Wildly watchable and hypnotically strange, this is a western like no other, in story and style. The occasional lack of coherence in the plot aids the hallucinatory atmosphere of the film, with images powerful enough to be dreamt.

One of the most beautiful films ever made

A stunning and hypnotic masterpiece whose visual beauty and vivid atmospheric textures rival those of Von Sternberg, Sirk and Welles. Probably Lewton's greatest achievement, and one of the most remarkable genre films ever made in Hollywood.

Like much of Powell and Pressburger's masterpieces, this is unclassifiably unique and is unlike anything I've ever seen. Though there is a vague sense of plot, the feeling of place, atmosphere, emotion and character is remarkably concrete. Beautiful, mysterious and very moving.

Probably the greatest visual stylist Hollywood has ever seen. Even his most minor films are worth seeing.

Almost a parody of Giant, which was released in the same year. But Sirk's film is more entertaining, funny, beautiful, moving and timeless than the awful, serious mess it is compared to. Not Sirk's absolute masterpiece, but it is certainly a great film, and an excellent example of Sirk's unique style.

Hypnotic, beautiful and strange. I don't know if I've ever seen the color blue used so startlingly and pervasive in Technicolor. Not perfect, but this fever dream of a movie benefits from its flaws, making everything seem like it's in a strange and unsettling trance. Some truly unforgettable imagery.

The scariest film ever made and also my favorite Kubrick film. This is his most involving film with incredible performances and cinematography.

Probably cinema's greatest courtroom drama. An unbelievably great cast and wonderful performances all around, with Remick lingering in the mind as the film's most tantalizingly ambiguous presence. The long takes and tight compositions build incredible interest and suspense, while Preminger's level gaze rewards many repeat viewings. The fastest 2 hours and 40 minutes of your life.

Sirk's greatest film. An emotionally devastating melodrama of suffocating social prejudices filmed in gloriously unsettling Technicolor. Sirk is one of the cinema's great visual stylists, and this is him at the peak of his powers: form and content go hand in hand, and in many cases, the form IS the content. Gorgeous and heartbreaking.

One of the most suspenseful, gripping films I've ever seen. I don't think I stirred once during all 100 minutes.

Emotionally devastating and aesthetically exhilarating. MacLaine and Sinatra showcase perhaps their finest film performances, and Minnelli shows that his melodramas can be more involving and stimulating than his musicals. The most expressive use of Cinemascope outside of Ray.

Except for the atrocious "Born in a Trunk," this is an emotionally and visually mesmerizing film. Mason and Garland are stellar, as are most of the musical numbers especially the legendary "The Man That Got Away," a goose bump-inducing machine of a song. Cukor's use of color and the Cinemascope frame are just as remarkable. A flawed but emotionally intimate epic of Hollywood

Ridiculous and ridiculously entertaining. This is some of the most fun to be had watching a film: witty, sexy, romantic, thrilling and an all around good time!!!

James Mason is incredible, as is Ray's intense direction, as he turns claustrophobic interiors into emotionally violent battlegrounds through his mastery of Cinemascope. One of Ray's absolute best, showcasing his visual skills by finding the supreme emotional properties of architecture, space and color.

Nicholas Ray and Cinemascope, not James Dean, are the true stars of this slightly overrated but artistically stunning film.

Surely one of the absolute masterpieces of film history. The cast is uniformly excellent, particularly Wallbrook and the Technicolor photography is a justifiably extolled achievement. The script is predictably marvelous, providing a complex emotional canvas for the film's almost unhinged visual imagination. I cannot say enough about this relentlessly dazzling and rewarding work of art.

Hitchcock's most purely terrifying film, creating an evocative atmosphere of both disturbing ambiguity and concrete horror. The sound design alone is masterful, and this is the master at the height of his powers in terms of suspense and filmmaking craft. One of the greatest films ever made.

I wanted to like it but I found it incredibly awkward and uninvolving. While Granger and Dall are fine enough, Stewart is mysteriously miscast and quite boring. Hitchcock's first Technicolor effort displays a disappointingly dull pallet and the gimmicky experimental technique makes the film stagey and awkward.

An extraordinarily unique western in which almost all genre conventions are reversed and subverted in exhilarating fashion. Tough-guy shootouts are traded for passionate lovers spats, wide open vistas are replaced by stunning interior spaces and everything natural becomes heightened, on the verge of operatic explosion. This is an intense, beautiful and unforgettable movie by one of the greatest directors of all time.

An uncommonly hypnotic and entirely unique, this potato-peeling epic MUST be seen in one sitting, with no bathroom breaks! Seyrig's acting borders on performance art in her carefully controlled but absolutely stunning portrayal of the titular housewife. It shows you an entire world, a woman crumbling in front of you. Once seen, it is impossible to forget. No other film makes spilling milk so heart stopping.

The ending is simply perfect and one of cinema's greatest depictions of l'amour fou.

Perhaps my favorite film noir, and Fritz Lang's American masterpiece. Joan Bennett and Edward G. Robinson are incredible, especially Bennet, who is one of the most ruthlessly bitchy and sleazy femme fatales in all of cinema. Full of twists and turns, this is an all time great!

One of my all time favorites! Cardiff's Technicolor photography is a remarkable achievement by itself. The controlled atmosphere is both realistic in feeling and expressionist. The script, an oft overlooked element in P & P's films. The cast is great, from the sexy Simmons to the smoldering Farr, and especially Robson, who rips the movie away from everyone in her marvelously mad performance.

For a change, Minnelli isn't distracted by visuals and decor alone (though the film is gorgeous) and charges his greatest musical with real emotion and compassion for his characters. Perhaps the greatest American film musical.

My favorite film of all time. I first saw it when I was about 8 or 9 and I have never stopped thinking about it or loving it. Its spellbinding, hypnotic quality demands repeated viewings, and I would be glad to watch this any day, any hour. A film that will never die.