Chicken Every Sunday (1949)

Set in 1910 Arizona, a wife (Celeste Holm) contemplating a divorce from her husband (Dan Dailey) reflects  on their marriage of twenty years and her husband's dreams of getting rich which always seemed to backfire. Based on the play by Julius J. Epstein and Philip G. Epstein by way of the autobiographical book by Rosemary Taylor and directed by George Seaton (AIRPORT). One of those folksy nostalgic "how we used to be" family comedies that proliferated in Hollywood during its "Golden Age". MEET ME IN ST. LOUIS and LIFE WITH FATHER are probably the most memorable but there were many others. This is one of the lesser contributions. Dailey's character is irritating and puts his business schemes before the needs of his family (he mortgages the house without telling his wife) yet because he loves his family, everything is supposed to be forgiven so we can get that happy ending. It just didn't work for me. With Natalie Wood, Alan Young, Colleen Townsend, Connie Gilchrist, William Frawley and Veda Ann Borg. 

Civil War (2024)

Set in the near future, a civil war has erupted in the United States between an authoritarian federal government and regional factions (notably California and Texas). The film focuses on a group of journalists heading to Washington D.C. to photograph and interview the third term President (Nick Offerman) before the city falls. Written and directed by Alex Garland (EX MACHINA), this unsettling view of a nation torn apart by hate and divisiveness is as much about journalism as it is about a country fractured by ideologies. I would have loved to comment how far fetched the plot is but it seems frighteningly prescient. Garland takes no sides and offers no solutions and instead lets his narrative focus on the dehumanization of mankind in a war where even the "good guys" are the enemy. One can't help but think of the precipice where the U.S. is tottering toward or even the Israel/Gaza situation. The acting is of a high order especially Kirsten Dunst as the war photographer who finds her objectivity wavering, Cailee Spaeny as an aspiring photo journalist and Stephen McKinley Henderson in an understated performance as an aging journalist who's seen it all. Perhaps not the great film it could have been (we're never given any background on the impetus of the war) but good enough and yes, a film that needed to be made. With Wagner Moura, Jesse Plemons and Nelson Lee.

I... Comme Icare (aka I As In Incarus) (1979)

Set in an unnamed country in the West. After the assassination of a President (Gabriel Cattand), an investigation committee comes up with questionable conclusions about a lone gunman. One of the commission's members, the state attorney (Yves Montand) disagrees with the conclusions of his peers. He reopens the case and unspools a tightly wound conspiracy plot. Directed by Henri Verneuil (THE SICILIAN CLAN), this is a zealous conspiracy thriller that takes a methodical approach to its subject rather than the intense pacing of a conspiracy thriller like Costa Gavras' Z. This does not mean it's any less exciting (though it never reaches the potent power of Z) but its leisurely pace diffuses some of the movie's potential intensity. Although a product of France, the location of its fictional narrative is never mentioned but the film is obviously inspired by the Kennedy assassination and the Warren Commission Report. The film received five Cesar (the French Oscar) nominations including best picture. With Michel Albertini, Henry Djanik, Jean Lescot, Jean Negroni and Francoise Bette.

Victim (1961)

After a young homosexual (Peter McEnery) commits suicide because he's being blackmailed, a repressed homosexual (Dirk Bogarde) takes it upon himself to expose the blackmailing ring, even at the cost of his rising legal career. Directed by Basil Dearden (KHARTOUM), the film is notable for being the first English language film to explicitly deal with homosexuality openly and sympathetically although looking at it through contemporary eyes, it does seem somewhat condescending. Still, it's a landmark film on the subject matter and is credited with helping abolish British laws that criminalized homosexuality. I found Bogarde's performance problematic. He looks unhappy throughout the movie. Is it because he's repressing his true nature or is he unhappy being homosexual? As a movie, it's more successful as a social protest against an injustice as opposed to an artistic piece of cinema. With Sylvia Syms (excellent as Bogarde's wife), Dennis Price, Peter Copley, Anthony Nichols and Mavis Villiers.

Alaska Seas (1954)

Just released from jail, a fisherman (Robert Ryan) is hired by his old pal (Brian Keith), the head of the local salmon fishermen who have formed their own canning cooperative. The fishermen fight to keep a ruthless gang of fishing trap thieves at bay. But the ex-convict is short on cash and ethics. Directed by Jerry Hopper (SECRET OF THE INCAS), this is a remake of the 1938 film SPAWN OF THE NORTH. A second tier programmer that's a perfectly serviceable movie for undiscerning audiences. It's efficient if uninspired movie making that accomplishes what it sets out to do. Ryan is suitably black hearted, Keith is adequately heroic and Jan Sterling as their love interest doesn't have much to do except be lovely which she does without effort. With Gene Barry, Timothy Carey and Ross Bagdasarian, who would create Alvin and The Chipmunks four years later. 

