Those seeking another 1939 Ford revisionist history lesson should seek out Young Mr. Lincoln.
The second half plays slightly better than the first, if only because it gives in unashamedly to its plot of melodramatic intrigue.
The film was a signature failure that sums up David O. Selznick’s is entire career: a showman with big panache and no heart.
Bitchy Isabel would be much better company to have a drink with than Larry Darrell, zealot of the pure.
To those willing to endure A Farewell To Arms: Don’t be a hero!
Here’s an irresistible pulp fantasy premise that screams drive-in classic.
Don’t miss the film for Al Pacino’s great scenery-chewing performance and bold expression of a great moral conflict.
Art and commerce collide on this two-disc DVD edition, a schizophrenic collaboration between Buena Vista Home Entertainment and the Criterion Collection.
The film is worse than being simply a lame book adaptation because of its infuriating smugness.
Neither a Doris Day musical nor a ferocious James Cagney gangster film, Love Me or Leave Me is a fascinating hybrid.
This is a a morality play that only sees in black and white.
Love Me or Leave Me is painted in broad strokes, sometimes too obvious, but the actors lend a rich subtext.
The film casts Kirk Douglas as a selfish artist who gets his comeuppance, but it’s a theme that smacks of bullshit.
Didn’t anyone tell Errol Flynn he was no match for the mercurial Bette Davis?
This dismal bore is for Bette Davis completists only.
Dodge City is a well-crafted and perfectly capable western.
The miscasting of Errol Flynn doesn’t distract from the many great set pieces.
When The Sea Hawk is purely cinematic, it’s at the top of its class.
The Sea Hawk is a fun swashbuckler that follows the reliable Errol Flynn template.
It conflates the angst of adolescent sexual development with the fury of Catholic retribution, suggesting at times an analog version of David Fincher’s Se7en.