The Ballad of Buster Scruggs
Ant-Man and the Wasp
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All Critics (21)
| Top Critics (9)
| Fresh (19)
| Rotten (2)
| DVD (4)
It is a story of in-law trouble carried to awful extremes. But it is hard to work up any sustained sympathy for the uptight characters.
Gothic psychologizing melodrama, so preposterously full-blown and straight-faced that it's a juicy entertainment.
Stahl's use of space and the performances in Leave Her to Heaven...suggest he was at least the equal of the much-exalted Sirk as an artist of melodrama.
Tierney's Ellen Berent [is] one of cinema's most chilling psychopaths.
As for the brother's death, with Ellen looking on coolly in white robe and shades, it remains one of the most perturbing in the history of Hollywood.
Has emotional power in the jealousy theme but it hasn't been as forcefully interpreted by the leads as it could have been in more histrionically capable hands.
[Tierney is] exceptional in the part, and far better than the legions of actresses who've subsequently set down the rolling pin and bouquet in favour of the ice pick.
The beautiful Tierney betrays her lovely countenance by playing one of the most evil creatures ever to slink across the screen.
One of the most intensely cruel and lurid film noir ever made, John Stahl's excessive melodrama features Gene Tierney in an Oscar nominated performances as a cold-blooded murderess.
Mental illness never looked so seductive or bit with such a ferocious over-bite as from Gene Tierney's demented character.
Everything is beautiful in Leave Her to Heaven. In fact, too beautiful.
A fevered yet clinical study of jealousy, Leave Her to Heaven is probably John M. Stahl's best-known film.
Gene Tierney plays the woman who's got it all ... except upstairs between her ears, and Cornel Wilde and Jeanne Crain endeavor mightily to tolerate her. They hardly can bear up. Vincent Price does a great job however as an abusive District Attorney, stealing the film. The action happens in that popular magazine cover perfect world that ruled in Hollywood film at that time. There's one scene, for instance, where Tierney, supposed pregnant (altho that's impossible to see) looks in a mirror horrified: "I look terrible," she says, when she doesn't look that way at all, when nothing in the film looks that way.
Gene Tierney succeeds playing against character, substituting her angelic presence for a childish, treacherous and venomous femme fatale. Noir in blazing technicolor, beautifully shot.
Gene Tierney's character gets my vote as the most cold-hearted, sociopathic, beautifully packaged villain to ever grace the silver screen. On a scale of pure evil she's right up there with Hannibal Lector and the shark from Jaws.
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