Siflutter It's easily one of the freshest, sharpest and most enjoyable films of this year.

Kien Navarro Exactly the movie you think it is, but not the movie you want it to be.

Deanna There are moments in this movie where the great movie it could've been peek out... They're fleeting, here, but they're worth savoring, and they happen often enough to make it worth your while.

Haven Kaycee It is encouraging that the film ends so strongly.Otherwise, it wouldn't have been a particularly memorable film

Smoreni Zmaj It is considered one of the top 100 films of all time. Honestly, I do not see why. A smart, witty romantic comedy, a cute movie for one watching, but really nothing special.6,5/10

Robert J. Maxwell 1931 -- pre-code -- men in evening dress, women in gauzy gowns, kissing of hands, coy glances, dialog to match the milieu. Herbert Marshall and Miriam Hopkins meet in Venice to discover that each is a petty thief trying to steal from each other. Marshall and his posh accent, posing as a doctor, has bopped Edward Everette Horton on the head and stolen his money. Better that the now partnered-couple of Hopkins and Marshall leave town, and they do -- for France.There, Marshall steals the jewel-encrusted handbag of the extraordinarily rich socialite Kay Francis and returns it for the reward, insinuates his way into her graces, and becomes her, um, secretary. He handles all of her finances and sees to it that her business is cleaned up and she has a substantial amount of francs stashed in her wall safe, to which he has memorized the combination.The plan is for Marshall and Hopkins to steal the cash and make off quickly before their identities are exploded, because already some remote acquaintances from Venice have been showing up and, coulant en regarde, are wondering where they've met Marshall before. They COULD make it but the fly in the ointment is that Marshall and Francis hunger for one another. Should Marshall dump the savvy but small-minded Hopkins for the sophisticated and monumentally wealthy Francis? In another kind of movie, he would, but this was directed from a nothing Hungarian play by Ernst Lubitsch. His values are a little different from those of most other directors in Hollywood, matched only perhaps by those of Billy Wilder and Preston Sturges.The first time I saw a few minutes of it, years ago, it seemed old, discursive and boring. Saw it more recently and now I can understand the esteem in which so many others hold it. It's pretty funny.

Dalbert Pringle Trouble In Paradise (from 1932) was a very early example of (horrible) Hollywood "Screwball Comedy" (which was an irksome genre that prevailed throughout the 1930s & 40s). I find that the more I see "Screwball Comedy", the more I dislike it in all of its smug pretentiousness.With this particular picture, there was really nothing about it at all that made it stand out in any way from any other film in that genre. If you ask me - Trouble In Paradise really tried way too hard to be both cute and clever at the same time. And, as a result, this caused me to lose my patience with its story's overwhelming absurdity, time and again.Filled, to over-flowing, with petty squabbles, jealous anger, and backstabbing betrayals, Trouble In Paradise was, to me, nothing more than pseudo-sophisticated crap, all around. Thank goodness that this vintage picture had a running time of only a mere 82 minutes

TheLittleSongbird As wonderful films The Merry Widow, Heaven Can Wait and The Shop Around the Corner are, Trouble in Paradise in my view even better than them and quite possibly Ernst Lubitsch's- a director who rarely made a dud- best film. It is a truly beautiful-looking film with very stylish photography and some of the most exquisite costumes and sets of any 1930s film. Lubitsch again proves what a talented director he was, his direction here being full of class and subtlety in a way that only he could do, Trouble in Paradise has Lubitsch's trademark and distinctive style all over it. Trouble in Paradise is also brilliantly scripted, one of the best of any film of the 1930s to me. The comedy parts really sparkle in humour, the best parts being hysterical, and the romantic parts are really sweet and heart-warming without being too sentimental, both components beautifully balanced in a typically(for a Lubitsch film) sophisticated way. Few scripts from 1930s films were this sophisticated even. The story draws you right in from the start and doesn't stop, the warm humour, subtle touches, sophistication, classy charm and emotion were just captivating that few other romantic comedies managed this well. And the acting is close to faultless, Herbert Marshall makes for a charming leading man in a performance that is among his best, Kay Francis is glamour personified and Miriam Hopkins has fun in her role. Character actors Charles Ruggles and Edward Everett Horton are very funny, though Horton was ever so slightly under-utilised, and C. Aubrey Smith is effectively fierce. In conclusion, romantic comedy at its best in a film as close to perfection you can get. 10/10 Bethany Cox