Ben-Hur (1959)

Wyler's epic is hailed as a costly, Oscar-sweeping masterpiece with Charlton Heston at his heroic best; the chariot race stands out as one of cinema's most iconic sequences, built on an unprecedented scale.

Praises the film's unmatched grandeur and epic scale as a widescreen spectacle that still influences modern cinema. Singles out the impressive practical set-pieces like the chariot race alongside the strong central human drama anchored by Charlton Heston's performance.

The critic calls it an extraordinary motion picture, greater than any similar film of its time and the greatest of all spectacles, while also being a highly rewarding dramatic experience rich in human values. They single out the chariot race and sea battle for their pictorial and dramatic excitement, along with William Wyler's direction that balances spectacle with character-driven storytelling.

The critic calls the film the most stirring and respectable of Bible-fiction pictures, praising William Wyler's direction for turning spectacle into intelligent human drama and highlighting the strong performances by Charlton Heston and Stephen Boyd along with the brilliant chariot race.

The critic calls the 1959 film one of cinema's greatest blockbusters, praising its grand biblical storytelling, intelligent direction, and especially the memorable chariot race sequence with thousands of extras.

The critic declares the film magnificent, inspiring, awesome and enthralling overall. The chariot race stands out as an unmatched peak in cinematic action.

The review finds the epic better suited to children than to adults, noting its grandiose sets, melodrama, and lengthy chariot race while criticizing Charlton Heston's stiff performance and overall appeal to tired viewers.

The film won 11 Oscars and was a huge hit on release but has not endured as well as other 1959 classics. The chariot race remains spectacular, but much of the rest feels drab and lumbering.

The film is viewed as overly long and preachy like a Sunday school lesson, but redeemed by its standout chariot race sequence (not directed by Wyler). It also notes the sexually charged dynamics between the male leads.

The critic hails Wyler's 1959 epic as the best Easter movie and a benchmark for the genre, praising its intellectual approach to faith and human story over cloying piety. The chariot race and Wyler's skeptical, distant treatment of Jesus are singled out for particular praise.

The film is not as good as its reputation suggests and drags due to overstatement, repetition, and excessive length, though the large-scale action sequences stand out. The naval battle and chariot race are highlighted for their impressive scale, seamless integration of effects, and excitement in the wide aspect ratio.