Timepiece (1996)

Set in the 1940s, an Irish immigrant (Naomi Watts) takes a job as the secretary of a young and wealthy businessman (Kevin Kilner) and they fall in love and marry. But tragedy invades their lives and threatens to destroy their marriage. Based on the novel by Richard Paul Evans and directed by Marcus Cole. This is a prequel to THE CHRISTMAS BOX which was also written by Evans and directed by Cole with Naomi Watts playing a younger version of Maureen O'Hara's character from that movie. The term "Hallmark movie" is often spoken derisively and its movies like TIMEPIECE that provide ample ammunition for that contempt. This is a shamefully manipulative chunk of saccharine. Its theme is forgiveness (which I find an overrated virtue) and the movie's finale goes all Oprah on us as the family priest insists they must forgive their daughter's murderer in order to move on. I suppose it was too much to expect revenge in a Hallmark movie. Pure twaddle! With Ellen Burstyn, James Earl Jones and Richard Thomas.

Arise My Love (1940)

During the latter days of the Spanish Civil War, a reporter (Claudette Colbert) poses as the wife of an imprisoned American pilot (Ray Milland) to save him from execution from Spanish fascists. She did it because she wants an exclusive story for her newspaper. The pilot, however, finds her very attractive and actively pursues a romantic relationship even though she is more interested in her career than romance. Directed by Mitchell Leisen (EASY LIVING), the movie takes an unusual path for a romantic comedy mixed with propaganda. America had not yet entered WWII and there was still some apathy in the U.S. about supporting the "European" war. The film aims to entertain while encouraging active resistance to the Nazi takeover of Europe. The mix of the romcom and propaganda elements don't always go smoothly. As long as Colbert and Milland focus on the romantic and comedic aspects, all is well. The rest borders on preachy. The screenplay by Billy Wilder (not yet a director) and Charles Brackett won an Oscar for its story. With Dennis O'Keefe, George Zucco, Dick Purcell and Ann Codee. 

Rosmunda E Alboino (aka Sword Of The Conqueror) (1962)

The barbarian leader (Jack Palance) of the warring Lombard tribe (a Germanic tribe that migrated to what is now present day Hungary) attempts to make peace with the King (Andrea Bosic) of a neighboring kingdom and a condition of that peace is the hand of the King's daughter (Eleonora Rossi Drago) in marriage. But she loves another (Guy Madison) and a betrayal will set in motion a series of bloody events. Directed by Carlo Campogalliani, this sword and sandal affair is a rather dull example of the genre. It's not good enough to be taken seriously but there's none of the kitschy enjoyment of the more flamboyant peplum either! The battle sequences are among the most colorless I've seen but Angelo Baistrocchi's CinemaScope lensing is quite handsome. Palance chews the scenery (appropriately this time), Madison looks bored and Eleonora Rossi Drago is lovely. With Edy Vessel and Carlo D'Angelo.

A Wedding (1978)

The son (Desi Arnaz Jr.) of a prestigious and wealthy "old school" Chicago family marries the daughter (Amy Stryker) of a Kentucky nouveau riche family who made their money in trucking. At the wedding reception, trysts, secrets, romance, misunderstandings and death merge and clash. Directed by Robert Altman, this ensemble comedic satire is all over the place and the lack of cohesion prevents it from achieving any sort of flow. It just sputters and jerks all the way through to the end. Plus, despite the occasional spotty pieces of wit, it's just not funny. It comes across as a test run from one of his later, more successful ensemble movies like GOSFORD PARK. The characters aren't particularly interesting much less likable and there's so many of them that no one gets the opportunity to craft a detailed character. Lillian Gish as the matriarch of the family comes off best but that's probably because she's killed off at the beginning of the movie. A misfire but still, Altman has done far worse. The massive cast includes Carol Burnett, Mia Farrow, Vittorio Gassman, Howard Duff, Geraldine Chaplin, Dina Merrill, Peggy Ann Garner, Viveca Lindfors, Lauren Hutton, Paul Dooley, Nina Van Pallandt, Margaret Ladd, Marta Heflin, John Cromwell, Ruth Nelson, Pam Dawber, Pat McCormick and Dennis Christopher.

