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Edgar Anstey

Edgar Anstey's reviews only count toward the Tomatometer® when published at Tomatometer-approved publication(s).
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Reviews

Movies TV Shows
Stormy Weather (1943) 95% EDIT “Stormy Weather is a remarkable and unusual film which somehow fails to be as satisfying as it should have been.” – The Spectator Jan 28, 2021 Full Review Cabin in the Sky (1943) 81% EDIT “The film achieves moments of exuberance and spontaneity which appear to be as much enjoyed by players as by audience.” – The Spectator Dec 16, 2020 Full Review Ziegfeld Follies (1946) 69% EDIT “The Ziegfeld Follies is a most entertaining musical of spectacularly colourful settings and beautifully timed camera movements, each calculated to extract the maximum of luxury from acres of adorned studio.” – The Spectator Aug 26, 2020 Full Review Gilda (1946) 90% EDIT “[Ford], more than anyone, gives the film a tense, vibrant quality which overcomes the imperfections of plot.” – The Spectator Aug 26, 2020 Full Review The Lady Eve (1941) 99% EDIT “Mr. Sturges is clearly a good showman. Later in the film he fortunately reveals himself as something even more important -- a gay screen-writer and an imaginative director.” – The Spectator May 2, 2020 Full Review Shadow of a Doubt (1943) 100% EDIT “To save studio materials, the film has been largely made in an actual Californian town and the gain is remarkable.” – The Spectator Apr 10, 2020 Full Review The Blue Angel (1930) 96% EDIT “There can be few moments in the cinema more truly horrible than the scene when the ruined professor shambles on to the stage of the disreputable tavern.” – The Spectator Aug 6, 2019 Full Review English Without Tears (1944) EDIT “English Without Tears is in places very funny, and in places labours a joke into insensibility.” – The Spectator Feb 19, 2019 Full Review Going My Way (1944) 85% EDIT “Crosby will send many a humble cinema-goer away with a new respect for his local parson.” – The Spectator Feb 16, 2019 Full Review Casablanca (1942) 99% EDIT “There is less gunplay than is usual in such narratives, and the story is, indeed, no more than adequate, but any lack of excitement is more than balanced by excellent characterisation and quite brilliantly sensitive acting.” – The Spectator Feb 16, 2019 Full Review Mrs. Miniver (1942) 93% EDIT “Mrs. Miniver eventually settles down to be a well-made and quite conventional war-film.” – The Spectator Feb 15, 2019 Full Review The Gold Rush (1925) 98% EDIT “It is a delight to see again how Chaplin utilises every second of screen-time.” – The Spectator Feb 15, 2019 Full Review How Green Was My Valley (1941) 93% EDIT “The film is beautifully played, with Donald Crisp as the humorous patriarch of the mining village dominating the screen with tough sensibility.” – The Spectator Feb 15, 2019 Full Review Citizen Kane (1941) 99% EDIT “The construction is deliberately episodic, and individual settings often appear to owe more to the modern conceptions of stage-technique than to the cinema. But the ingenuity with which the episodes are assembled sets a new level in film-construction.” – The Spectator Jul 3, 2018 Full Review 49th Parallel (1941) 88% EDIT “49th Parallel is excellent entertainment and, at the same time, can claim to be the most carefully reasoned piece of anti-Nazi propaganda we have yet seen.” – The Spectator Jul 3, 2018 Full Review On Approval (1944) 83% EDIT “On Approval is one of the funniest British pictures I have seen for a very long time.” – The Spectator Jun 14, 2018 Full Review Daybreak (1939) 92% EDIT “The power of this film lies largely in the mastery with which it weaves mental conflict and inanimate things into a pattern of total, throbbing animation: the alarm clock becomes a protagonist.” – The Spectator Jun 14, 2018 Full Review The Halfway House (1944) EDIT “Most of the faults of this story of how supernatural powers solve the personal problems of the assorted guests at a ghostly Welsh hotel have their origin in a clumsy scenario.” – The Spectator Jun 14, 2018 Full Review Our Country (1944) EDIT “Our Country breaks free from the bonds of narrative continuity and the surface-skimming clichs of normal commentary and plunges into visual impressionism and poetry.” – The Spectator Mar 15, 2018 Full Review The Commandos Strike at Dawn (1942) EDIT “At the end of it all we find that military considerations are abandoned, lives sacrificed and the whole operation imperilled because the hero's daughter must at all costs be rescued. The film is quite content to allow this piece of romantic nonsense.” – The Spectator Mar 14, 2018 Full Review The Constant Nymph (1943) EDIT “Yet, apart from a self-consciously boisterous opening, I found the film moving.” – The Spectator Oct 4, 2017 Full Review They Came to a City (1944) EDIT “It's a hard world for the independent producers. Yet it must be admitted that they do not assist themselves by making films like They Came to a City.” – The Spectator Oct 4, 2017 Full Review Johnny Come Lately (1943) 43% EDIT “The acting, direction, dialogue and photography for the most part are unpolished.” – The Spectator Jun 8, 2016 Full Review The Remarkable Andrew (1942) EDIT “Wwarm, sincere and unpretentious.” – The Spectator Jan 2, 2016 Full Review The Woman in the Window (1944) 83% EDIT “The Woman in the Window is a thriller in the new tradition of Double Indemnity and Laura. It fails to reach the standard of either because it lacks the courage of its murderous conclusions to an extent only fully revealed by a disappointing ending.” – The Spectator Nov 30, 2015 Full Review
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