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Tends to degenerate into a series of increasingly bizarre walk-ons.

The prophets should speak with respect of this $20 million Biblical epic.

One of those extremely long and well-meaning adaptations of plays, this doesn't really amount to very much, despite its intrinsically moving subject matter.

Stevens took some stick for casting an unknown as Anne, but his decision paid off as Perkins is refreshingly unmannered in the role.

An excellent film which registers strongly on all levels, whether it's in its breathtaking panoramic shots of the dusty Texas plains; the personal, dramatic impact of the story itself, or the resounding message it has to impart.

Its deeper themes and superb performances from Taylor, Hudson and Dean make it a classic Hollywood epic.

George Stevens' direction and the excellence of the stars' playing make the film.

This is a classic 'women's picture' in every sense.

Shane isn't just one of the best movies of its genre or decade -- it's one of the finest films ever made.

Wyoming's scenic splendors against which the story is filmed are breathtaking. Sunlight, the shadow of rain storms and the eerie lights of night play a realistic part in making the picture a visual treat.

A charmer, nevertheless, directed and acted with real delicacy.

It's not just the turn-of-the-century setting that gives this warm-hearted film an old-fashioned feel, rather it's the values it celebrates.

An attractive serio-comic tale of civic corruption.

It may be off beam in its philosophy, but its quality of humor is not strained.

Stevens's deliberate pacing serves the comedy remarkably well, although the action scenes are blunted by too-careful compositions and artsy cutting.

This is a pretty spiffing adventure yarn, with some classically staged fights, terrific performances.

Hilarious screwball comedy.

A sparkling and effervescing piece of entertainment.

The film earlier has one of the very best Tracy-Hepburn love scenes, full of the sense of private shelter that they uniquely purvey.

Woman of the Year is an entertaining film with superb work by Katharine Hepburn and Spencer Tracy.

Montgomery Clift's performance as upward-striving pauper George Eastman is a career peak, and Elizabeth Taylor is a gleaming paragon as his high-society paramour.

Gripping from first to last.

That George Stevens' direction captures the wistfulness of Katharine Hepburn's superb histrionism, and yet has not sacrificed audience values at the altar of too much drabness and prosaic realism, is an achievement of no small order.

Stevens's talent for stepping away from the plotline and creating intimate, casual, and naturalistic moments is given plenty of opportunity here, as it would not be in his later superproductions.