Cagney is well worth remembering, and this set is a good start to a specific corner of his career.
Bette Davis and Agnes Moorehead overact against each other like Miles Davis and John Coltrane traded fours.
Robert Aldrich’s work on Baby Jane was already a study in hysteria, and his style for Charlotte is, if anything, even more ornate.
Dark Victory DVD: Prognosis Positive.
Even by the standards of a typical Bette Davis melodrama Dark Victory is an embarrassment of riches.
“Hold me like you did on Naboo” simply holds no weight next to Charlotte Vale’s equally melodramatic yet far more poignant doomed romance.
It remains a highly narcotic, swoon-inducing romance in the Bette Davis canon.
Howard Hawks said that a classic film has three great scenes and no bad ones. Despite its three great scenes, The Letter is no classic!
Are movies all about great endings?
Mr. Skeffington is an arduous test of loyalty for Bette Davis fans.
There’s an ugly sexist undercurrent to The Star that keeps it from being enjoyable even on a camp level.
This is a star vehicle in extremis. There’s no movie here, really, just Davis and her Role.
Stuart Heisler’s film is a threadbare, bargain-basement Sunset Boulevard.
This dismal bore is for Bette Davis completists only.
Didn’t anyone tell Errol Flynn he was no match for the mercurial Bette Davis?
A ripping thriller shadowed with overtones of societal decay and Darwinian selection.
Much of what’s on display here evokes a society on the decline, propping itself up with patriotic guff, fairy tales, and violence.
Is there an anamorphic screen big enough to handle the diva wattage of two Bette Davises?
It features the compelling spectacle of Bette Davis competing for screen space with the only actress capable of upstaging her: Bette Davis.