Because it deals with the sort of thing that must be handled adequately if it is to go over, its persistent inadequacies make it more disappointing than many pictures with less to recommend them.

The marvel of Ford’s film is that Gypo Nolan, clearly no hero, never quite comes across as a villain, either.

The best picture of the season to date is The Informer, a terse, brutal story of the Irish revolution: a somber portrait of a rabbit-minded giant who betrays his best friend and is hunted to his doom against the leaden background of war-torn Dublin.

I consider it too memorable not to provoke a discussion and not to deserve a reproach. Several reproaches, really, since it has run the beautiful risk of being entirely satisfactory and, for two or three reasons, has not been.