Much better than its predecessor of 1936, and not far behind the original 1929 Broadway Melody.
Fernand Gravet, Mervyn LeRoy's Franco-Belgian import, makes an auspicious American debut in pictures. Film is a romantic comedy, silly but funny, inconsequential but swell for Gravet and Joan…
So canny are the ingredients that where credulity perhaps rears its practical head, audiences will be carried away by the histrionic illusion, skill and general Hollywood ledgerdemain which so…
Fritz Lang follows up his Fury (1936) with another wallop. You Only Live Once is full of stark and bitter moments, but these bite no more deeply than deftly wrought scenes of tenderness. The…
While a lot of the acting and motivation reeks of the phoney, Slave Ship is so effectively mounted and shot through with action that it stands up.
This is a handsomely mounted and forcefully dramatic glorification of Queen Bess. It holds a succession of brilliantly played scenes, a wealth of choice diction, pointed excerpts from English history…
Producer Samuel Goldwyn made the film first in 1925 and did mighty well by the results. Stella Dallas is chiefly a tear-jerker of A ranking.
Peter Lorre's new characterization, that of an educated Japanese merchant and amateur sleuth, gets away from the grim villainy of his previous film efforts. He no longer is a bogey man. When he…
A railway comedy [story by Frank Launder], reminiscent of The Ghost Train (1931), written around the comic personality of Will Hay, supported by his very 'aged' and very 'young' foils.
Breakfast for Two is loaded with a wide assortment of larynx and midriff ticklers, with Barbara Stanwyck and Herbert Marshall turning in slick performances. About the only time that the zany pace…