not only from Disney's cartoons, but from virtually all others as well.

Welles's second great masterpiece.