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Andre Sennwald

Andre Sennwald's reviews only count toward the Tomatometer® when published at Tomatometer-approved publication(s).
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Law and Order (1932) 90% EDIT “Walter Huston, as the gun-toting Saint, gives his usual expert performance, and he is admirably assisted by Raymond Hatton, Harry Carey, Ralph Ince and a generally capable cast. Law and Order is a superior specimen of Western heroics.” – New York Times Apr 16, 2024 Full Review Road to Ruin (1934) 17% EDIT “The deficiencies of Road to Ruin lie not so much in its amateurish composition as in its dull and unnecessary preoccupation with subject-matter which belongs in a sociological case history.” – New York Times Apr 15, 2024 Full Review The Dark Angel (1935) 94% EDIT “Lillian Hellman and Mordaunt Shairp have written a highly literate screen adaptation of Guy Bolton's play, skirting all the more obvious opportunities for tear-jerking and overemphasis, and telling the story with feeling and admirable good taste. ” – New York Times Mar 10, 2023 Full Review The Mystery of Edwin Drood (1935) 63% EDIT “This Mystery of Edwin Drood, though it adds nothing of consequence to the great mystery, is good Dickens and a genuinely fine horror story in the bargain.” – New York Times Feb 4, 2021 Full Review Men of Tomorrow (1932) 50% EDIT “The principal part, that of the Shelleyan hero, is beautifully played by Maurice Braddell.” – New York Times Nov 14, 2020 Full Review White Heat (1934) 40% EDIT “Filmed against a Hawaiian background, White Heat is a humorless account of the amorous difficulties of a young sugar planter.” – New York Times Sep 16, 2020 Full Review Convention City (1933) 86% EDIT “Among the furiously rubber-stamp comicalities of the picture, Mr. Menjou stands out like a diamond in a 10-cent-store jewelry counter.” – New York Times Jul 1, 2020 Full Review Imitation of Life (1934) 88% EDIT “Despite the sincerity of John M. Stahl's direction, he scarcely manages to conceal the shallowness of the play's ideas, the commonplace nature of its emotions, nor the rubber-stamp quality of its writing.” – New York Times Oct 21, 2019 Full Review Bordertown (1935) 89% EDIT “"Bordertown" otherwise manages to impale the spectator's attention before the picturesque and somewhat hysterical materials of the story.” – New York Times Sep 16, 2019 Full Review Limehouse Blues (1934) 23% EDIT “Even those filmgoers who are most successful in fighting off Mr. Raft's overpowering personal allure can hardly blame him for the frailties of Limehouse Blues.” – New York Times Apr 3, 2019 Full Review The Devil Is a Woman (1935) 56% EDIT “This column regards The Devil Is a Woman as the best product of the Sternberg-Dietrich alliance since The Blue Angel.” – New York Times Apr 8, 2016 Full Review Waltzes From Vienna (1934) 50% EDIT “It exhibits little of the technical ingenuity which the Hitchcock name might lead us to expect. But it does not diminish the loveliness of "The Blue Danube" and it suspires amiably against its nineteenth century appointments.” – New York Times Jun 2, 2015 Full Review Java Head (1934) 71% EDIT “Although such excellent players as Edmund Gwenn, John Loder, Elizabeth Allan and Anna May Wong are among those present, they are seldom able to relieve the tedium of a windy and poorly accented script.” – New York Times Feb 2, 2011 Full Review The White Parade (1934) 57% 2.5/5 EDIT “The White Parade is lacking in the qualities which might have made it a fine and stirring drama.” – New York Times May 6, 2008 Full Review The Scarlet Empress (1934) 86% EDIT “Running a solid hundred minutes, the film first shocks and stimulates the imagination, and then, lacking the dramatic skill to refresh its audiences, becomes steadily duller.” – New York Times Aug 8, 2006 Full Review The Black Cat (1934) 89% EDIT “More foolish than horrible. The story and dialogue pile the agony on too thick to give the audience a reasonable scare.” – New York Times Aug 8, 2006 Full Review The Man Who Knew Too Much (1934) 88% 4/5 EDIT “Directed with a fascinating staccato violence by Alfred Hitchcock, it is the swiftest screen melodrama this column can recall.” – New York Times Aug 8, 2006 Full Review The Mummy (1932) 89% EDIT “The photography is superior to the dialogue.” – New York Times Aug 8, 2006 Full Review She Done Him Wrong (1933) 93% 3.5/5 EDIT “Miss West gives a highly amusing performance.” – New York Times Aug 8, 2006 Full Review Three Songs of Lenin (1934) 80% 4/5 EDIT “Even when the picture is viewed without the distortions of the Marxist critical lenses, it emerges as a work of unusual beauty and emotional exaltation.” – New York Times Mar 25, 2006 Full Review March of the Wooden Soldiers (1934) 100% 4/5 EDIT “The film is an authentic children's entertainment and quite the merriest of its kind that Hollywood has turned loose on the nation's screens in a long time.” – New York Times Mar 25, 2006 Full Review Naughty Marietta (1935) 56% 3.5/5 EDIT “Pictorially handsome in the lavish Metro style, the work tells its story in spirited, romantic episodes which catch your fancy quite independently of the songs and the music.” – New York Times Mar 25, 2006 Full Review The Barretts of Wimpole Street (1934) 70% 4.5/5 EDIT “Sidney Franklin has filmed a drama of beauty, dignity and nobility.” – New York Times Mar 25, 2006 Full Review Captain Blood (1935) 100% 4.5/5 EDIT “With a spirited and criminally good-looking Australian named Errol Flynn playing the genteel buccaneer to the hilt, the photoplay recaptures the air of high romantic adventure which is so essential to the tale.” – New York Times Mar 25, 2006 Full Review Flirtation Walk (1934) 100% 4/5 EDIT “Flirtation Walk seems to be assured of a large and enthusiastic clientele, and it seems unlikely that the patriotic cinema public will let the Military Academy or the gallant producers down.” – New York Times Mar 25, 2006 Full Review
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