Being The Ricardos (2021)

Set during the second season of the hit sitcom I LOVE LUCY in 1952. Its star Lucille Ball (Nicole Kidman) is accused of being a communist by columnist Walter Winchell which could possibly derail her and her husband Desi Arnaz's (Javier Bardem) careers. Ball must also contend with her husband's infidelity as well as the network's refusal to incorporate her real life pregnancy into the show. Written and directed by Aaron Sorkin (TRIAL OF THE CHICAGO 7), I found this a never less than engrossing backstage tale with a knockout performance by Nicole Kidman. Kidman wisely doesn't even attempt to emulate Ball but instead chooses to concentrate on character over imitation. Despite having Ball's children (Lucie Arnaz, Desi Arnaz Jr.) has executive producers, the movie doesn't attempt to gloss over their parents' flaws. Ball is portrayed as a fierce iron lady and one can see why Arnaz would be intimidated and look elsewhere for feminine companionship. As one expects from an Aaron Sorkin film, the dialogue is pungent and incisive and Kidman spits it out with razor like precision. But it's not all Lucy and Desi. The characters of William Frawley (J.K. Simmons) and especially Vivian Vance (Nina Arianda) are given ample room to develop their characters. Sorkin takes dramatic license though I wish he had researched the period more. For example, in a flashback to 1942, Ball wishes she were getting the roles Rita Hayworth and Judy Holliday were getting. Except that Judy Holliday was NOT a big star in 1942! She had some bit parts in 1944 and didn't return to Hollywood until 1949! With Ronny Cox, Linda Lavin and Clark Gregg.

Flight Angels (1940)

A hot shot and reckless commercial pilot (Dennis Morgan) is grounded when his vision is impaired. This couldn't come at a worse time as he and his engineer pal (Wayne Morris) are preparing to test a newly designed aircraft that will go faster and higher than any known airplane. Directed by Lewis Seiler (GUADALCANAL DIARY), this look at aviators and flight attendants (or stewardesses at they are called here) is very much of its time. Its portrayal of the female flight attendants is very demeaning. They're portrayed as man hungry stewardesses (dimwitted or bitchy) who are after pilots and passengers looking for a husband. Morgan's character is thoughtless and self pitying and when he steals a plane whose flight could cost lives, we're supposed to admire his bravado rather than be justifiably repelled. A "B" programmer that remains solidly in its intended category. With Jane Wyman and Virginia Bruce as the more prominent of the flight attendants. Also in the cast: Ralph Bellamy, Jan Clayton, Mary Anderson, Margot Stevenson and John Litel. 

The Daydreamer (1966)

Set in Denmark, a young boy (Paul O'Keefe) who is the son of a poor shoemaker (Jack Gilford) dreams of a better life. In his dreams, he has many adventures which he will later put down on paper as the writer Hans Christian Anderson. Directed by Jules Bass (WACKY WORLD OF MOTHER GOOSE), this family movie uses stop motion animation for the fairy tale dream sequences and live action for the rest. The stop motion animation looks rather crude next to today's computer generated animation but it exhibits a certain "antique" charm. However, it's a rather drab movie with unmemorable songs except for Isn't It Cozy sung by three bats which I kind of liked. I would imagine most contemporary children would be bored by it. With Ray Bolger, Margaret Hamilton in the live action portion and doing voice work in the animated sequences: Hayley Mills, Tallulah Bankhead, Burl Ives in THE LITTLE MERMAID, Ed Wynn, Terry Thomas, Victor Borge in THE EMPEROR'S NEW CLOTHES, Patty Duke, Boris Karloff and Sessue Hayakawa in THUMBELINA and Cyril Ritchard as The Sandman.

