Dynamixor The performances transcend the film's tropes, grounding it in characters that feel more complete than this subgenre often produces.

ThedevilChoose When a movie has you begging for it to end not even half way through it's pure crap. We've all seen this movie and this characters millions of times, nothing new in it. Don't waste your time.

Taraparain Tells a fascinating and unsettling true story, and does so well, without pretending to have all the answers.

Kaydan Christian A terrific literary drama and character piece that shows how the process of creating art can be seen differently by those doing it and those looking at it from the outside.

A_Different_Drummer Segue -- a funny thing happened on the way to this review -- I was trying to put together a review of TIMELINE, trying to explain to the readers present and future how the production team totally failed to engage, to connect, trying to find an example of a time travel movie (there are not that many) where the "connection" DID work -- and bang zoom, before you can say Bobs Your Uncle, I found myself transposed in time and space to the review page for this movie. (Yes, you got me, I am taking poetic license and stretching the truth a bit, to make a point). So let's compare and contrast shall we? TIMELINE is written by one of the greatest writers of modern suspense fiction. This film is written by one of the greatest writers, period (Mark Twain). Both involve modern characters who end up in medieval times. One leans more to the sci-fi (Timeline) and the other more to pure fantasy (this film). Now the big difference. One (Timeline) literally got "lost in translation" as (what seems like) budget considerations forced them to compress and neuter the story to the point where we almost don't care what happens to any of the characters. In this wonderful film, however, the incredible (and contagious) charm of Crosby literally forms a "bridge" across time and makes the audience feel safe enough to engage with the story and connect. This film is a lost classic and a tribute to Crosby's ability to carry an entire "road" picture without Hope or anyone else. See it.

Neil Doyle Giving credit where it's due, only the technicolor, costumes and sets deserve any honorable mention.This is undoubtedly the lowest point in BING CROSBY's long career at Paramount. The script is about as clumsy as you could possibly imagine and neither the casual Bing nor William Bendix nor Sir Cedric Hardwicke can do a thing about repairing it. Bendix looks extremely foolish in a page boy wig. And poor Rhonda Fleming has a stock costume heroine role requiring her to look adoringly at Bing and little else except for warbling a couple of uninspired ballads in a voice probably dubbed for the occasion.Just plain awful! Mark Twain's wit is not evident in any of the screenplay. Only die-hard Crosby fans can possibly appreciate this mess of a film given uninspired direction. Even the extras look as though they don't know what they're supposed to be doing.Summing up: Dull as dishwater. Not recommended, even for children.

bkoganbing I understand that Paramount wanted to film this with the Rodgers and Hart score, but couldn't work out the copyright problems, so Burke and Van Heusen who wrote the between them the most songs for Bing Crosby contributed a very nice score.I read Leonard Maltin saying that this movie, "fit Crosby like a glove" and I couldn't have put it better. No, it's not Mark Twain's satire, it's a Bing Crosby film and in 1949 Crosby was the most bankable star in Hollywood. For once Paramount used technicolor and Rhonda Fleming was never lovelier on the screen. This was a woman that technicolor was invented for.William Bendix's Brooklyn origins kinda stand out, but it's to a good comic effect. The trio of Crosby, Bendix, and Sir Cedric Hardwicke have a rollicking good time with Busy Doing Nothing. Bing has one of his patented upbeat philosophical numbers with If You Stub Your Toe On The Moon.The third song he sings Once and For Always by himself and with Rhonda Fleming. That song was nominated for best song, but lost to Baby It's Cold Outside. Nice also that Bing managed to record the score for Decca with Rhonda Fleming and Bendix and Hardwicke.One thing I like about this film is that it shows Crosby's comic talents without Bob Hope. I like the Road pictures, but Bing was a comic talent onto himself and this film better demonstrates than any other.This is Crosby at the top of his game.

lzf0 Well, all of the Bingisms are there. The boo-boo-boo, calling adversaries "Buster", the easy going attitude which hides the cowardly con artist inside. But somehow Crosby is restrained. Sure, he looks at the camera and has flip comments to make. But it all should have been broader. Even William Bendix is restrained! I suppose director Garnett was looking to down play the slapstick of it all. This film has little to do with the biting satire of Mark Twain and has little to do with the famous Rodgers and Hart stage musical. The Van Heusen-Burke musical numbers ("If You Stub Your Toe on the Moon", "When is Sometime" and "Once and for Always") are above average songs, but they can't compare with "Thou Swell", "My Heart Stood Still", "To Keep My Love Alive", and "I Feel at Home with You". If you listen to Crosby's 1957 recording of "Thou Swell" on his superior album "Bing Sings Whilest Bregman Swings", you can tell that the song fits him like a glove. Too bad he doesn't do it in the movie. As for the Rodgers and Hart version, there exists somewhere a kinoscope of a 1955 TV production starring Eddie "Green Acres" Albert. A CD has been released of the soundtrack. I would love to see this version of "A Connecticut Yankee". Until it is made available, I guess I will have to settle for boo-boo-boo, Buster!