Bennett Miller’s film has an axe to grind against its subject, the quite horrible but quite gifted writer Truman Capote.
It remains to be seen who’s going to want to pay $28.98 for what amounts to PR spin.
Follow the Fleet is a problematic but rewarding Fred Astaire/Ginger Rogers film.
The pain of Swing Time lies in the apotheosis of its dances.
Some of Fred and Ginger’s best numbers, but get thee behind me, Harriet Hilliard.
Viewed objectively, the partnership of Fred Astaire and Ginger Rogers shouldn’t have worked.
Swing Time is Fred Astaire and Ginger Rogers’s masterpiece.
Top Hat is Fred Astaire and Ginger Rogers’s archetypal movie.
Those who are familiar with the once-lauded plays of Clifford Odets will find his hyperbolic, wondrously godawful style all over the dialogue.
Humoresque is a fine woman’s picture with an iconic Joan Crawford performance.
Mr. Skeffington is an arduous test of loyalty for Bette Davis fans.
This is a star vehicle in extremis. There’s no movie here, really, just Davis and her Role.
The paranoid animal glint that flickers behind Joan Crawford’s eyes in her most lunatic moments is definitely memorable.
Stuart Heisler’s film is a threadbare, bargain-basement Sunset Boulevard.
A heavy, slow, but worthwhile noir with a key Joan Crawford performance and under-appreciated work by her homme fatale, Van Heflin.
There’s an ugly sexist undercurrent to The Star that keeps it from being enjoyable even on a camp level.
The reds and blues are as saturated as they should be, though there is sometimes loss of detail in the night scenes.
Giant defines the word interminable, and watching it just once is guaranteed to lop at least a year off your life.
The poetic longing for connection in Ray’s film will always feel timeless.
Elia “Sledgehammer” Kazan’s wildly uneven East of Eden inaugurated the 50-year-old James Dean cult.