Some Like It Hot (1959)

The critic describes it as a crackling cross-dressing comedy with ideally matched leads Tony Curtis and Jack Lemmon escaping the Mob in drag. It singles out the hilarious performances and classic status, noting the famous final line that nobody’s perfect.

The review calls Billy Wilder’s 1959 comedy still perfect, highlighting its transvestite premise, two men living happily ever after, and the famous last line. It praises the lead performances by Jack Lemmon, Tony Curtis and Marilyn Monroe in this cross-dressing farce.

The critic calls it a scintillating comedy that delivers on every level despite its daring mix of elements. They single out the snappy pace, non-stop invention and gags, and standout comic performances and timing, especially from Lemmon.

Ebert calls the film one of the enduring treasures of the movies, praising its inspiration, meticulous craft, and focus on sex disguised as a crime story. He singles out Marilyn Monroe's performance for particular acclaim, noting how she steals the film.

The piece celebrates the film as a perfect, endlessly beguiling comedy in service of the pleasure principle, singling out its bright sharp humor, memorable supporting turns, Orry-Kelly costumes, and Marilyn Monroe's embodiment of desire and sex appeal.

The critic finds it a funny film with an odd, high flavour of humour that makes it a bit uncomfortable due to insistent vulgarity in the cross-dressing premise. The pace is fast, the humour often hilarious especially from Lemmon, and Monroe is singled out as irresistible.

The critic finds the film a vibrant and clever burlesque attuned to unusual sexual peccadillos, praising Jack Lemmon's brilliantly worked-out performance as the standout. Some reservations are noted about the less successful gangster sequences and stylistic confusion.

The review describes the film as an outrageous, hilarious, and unpretentious trip through a funhouse of sexual identities, praising the rat-a-tat Wilder-Diamond dialogue, pervasive cynicism, and especially Monroe's magnetic screen presence and Lemmon's fearless comic performance.

The critic calls it a supersonic, breakneck, belly-laugh comedy destined for box-office success, crediting Wilder's energetic direction, writing, and the cast's expert comic turns, particularly Lemmon's uproarious drag performance and the seamless mix of farce with gangster elements.

McCarten describes the film as a jolly, carefree enterprise restoring old Mack Sennett-style nonsense to the screen through transvestite comedy. He praises the estimable cast, especially Jack Lemmon as the frightened bass player and Tony Curtis for his Cary Grant parody.

Crowther finds the film a breezy, professional farce with snappy dialogue and comic action that keeps it crackling and funny most of the time despite cooling off occasionally. He highlights the vigorous performances by Marilyn Monroe, Jack Lemmon, and Tony Curtis.

The review calls it probably the funniest picture of recent memory, a whacky, clever, farcical comedy that starts like a firecracker and keeps throwing off lively sparks. It singles out Marilyn Monroe's return and performance as Sugar for her sex appeal and comic timing, along with the directorial brilliance of Wilder.

The critic hails the film as the greatest farce in the movies and a sheer unadulterated sex comedy. They single out Marilyn Monroe's explosively erotic performance and the glorious double-act of Tony Curtis and Jack Lemmon for particular praise.