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sarah has written 225 reviews for films rated ★★★½ .

  • Cactus Flower

    Cactus Flower


    Between this and Indiscreet (1958), I need more comedies involving Ingrid Bergman, Ingrid Bergman dancing, and Ingrid Bergman getting into schemes with bachelors who are pretending to be married men.

  • 3:10 to Yuma

    3:10 to Yuma


    It probably wasn’t the best idea to have watched this when I was so tired—the slowness in the beginning felt even more sluggish to my worn-out eyes— but the scenes between Glenn Ford and Van Heflin in the hotel were so engaging! They're both such wildly underrated actors. And I'm kind of obsessed with interpreting the dynamic of their relationship as a love story? Although, after doing some googling and seeing the first search result link a 2007 article entitled…

  • Cool Hand Luke

    Cool Hand Luke


    I’m currently halfway through Paul Newman’s chronological filmography, and here I’ve landed on my introduction to him, some nine-odd years ago, and one of my first exposures to classic cinema, ever. Before I sought out more of his work many, many years later, this was always the version of Paul Newman I’ve had in my head—blue-eyed, rough around the edges, impossibly beautiful. He’s an open book, but I couldn’t seem to quite get a hold of what his acting was…

  • Slightly French

    Slightly French


    I love how a lot of Douglas Sirk 40s films feel so playfully extravagant! Stylish interiors, even more stylish gowns. They’re so fun to watch. I’m admittedly not the biggest fan of his 50s melodramas, so these “lighter” pictures feel more catered to my tastes, and I’m okay with that!

  • Angels Over Broadway

    Angels Over Broadway


    “We are all corpses here. This rendezvous is one of the musical graveyards of the town. Caters to zombies hopping around with dead hearts and price tags for souls.”


  • The Sin of Nora Moran

    The Sin of Nora Moran


    Unlike anything I’ve ever seen before. The general synopsis seems straightforward, but the actual film plays out much differently. It’s imaginative in storytelling, and it also fully realizes the capacity in which film acts as an artistic medium, not just a mirror to reality. The poster is really great too!

  • The Defiant Ones

    The Defiant Ones


    — "You calling me a weasel?"
    "No, I'm calling you a white man."

  • He Ran All the Way

    He Ran All the Way


    It’s hard to watch this film while knowing about John Garfield’s death, his health problems, and the way HUAC hounded him for not naming names. His sheer exhaustion is so evident on his face, and his character’s desperation takes on another meaning entirely. Two parallel stories, one real, the other fiction, both with the same fate. He’s my favorite actor of all time, but I’ve avoided watching his last ever film because I knew it would be too upsetting for me— and it definitely was.


  • The Locket

    The Locket


    I never thought a flashback within a flashback within a flashback could work so well, but the gimmick actually pays off in this film. Robert Mitchum has his characteristic charm, and Laraine Day reaches Rosamund-Pike-in-Gone-Girl levels of measured perfection. There’s a real magnetism to her performance that just completely takes over the screen. I was hoping for a more satisfying ending, but the film leans too much into the pseudo-psychology of the forties, unfortunately.


  • The Web

    The Web


    God knew what She was doing when She made Vincent Price 6' 4".

  • There's Always a Woman

    There's Always a Woman


    All you need to know about this movie is that Joan Blondell yells "OH THAT'S NOT FAIR HE HAS NO PANTS ON" when a reporter sneakily photographs Melvyn Douglas in his underwear.

  • Night Has a Thousand Eyes

    Night Has a Thousand Eyes


    That’s So Raven meets 40s noir— it works surprisingly well! There’s lots to like here, and Edward G. Robinson is fantastic.