Very early and very primitive Marx Brothers comedy. It has a number of numb areas, particularly when Margaret Dumont or some other straw figure shrugs or grins or grimaces on one half of the screen while one of the Marxes showboats on the other half. It has, as well, some …

Garbo, showing off her famous thick ankles, and looking generally dumpy and discouraged as a waterfront tramp, appears in her historic, first talking role ("Gif me a viskey and don' be stingy," and so on). The movie itself, one of seven Garbo vehicles directed by Clarence Brown, is hopelessly stagy, …

Emil Jannings's puritanical professor interposes himself between his impressionable students and a cabaret artiste called Lola-Lola; but in so doing he succumbs himself to the spell of this pitiless femme fatale, and he sinks lower and lower in order just to be near her, donning clown makeup, crowing like a …

Chaplin scrambles to some of his highest peaks — dancing in the boxing ring, carousing woozily in a nightclub — for the love of a girl who sells flowers on streetcorners, and who is blind, and who is beautiful.

Norma Shearer catches hubby Chester Morris in the arms of another woman and decides it’s time to get even, and how. Joan Crawford, Metro’s resident bad girl, was rightfully steamed when producer Irving Thalberg assigned the role of Jerry — “a great girl with a man’s point-of-view” — to the …

One of Buñuel's two early contributions to the Surrealist cause, when it mattered most. Unlike the other and earlier one, Un Chien Andalou, this one was unavailable to the public for a long time -- five decades or so. It is also much longer than the other in minutes and …