“The message that a cherry cola, pinball, and some lipstick can capture the hearts and minds of the Germans is glaringly awkward. As a film, Margin for Error probably works better as a play, and a pre-World War II one at that.”

“Obviously, this is Lubitsch material. Preminger’s result is roughly at the same level as a Lubitsch-directed version of Angel Face would have been. Worse even. As an ardent admirer of both filmmakers, it’s incredibly disappointing to watch A Royal Scandal because of how thuddingly awful the movie turned out.” (Margin for Error & A Royal Scandal)

“Those who view Preminger as one of the most vital and enduring directors to successfully move through the studio system and into independent productions should see Daisy Kenyon as an essential film. The beautiful compositions, perfectly embodying the director’s intentions at any given moment, and the elegant camera movements that eschew the need for constant cutting are on full display throughout the film.” (Daisy Kenyon)

“Throughout, Preminger maintains a signature cool aloofness that often seems almost involuntary. His demeanor as a director has always been advertised as strict and harsh, but there’s an elegance in the finished product.” (The Fan)

“The film, with its obvious debts to the play’s stagebound interactions on just a couple of sets and heavy amount of dialogue, might not immediately reveal itself as a vehicle for a newly unleashed Preminger, but if you look closer I think there’s a bit more here than just a few surprising words and an interesting romantic triangle. The director’s remarkable ability to explore elegant and sophisticated relationships among adults (and he’d done it so effectively at Fox in films like Daisy Kenyon, The Fan, and Laura) is completely on target in this film. His insinuation of false ideals through a society riddled with decrepit imperfection was perhaps never stronger.” (The Moon Is Blue)

” In creating any sort of reasoned defense of the film, a key element must be Preminger’s surprisingly rigid attention to process. The plot has its flaws and the dialogue is often comatose on conception and flatly beaten to death in delivery, but some of Preminger’s directorial skill remains visible in the details. He presents fascinating - some might say tedious - steps of seemingly secondary activities while just as freely ignoring what one would typically consider as important aspects of the plot.” (Rosebud)