The Strange Love Of Molly Louvain (1932)

After being abandoned by her wealthy boyfriend, a young girl (Ann Dvorak) finds herself pregnant. Leaving her child to be raised by strangers, she takes up with a petty gangster (Leslie Fenton) and finds her life spiraling down even further. Based on the play TINSEL GIRL by Maurine Dallas Watkins (CHICAGO) and directed by Michael Curtiz (CASABLANCA). This pre code crime drama is one of those "good girl gone bad" melodramas that aims for the tear ducts as mother love finds her sacrificing herself for her child. Except for the sweet bellhop (Richard Cromwell) who loves her and tries to lead her down the path of respectability, none of the movie's characters are very likable. One can't even find much to like about Molly Louvain (Dvorak) who wallows in self pity and makes terrible choices. Still, typical of most pre code movies it moves fast (1 hour, 13 minutes) so you don't have to much time to wallow with her. The movie is lucky to have the inviting Ann Dvorak in the lead who makes much of the silliness palatable. With Lee Tracy (at his most annoying as an opportunistic newspaper reporter), Guy Kibbee, Frank McHugh and Louise Beavers.  

隠し砦の三悪人 (aka The Hidden Fortress) (1958)

During a war between two fighting clans (Yamada vs. Akizuki), two ignorant peasants (Minoru Chiaki, Kamatari Fujiwara) join up with a mysterious man (Toshiro Mifune) and a mute woman (Misa Uehara) in crossing enemy lines with hidden sacks of gold. What the peasants don't know is that the man is a general in the Akizuki army and the woman is a princess of the Akizuki clan. Directed by Akira Kurosawa (SEVEN SAMURAI), this epic adventure movie was Kurosawa's first film in wide screen (TohoScope) and an obvious major influence on George Lucas' STAR WARS (1977). A big success in Japan, the film did poorly in the U.S. As usual, the clueless New York Times critic Bosley Crowther dismissed it. It's exciting and great fun and visually, it's a stunning film and cinematographer Ichio Yamazaki and Kurosawa's use of the B&W wide screen is superb. The action scenes are impressive but the visual highlight is the mesmerizing fire festival sequence. Some refer to the film as second tier Kurosawa but I don't view that as a condescension, second tier Kurosawa towers over most other directors. Mifune gives a robust performance and the appealing Misa Uehara in her film debut quit acting two years later. With Susumu Fujita and Eiko Miyoshi.

Madison Avenue (1961)

An advertising executive (Dana Andrews) is fired by the head of the company (Howard St. John) because he senses that the executive plans on starting his own advertising agency and take some top clients with him. The executive plots his revenge by taking a struggling ad agency inadequately run by a woman (Eleanor Parker) and building it up with the intention of destroying his former employer. Based on the novel THE BUILD UP BOYS by Jeremy Kirk and directed by H. Bruce Humberstone (I WAKE UP SCREAMING). Completed in 1960, this movie was released on a double in Great Britain in 1961 and wasn't shown in the U.S. until 1962. 20th Century Fox clearly had little faith in the film and the movie doesn't have a good reputation so I was expecting a dog. Therefore, I was pleasantly surprised at how much I enjoyed it. In its modest way, it's a cousin to Oliver Stone's WALL STREET (1987). With one exception, all the characters are cutthroats ready to stab a colleague in the back or use them when they're of use and then dispose of them after they've served their purpose. The one decent character is Jeanne Crain as a journalist who sees through everybody and has her own set of ethics. Certainly not a film to seek out but if it happens to come across your path, it's an enjoyable watch. With Eddie Albert, Henry Daniell, David White and Kathleen Freeman.

Sounder (1972)

Set in 1933 Louisiana, an African American family of sharecroppers struggle to survive raising sugar cane for the white landlord (Ted Airhart). When the father (Paul Winfield in an Oscar nominated performance) steals meat from a nearby smokehouse in order to feed his family, he is sentenced to one year at a work camp leaving his family to struggle without him. Based on the novel by William H. Armstrong and directed by Martin Ritt (THE LONG HOT SUMMER). When one hears the term "family film", one usually thinks of those generic Walt Disney comedies with Fred MacMurray as the father. But this is a family film in the purest sense of the term. It's heartwarming without being self indulgently sentimental and there's a simple and clean beauty to it. Anchored by a strong yet delicate performance by Cicely Tyson (also Oscar nominated), it's a well grounded observation of the African American experience in the Jim Crow era. The movie's title refers to the family's hound dog. With Kevin Hooks, Janet MacLachlan, James Best, Carmen Mathews, Sylvia Kuumba Williams and Taj Mahal. 