West Side Story (2021)

Set in 1957 New York, two street gangs (one Caucasian, one Puerto Rican) fight for territorial rights over their turf. Tension builds when an ex-gang member (Ansel Elgort) who is Polish and the sister (Rachel Zegler) of a Puetro Rican (David Alvarez) fall in love. Based on the Broadway musical with music by Leonard Bernstein and lyrics by Stephen Sondheim (previously filmed in 1961) and directed by Steven Spielberg (JAWS). While there are many things to like about Spielberg's movie and I quite enjoyed it, bottom line: it's a pale imitation of the original. On the plus side, Bernstein's music is as gorgeous as ever and David Newman's orchestrations and Gustavo Dudamel's conducting do themselves proud. Rachel Zegler makes for an enchanting Maria (though she lacks Natalie Wood's innocence in the 1961 film) and Ariana DeBose whose fiery Anita equals Rita Moreno. Spielberg respects the original source material although some of his decisions are questionable like the Cool number which is drastically changed and the dancing minimalized. On the downside, the film is PC laundered and while I appreciate the attempt at inclusivity, it's all too obvious and sometime anachronistic. For example, the tomboy Anybodys (Iris Menas) of the original is now a proud and open transgender ..... in 1957??? Those gangs would have beat the crap out of him. Elgort is a wan Tony but so was Richard Beymer in 1961 so perhaps it's just the role. But Elgort is a weak singer and his rendition of the lovely Maria is flat while Jimmy Bryant (who dubbed Beymer) makes the song soar. Justin Peck's choreography pays homage to the great Jerome Robbins but again, his choreography can't touch Robbins'. The Dance At The Gym which was so thrilling in 1961 is bungled here. The character of Doc is replaced by Rita Moreno (who played Anita in the original) as Doc's widow and the part built up to a major supporting role and Spielberg gives her Somewhere to sing instead of Tony and Maria. Definitely worth seeing but it's just not the real thing. With Mike Faist, Jose Andres Rivera and Paloma Garcia Lee.

The Phantom Of The Opera (2004)

Set in 1870, a Paris opera house is haunted by an opera "ghost" who is said to live in the bowels of the theatre. A young soprano (Emmy Rossum) has been taken under the wing of the opera's mysterious phantom (Gerard Butler) who mentors her. But he soon has a rival when a man (Patrick Wilson) from the singer's childhood returns. Based on the smash Broadway musical by Andrew Lloyd Webber by way of the 1910 novel by Gaston Leroux and directed by Joel Schumacher (THE LOST BOYS). This is one heavy handed musical and if I'm to be honest, Webber's musical spectacle should have stayed in the theatre where it belonged. It's just not very good and the film can't improve the material. Has a good movie ever been made from a bad stage musical? It has two good songs and Schumacher's staging of Masquerade is impeccable but it's overwhelmed by spectacle which in retrospect is a good thing because without it, this would be a thumping bore. The film makers have denuded the horror of Leroux's tale. When the phantom is unmasked, it's just some scarring and nothing to scream about. Butler (who's not a singer) is woefully inadequate as the phantom, Rossum gets by and Wilson, who I normally find appealing, is a cipher. With Miranda Richardson, Simon Callow, Minnie Driver and Murray Melvin. 

Bulldog Drummond At Bay (1937)

A pacifist organization are actually agents of a foreign power. Their latest aim is to possess the plans of a remote control aircraft. Inadvertently, the adventurer Bulldog Drummond (John Lodge) is pulled into their plot and before he knows it, it's up to him to stop the bad guys! Based on the novel by Herman C. McNeile and directed by Norman Lee. There were 19 Bulldog Drummond books and countless film, TV and radio adaptations. The Bulldog Drummond series of movies were inconsistent, unlike the James Bond movies which had a specific style and quality. Probably because no one film company controlled the Drummond films. But this one is fairly entertaining though I could have done without the "comic" relief of Claud Allister as Drummond's best pal. Lodge makes for a virile hero and Dorothy Mackaill makes for an attractive femme fatale. Victor Jory was imported from Hollywood for the movie's villain. With Richard Bird, Hugh Miller and Wilfrid Hyde White.