Volker Schöndorff, 1970, 87 minutes
DNF. Precious on steroids.
Mathieu Kassovitz, 1995, 98 minutes
Galvanic.
Michael Powell and Emeric Pressburger, 1957, 104 minutes
Sprightly.
Sidney Lumet, 1973, 130 minutes
Effective as remembered, but the score now jars.
Robert Siodmak, 1944, 85 minutes
Laughton is too good.
Curtis Bernhardt, 1945, 86 minutes
Sharp script.
Carlos Saura, 1968, 94 minutes
Agreeably Antonioni-esque.
Georgia Oakley, 2022, 97 minutes
Rosy McEwan is magnificent.
William Monahan, 2010, 103 minutes
DNF. Posturing tripe.
Philip Leacock, 1956, 97 minutes
Agreeable and cogent.
Walter Hill, 1975, 93 minutes
Solid debut.
Sam Peckinpah, 1972, 122 minutes
Endures.
Samuel Fuller, 1950, 97 minutes
Well constructed, alluring Howe lensing.
Michael Moore, 1989, 90 minutes
Trenchant.
Ted Kotcheff, 1979, 119 minutes
For its time, daring.
David S. Ward, 1982, 120 minutes
Its sincerity went out of style.
Fritz Lang, 1931, 111 minutes
Master of invention.
Walter Hill, 1987, 104 minutes
Genre-plus.
H.B. Halicki, 1974, 105 minutes
Witless.
Paul Schrader, 1979, 108 minutes
Hurt by studio ending.
Douglas Sirk, 1943, 84 minutes
Effective polemic.
Don Siegel, 1968, 94 minutes
Mannequin-out-of-water.
John Michael McDonagh, 2011, 93 minutes
Piquant.
Jonathan Jakubowicz, 2020, 120 minutes
Several scenes of effective suspense.
Kon Ichikawa, 1994, 132 minutes
Specialist interest only.
William C. Jersey, 1966, 56 minutes
Documents that zero progress has been made in race relations in a half-century.
John Frankenheimer, 1998, 121 minutes
Cotton candy.
Luis Buñuel, 1930, 63 minutes
Appealingly tiresome.
Robert Altman, 1969, 113 minutes
Sandy Dennis triumph.
Olivier Marchal, 2004, 110 minutes
Unrelenting.
Carl Th. Dreyer, 1932, 72 minutes
Dreamlike.
Michael Keaton, 2023, 114m Solid crime thrills.