This one's a picnic for Abbott & Costello fans, replete with trowelled-on slapstick, corned-up gags and farcical plot.
Around the frail structure of a story [by Aubrey Wisberg] about a schizophrenic Paris police inspector who becomes an insane killer at night, a tight combination of direction, camerawork and musical…
Individual performances are expert, with a few standouts, in miming the situations in the script by Keith Winter, but it fails to stir more than a modest response. Script, taken from an original…
Taken from Ernest Hemingway's story of the same title, picture is a hard-hitting example of forthright melodrama in the best Hemingway style.
Trademark of John Ford's direction is clearly stamped on the film with its shadowy lights, softly contrasted moods and measured pace, but a tendency is discernible towards stylization for…
Film is a merry melange of music, comedy and drama with a good story and a top cast. Durbin, despite the fact that she portrays a stage-struck waitress through most of the plot, is gowned to…
Chief credit for this one [based on Richard Henry Dana Jr's novel] belongs to director John Farrow. With the emphasis on action throughout, Farrow keeps his cast thesping to the hilt and achieves…
Brittle Chandler characters have been transferred to the screen with punch by Howard Hawks' production and direction, providing full load of rough, tense action most of the way.
Only rabid Dickensians will find fault with the present adaptation, and paradoxically only lovers of Dickens will derive maximum pleasure from the film.
The Stranger is socko melodrama, spinning an intriguing web of thrills and chills. Director Orson Welles gives the production a fast, suspenseful development, drawing every advantage from the…