Confirm Or Deny (1941)

Set in London 1940, an American war correspondent (Don Ameche) with newspaper ink in his veins anxiously awaits information from a Berlin correspondent regarding the invasion of England by the Germans. He is determined to scoop the competition at all costs, even if it means releasing classified information. Directed by Archie Mayo (THE PETRIFIED FOREST) with an uncredited contribution from Fritz Lang. A routine wartime propaganda war film (though the U.S. was not in the war yet) that uses HIS GIRL FRIDAY as its template. Ameche's manipulative newspaperman talks a mile a minute but the lackluster Ameche lacks Cary Grant's comedic chops and screen presence. As the romantic interest, Joan Bennett is lovely but she doesn't have much to do except react to Ameche. Even at a brief running time of one hour and fourteen minutes, the movie drags. With Roddy McDowall, Eric Blore and John Loder.

Jewel Robbery (1932)

Set in Vienna, a Baroness (Kay Francis) relieves the boredom of her marriage to an older man (Henry Kolker) with love affairs but even the adultery is beginning to bore her. However, when she is in a jewelry store and a gentleman thief (William Powell) and his gang break in and rob the place, he takes the time to flirt with her and she finds herself attracted to him. Based on the Hungarian play EKSZERRABIAS A VACI-UTCABAN by Ladislas Fodor (and its English adaptation by Bertram Bloch) and directed by William Dieterle (HUNCHBACK OF NOTRE DAME). A thin pre code romantic comedy and heist movie hybrid that does little to hide its theatrical origins. Still, there's the star power of William Powell showing off the charm that would make his Nick Charles in THE THIN MAN a hit two years later and Kay Francis modeling her Orry Kelly frocks. This was Powell's and Francis's fifth movie together and they play off each other nicely which compensates for the stilted screenplay. This being a pre code movie, adultery is treated quite casually (somehow in these movies, it seemed acceptable among the rich) and marijuana cigarettes passed around like candy! With Helen Vinson and Alan Mowbray.

The Boob (1926)

A meek young country boy (George K. Arthur) is in love with his childhood sweetheart (Gertrude Olmstead) but she's in love with a city slicker (Tony D'Algy). In order to impress her and win her back, he sets out to catch some bootleggers! Directed by William A. Wellman (THE HIGH AND THE MIGHTY), this minor silent comedy is watchable but lacks the originality and wit that make the Keaton and Chaplin silent comedies such classics. In fact, George K. Arthur comes across as a poor imitation of Buster Keaton. The movie is stolen by two supporting players, a black child actor who shockingly is not credited even though he has an important role and a mutt by the name of Benzine! The film is also notable for an early appearance by a young Joan Crawford in a minor role as a government revenue agent. Wellman's career would make a major leap the following year when he directed the Oscar winning WINGS. With Charles Murray and Edythe Chapman.

Thelma And Louise (1991)

Two best friends, Thelma (Geena Davis) and Louise (Susan Sarandon) set out for a weekend getaway in the mountains. But a stop at a country and western bar turns ugly when a man (Timothy Carhart) attempts to rape Thelma and is shot and killed by Louise. Directed by Ridley Scott (ALIEN). There had been a smattering of mainstream feminist movies in the 1970s (ALICE DOESN'T LIVE HERE ANYMORE, AN UNMARRIED WOMAN etc.) but nothing like the controversy and attention that made THELMA AND LOUISE one of the most talked about movies of the year. It wasn't a small intellectual film but a female road film that had as much action as a Charles Bronson movie and encompassed the anger, rage and frustration toward a male driven society that still treated women as second class citizens. While many feminists decried the violence in the film, audiences cheered the two women as they blew up a sexist trucker's vehicle. I think it's Sarandon's best performance and Geena Davis gives a trajectory to her ditzy housewife's journey of discovery till she realizes she can never go back to the way it was. In many ways, a landmark film. With Brad Pitt (in his breakthrough role), Harvey Keitel, Michael Madsen, Christopher McDonald and Lucinda Jenney. 

怪物 (aka Monster) (2023)

A single mother (Sakura Ando) raising a son (Soya Kurokawa) is alarmed by her son's disturbing behavior and suspects he is being abused by a teacher (Eita Nagayama) and she goes to the school to confront him but is unsatisfied with the school's response. Directed by Hirokazu Kore-eda (SHOPLIFTERS), the film won the best screenplay at the Cannes film festival. The film is a complex puzzle told from three different views and it takes awhile to get used to the fragmented narrative but slowly it emerges into a shattering but empathetic rumination on understanding and accepting who you are. Other themes show themselves: homophobia, bullying, parental abuse, guilt but they are secondary to the film's emotional core. The two central child performers (Hinata Hiiragi is the other boy) are amazing. Not an easy viewing but be patient, the reward is great. With Yuko Tanaka and Mitsuki Takahata.