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.

Tarzan The Ape Man (1932)

Two hunters (C. Aubrey Smith, Neil Hamilton) travel in Africa searching for a sacred elephant burial ground where they expect to find a wealth of ivory. They take along the older hunter's daughter (Maureen O'Sullivan) in their quest. But they come across a primitive white man (Johnny Weissmuller), almost ape like in his demeanor. Based on the 1912 novel by Edgar Rice Burroughs and directed by W.S. Van Dyke (SAN FRANCISCO). Not the first Tarzan feature film made but the most successful. It spawned 12 more movies with Weissmuller as Tarzan and the character would continue with Lex Barker and Gordon Scott playing the jungle hero among many others. It's a primitive film in more ways than one. I found much of it difficult to watch what with its indigenous people being whipped because they didn't move fast enough for their white bwanas and the random slaughter of animals in their native habitat because they were in the way. Weissmuller doesn't have to act, just look good in a loin cloth (which he does) and he doesn't come in until a half hour into the movie. The movie really belongs to O'Sullivan as Jane who carries most of the movie. For me, it was of interest for its historical aspect but not much else. I much preferred the Lex Barker Tarzan movies.

The Looters (1955)

When a plane crashes in the snow capped Rocky Mountains of Colorado, a mountain climber (Rory Calhoun) and his old Army buddy (Ray Danton) set out on their trail with the intention of rescuing any survivors. But the Army buddy is lured  by the $250,000 in cash they find among the plane's debris. Directed by Abner Biberman (THE NIGHT RUNNER). After a slow expository beginning, the film grows in intensity as the two mountain climbers and the survivors make the perilous trek down the mountain. The movie may be a minor Universal programmer but it does its job well and the acting is more than decent. The film benefits from its mountain locations though I have no idea where the film's exteriors were filmed (interiors shot at Universal) and handsomely shot by Lloyd Ahern (MIRACLE ON 34TH STREET) in B&W. A nifty adventure movie. With Julie Adams, Thomas Gomez, Frank Faylen and Russ Conway.

The Questor Tapes (1974)

An android (Robert Foxworth) created with cutting edge technology sets out on a quest to find his missing creator (Lew Ayres) in an attempt to find out his purpose. To this end, he is helped in his search by a young scientist (Mike Farrell). Directed by Richard Colla (THE UFO INCIDENT) and based on a concept by Gene Roddenberry, the man behind the original STAR TREK series. A fascinating premise poorly executed. The movie plays around with the idea of creation in terms of our own creation and our relation to our "creator" and the android's relation to his own creator but it doesn't explore it in any depth. It plays out like a TV movie of the week (which it was) and this is only amplified by the cipher that is Mike Farrell. The film has a large cult following but I, for one, would love to see it remade by more creative and daring minds. With Dana Wynter, John Vernon, Majel Barrett and James Shigeta whose part seems to have been severely cut.