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There's more than a little of the school pageant in the rhythm of the movie: Though it's all neater than our school drama coaches could make it, the figures group and say their assigned lines and move on.

One of the most intelligent religious movies ever made.

It's a polished and exciting thriller, mercifully unburdened with heavy political/philosophical digressions.

The major asset of the film is that it succeeds in maintaining interest and suspense despite obvious viewer foreknowledge of the outcome.

Charles Bukowski would have loved this foul-mouthed, fiery, reckless woman. Against all odds and common sense, you will, too.

In a sense, it goes to all the places a sensitive character study might have gone, but more dramatically, convincingly and vividly.

Fred Zinnemann's production is a soaring and luminous film.

It's still a long haul (made no lighter by Franz Waxman's abominably insistent score) for anyone not committed to theological problems of faith, conscience and obedience.

A high-calibre Hollywood prestige drama, sharp and sobering, with top-drawer work from Lancaster, Clift and Sinatra.

I have to say that Clift's plot is far less compelling than Lancaster's and something of the zip goes when Frank Sinatra disappears from the action, sent to the stockade. But what a punch this movie still packs.

Although there's a slight suspicion that (as in Rossellini's work from this period) the plight of children is being used as a sort of emotional shorthand, the integrity and moving effect of this piece is never really in doubt.

This touching film shot in a semi-documentary style by Zinneman, will have even the most hardened viewers sobbing in the aisles.

Omar Sharif shows a warm, sensitive side in this film, playing the role of a young priest torn between obligations of personal morality and the official laws of government.

The drama is too diffuse for excitement.

The wide screen used for the Todd-AO process adds production scope and visual grandeur, capturing a vista of blue sky and green prairie that can be breathtaking.

The film heaves and sputters from one indifferently rendered number to the next.