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

Ariella Broughton It is neither dumb nor smart enough to be fun, and spends way too much time with its boring human characters.

Kaelan Mccaffrey Like the great film, it's made with a great deal of visible affection both in front of and behind the camera.

Married Baby Just intense enough to provide a much-needed diversion, just lightweight enough to make you forget about it soon after it’s over. It’s not exactly “good,” per se, but it does what it sets out to do in terms of putting us on edge, which makes it … successful?

vincentlynch-moonoi I'm a little surprised with the relatively high rating this film gets from of IMDb reviewers. If someone were to say to me that movies should realistically depict life, then I'd point them toward this film, which has none of the punch that many Douglas Sirk films had. And the reason that punch is missing is because it's a psychological drama that fits real people. That shouldn't be a bad thing...and it isn't here. It's just that this is a very serious drama, but not an exciting one.The strength of this film is the acting of the lead players. I often curse "My Three Sons", MacMurray's popular television series...because it is how MacMurray is most remembered, rather than for the very fine film career he had from the later 1930s through the late 1950s...in both comedies and drams. And, though he was beginning to show his age here (certainly middle aged...but he was nearing 50), that was the perfect age for anyone to play this role...because the role is of a man in mid-life crisis. And he does exceptionally well and without any histrionics...it's all inside, but we get to see it very clearly. It's definitely MacMurray's movie, but Barbara Stanwyck is wonderful here as the "other woman" who really has no intention of being the "other woman". Stanwyck's best scene here is where she carefully tells off MacMurray's snooping children. Joan Bennett, who is lovely here, is the wife who takes her husband for granted and is a subtle nagger.That's not to say all the performances here are superb. As for the young actors playing the children...yuck. Judy Nugent has to have one of the most annoying voices of any child actor. In terms of William Reynolds, the son, I couldn't tell if it was his role that was annoying, or his acting. And, the children and young people here are absolutely key to the plot, so you see a lot of them. I give much higher grades to the girlfriend of the son -- Gigi Perreau. Unfortunately, veteran character actor Jane Darwell is totally wasted here as an older maid.This is a very restrained film with solid acting by the lead roles. It doesn't have the intense excitement of many of Douglas Sirk's other films, but it is also more realistic than those other films.Recommended for the serious film-goer.

writers_reign So much for that well-known 'woman's intuition'; we, the audience, can see inside reel #1 that Fred McMurray is disappointed in his domestic life which consists of self-centered children and a wife who indulges them even if it means neglecting the husband/bread-winner yet the wife in question, Joan Bennett is serenely oblivious to what amount to McMurray's cries for help. He is portrayed as a husband to die for, thoughtfully preparing a surprise for his wife's birthday which is more or less thrown in his face because the selfish needs of the children come first. McMurray is a toy manufacturer and Sirk gets lots of mileage out of the metaphor; McMurray toys with the idea of leaving wife and family, as does the 'other woman', Norma Vale (Barbara Stanwyck), who turns up out of the blue and past respectively just when McMurray is at his most vulnerable yet ultimately Norma merely toys with his feelings. It's difficult to believe that Sirk made this soft-hitting soap back-to-back with the hard hitting Written On The Wind and it is perhaps understandable that this one got lost in the shuffle. Like McMurray it has been unfairly neglected and is well worth seeking out.

Robert Short Typical soap opera by director Douglas Sirk (albeit less glossy than his earlier technicolour offerings of "Magnificent Obsession" and "All That Heaven Allows", and certainly less well-known). Having read the comments posted by other viewers about this film, I must confess that I don't quite share their enthusiasm. Although generally well done (and nicely filmed in black-and-white), "There's Always Tomorrow" really offers nothing special in terms of the story line (hard-working, successful businessman Fred MacMurray feels neglected by wife Joan Bennett and their three children, meets old flame Barbara Stanwyck, considers having an affair). However, the film does move along at a good pace, and will certainly hold your interest. The children's perspective of the situation (particularly grown-up child William Reynolds, the oldest of the three) is well presented. The lead roles are very capably acted by old pros MacMurray and Stanwyck, but their re-teaming hardly compares to the dynamic fireworks they displayed in their earlier film, the undeniably great "Double Indemnity". All in all worthwhile, but I wouldn't rank it amidst the classics.

Savor This film is one of the great Hollywood films yet so few have ever heard of. Not only does it rate with Douglas Sirk's better known films ("Magnificent Obsession," "All that Heaven Allows," and "Imitation of Life), but is as much a devastating a critique of the American Dream as other fifties movies like "Bigger Than Life." And unlike many melodramas which center on the emotional isolation and turmoil of the central female character, this one analyzes the pain of the main male figure (Fred MacMurray). The film's acting, direction, and script have a precision so well thought out that the effect--both at any given moment and overall --is absolutely astonishing. An incredible film crying out to be rediscovered.