This film, Hitchcock's first contribution to wartime American propaganda, is as polished and suspenseful as any the great director would make.

A terrific debut film for both Van Heflin and for Fred Zinnemann in the director's chair.

Hope is wonderful, with something smart to say no matter what the situation. His smug behavior is very funny (far and away superior to anything he ever did in the television work that made him rich) and the pacing is as good as it usually is in these Hope comedies.

A masterpiece of satire and one of the more controversial films of its day, TO BE OR NOT TO BE is a brilliant example of how comedy can be as effective in raising social and political awareness as a serious propaganda film, while still providing hilarious entertainment.

This brilliant, often devastating look at Hollywood and the real world behind its tinsel is arguably Preston Sturges's greatest film.

Cynically witty lines, top-notch characterizations (Ann Sheridan is a delight), and welcome guest appearances by Jimmy Durante (as a Harpo Marx figure) and Reginald Gardner (doing a take on Noel Coward) make for classic comedy.

WOMAN OF THE YEAR is a marvelous comedy-drama, brimming with wit, style, and sophistication.

Terrific, crackling dialogue, especially in the slangy, machine-gun mouth of La Stanwyck.

If one can ignore the blatantly fictitious nature of this Hollywood "biography" of the still-controversial George Armstrong Custer, THEY DIED WITH THEIR BOOTS ON is a wholly entertaining movie, fueled by Raoul Walsh's direction and Errol Flynn's energetic performance.

Screenwriter Curt Siodmak patched together the legend of the werewolf by combining elements from lycanthropic folklore, witchcraft, and Bram Stoker's Dracula, creating a new monster for the screen. All elements combined to make a thrilling, scary, and ultimately tragic horror classic.

Suspicion is so grimly powerful that its Hollywood-style happy ending has infuriated audiences for years.

The fourth THIN MAN film isn't nearly as good as the first ones, but it has its own rewards, thanks to the inimitable by-play of Powell and Loy.

A masterpiece of visual story-telling.

Everything about this film is touching; master director John Ford builds one simple scene upon another with very little plot, using incidents in the life of one family to tell the general tale, demonstrating changes and recording milestones.

A stunning directorial debut from screenwriter John Huston.

A touching and memorable film, this brilliant romance offers evocative performances by Boyer and de Havilland.

It is the epitome of filmmaking, a masterpiece for which Welles, one of the greatest practitioners of the cinematic art, will be forever remembered.

Valuable as a fine performance of an important and delightful play, MAJOR BARBARA makes for bracingly intelligent cinema.

Dark, oddball Capra, but a worthwhile watch with a tail ending wagging the dog.

Tarzan movies had been around for years when Road To Zanzibar, the second of the "Road" pictures, took the opportunity to satirize every jungle picture lensed up to that time. The script was funny, although much of the humor reportedly derived from on-set improvisations.

Chic, sly little masterpiece of comic seduction.

THE SEA WOLF contains little of the prolixity of Jack London's philosophically oriented novel, yet it is true to the spirit of the book. The megalomania of the ship's master is wonderfully expressed in Edward G. Robinson's fine portrayal of the contemptuous captain.

THE STRAWBERRY BLONDE is a delightful romantic comedy which combines a strong cast, great production values, and a good musical score with professional direction by Walsh in a skillfull entertainment.

The typical "invisible" special effects are employed, though this time with a little more humor.

Highly sentimental, KITTY FOYLE features typically variable direction by Wood and includes an unnecessary prologue showing how the treatment of women supposedly changed through the years. Despite these drawbacks, this film makes no apologies for being a romantic tearjerker.

With such a stellar cast, a fine director working in the type of picture he did best, and some genuinely witty dialogue, this film has all the ingredients for a great comedy. And it is great, though there have been many funnier comedies. The film has an unfortunate tendency to take itself too seriously for long stretches.

Though W. Somerset Maugham's story could easily have been filmed as a turgid melodrama, director William Wyler's magnificent handling of the material and Bette Davis's taut and calculated performance converted it into enduring cinematic art.

The most ambitious animated feature ever to come out of the Disney studios, Fantasia integrates famous works of classical music with wildly uneven but extraordinarily imaginative visuals that run the gamut from dancing hippos to the purely abstract. It's like a feature-length compilation of elaborate Silly Symphonies