Glucedee It's hard to see any effort in the film. There's no comedy to speak of, no real drama and, worst of all.

BelSports This is a coming of age storyline that you've seen in one form or another for decades. It takes a truly unique voice to make yet another one worth watching.

Griff Lees Very good movie overall, highly recommended. Most of the negative reviews don't have any merit and are all pollitically based. Give this movie a chance at least, and it might give you a different perspective.

Portia Hilton Blistering performances.

a666333 This film seems to never go away. I am not sure why. Perhaps because of Sterling Hayden, perhaps because of the footage of WW2 vintage aircraft and ships. I am fan of both but there is just not much to this. Hayden is on a carrier near Korea and starts recalling his WW2 days and we go quickly to an extended flashback of that. From then on, we get predictable scenes on the carrier involving the various personal issues of the pilots interspersed with stock Navy footage edited into dogfights, formations flying, bombing runs, landings and takeoffs. That is it, don't hope for anything else. The aerial footage itself will not satisfy the purist unless you hope to entertain and flatter oneself with identifying all its inconsistencies. Pilots can take off in a Hellcat, fly in a Corsair, bomb in a Helldiver or Avenger and then land in a Hellcat even though they are supposed to be part of a 1944 Navy fighter squadron which should almost certainly be using Hellcats exclusively. It is really quite an impossible mishmash that would give a good chuckle to any pilot from the time.

bkoganbing Flat Top is a run of the mill war film with an old plot device about a conflict between the group captain and the executive officer on how to command. But considering this came from Monogram Pictures which was transitioning to Allied Artists, for what product normally came from that studio this could have been Gone With The Wind.Monogram even sprung for color and utilized some real combat footage from the Battle of Leyte Gulf. The stars are Sterling Hayden and Richard Carlson as the skipper and his number 2. It's the usual story, the tough new skipper and the executive officer who is loved by the men under him. Both these guys and the cast beneath fill their roles out well.Giving as a high a rating as I do for a Monogram Picture believe me it's worth your while to give this one a look.

dtduke My pet peeve for most World War 2 movies (this one included) is the switching from one aircraft type to another in the same sequence, namely, a Corsair starts take-off and a Grumman Hellcat or Douglas Dauntless leaves the flight deck, or starting a dive-bomb attack with a Corsair and then showing a Hellcat completing the pass. There are many instances of this inconsistency in the film, but if you get past that it's OK. Also, Ensign Smith would probably not have been grounded for as long as it seemed he was (maybe a month), what with the need for pilots and the expense of his training. I know this was a plot move to make his return to the air at the end seem more dramatic, but it was a bit unrealistic.

ptb-8 My attraction to this B feature from 1952 is the above summary. Tragic perhaps to most, but to me, not even remotely interested in the Navy or war films or Sterling Hayden and Richard Carlson or anything to do with guns (it might as well have been a western too, for that matter, but it isn't) ... my only and complete fascination is that it was made by Monogram using interesting Cinecolor. I actually quite enjoyed FLAT TOP for about an hour then I lost the thread of the story. It seemed to be a never ending circuit of missions/Japs/well filmed interesting dogfights, pink explosions in cine-color and men in jets looking out the window. I think this was one of those films that worked well in huge theaters full of kids or servicemen. Monogram seemed to have well scammed a great idea to make a film: Get permission and co operation from the US Navy to film aboard one real aircraft carrier ( A: no sets needed) using lots of men in uniform (B: no costumes needed and C: hundreds of free extras) cobbled a story together about jostling dogfight commanders and some disciplinary tactics (scenes in small rooms using A+B and some outdoors/on deck filler scenes using C. The actual footage of some spectacular genuine dogfight action seemed to be plentiful (again, provided by the Navy or the War dept) as there was a lot of fight scenes and flying through explosions and bits of blown apart planes (all very interesting and adding to the reality) and on and on it went. Some back projection with actors wobbling and swerving their cockpit and presto: one Govt sanctioned movie as a Korean War propaganda and recruitment piece now showing thu 1952 in 10,000 theaters. Very profitable. My fascination with Monogram's production methods satisfied again. the Red/Bue cine-color was interesting as it resulted in tan skin tones with a lot of blue/grey (handy if you film an aircraft carrier and a sky) and a lot of orange/red (good for lifejackets and explosions). There was no yellow in the film and no actual green. It all worked as I am sure it was expected to. The music was excellent, the studio photography good too. Very well edited into 85 minutes. My research in Australia showed that it had a good run and stayed in play up until the 60s believe it or not. Monogram ceased to be a production name in 1953 when they changed name completely to Allied Artists. People criticize Monogram's inventive budget production methods but I find them ingenious.