Elaine Stritch At Liberty (2002)

A film of the one woman show that Elaine Stritch did on Broadway which won a Tony award. She recounts her childhood and more importantly, her life in the theatre and it's a mesmerizing journey. She knew them all from Brando to Tennessee Williams to Noel Coward to Stephen Sondheim and everyone in between. She chronicles her romances, her hits and her failures, her battle with alcoholism and diabetes and always with a generous dose of humor and often poignance. And, of course, the songs associated with her long career from COMPANY, SAIL AWAY, PAL JOEY and even those shows she wasn't in but claimed anyway like I'm Still Here and Broadway Baby from FOLLIES etc. Her account of working on a stage production of THE WOMEN is both hilarious and heartbreaking. Stritch is a force of nature and a compelling stage presence and it helps if you're a theatre person so you recognize the names and the shows. A pure dynamite delight! Directed by George C. Wolfe.

Great Expectations (1998)

Set in Florida's Gulf Coast, a young boy (Jeremy James Kissner, later morphing into Ethan Hawkes) encounters an escaped convict (Robert De Niro), who he provides tools to cut his shackles and some food. Not long after, he is summoned to the decaying mansion of a rich but dotty old lady (Anne Bancroft) to entertain her. Based on the classic novel by Charles Dickens and directed by Alfonso Cuaron (GRAVITY). An interesting but misguided attempt at updating the 1861 Dickens novel to contemporary Florida and Manhattan. What did Cuaron hope to accomplish? Hawkes' self involved Finn bears no resemblance to the innocent Pip of the Dickens book. The Dickens narrative seems forced rather than organic to the material we're watching. If Cuaron wanted to change the Dickens narrative to suit his own creative purpose, he should have gone further in shedding the Dickens storyline. The splendid cinematography by Emmanuel Lubezki (THE TREE OF LIFE) assists the film immeasurably. As it stands, it's not good Dickens and it's not good Cuaron either. Still, not as bad as it could have been. With Gwyneth Paltrow, Chris Cooper, Hank Azaria, Kim Dickens, Nell Campbell and Josh Mostel.

Witchfinder General (1968)

Set in 1645 England during the English Civil War, an opportunistic witch hunter (Vincent Price) takes advantage of the situation to make a profit on getting "witches" to confess with the help of his sadistic henchman (Robert Russell). He falsely proclaims himself appointed the Witchfinder General by Parliament. Based on the novel by Ronald Bassett and directed by Michael Reeves (THE SORCERERS), who died nine months after the film's release at the age of 25. Although the movie's initial release was dismissed by most critical factions, the film has amassed a cult following and its reputation rehabilitated in the ensuing decades. Personally, I found most of the film repugnant, a nasty piece of goods with the director seemingly savoring every piece of torture and rape. Is there anything worthwhile about the film? Yes, Vincent Price is quite good and gives a restrained and chilling portrait of evil that is quite different from his often hammy performances in Roger Corman's Poe adaptations. With Ian Oglivy, Hilary Dwyer, Rupert Davies, Patrick Wymark, Nicky Henson and Margaret Nolan.

Bwana Devil (1952)

Set in 1898 British East Africa, a pair of lions terrorize the workers (Hindis imported from India) who are building the Uganda railway. Two men, an engineer (Robert Stack) and a doctor (Nigel Bruce), are in charge of the mission but their attempt at capturing the lions prove futile. Written and directed by Arch Oboler (FIVE), the film is notable as being the first feature film shot in the 3D process and briefly starting a 3D (the film's poster shrieked, "A Lion In Your Lap!") craze which didn't last very long (about a year). Outside of the first AVATAR film, I've always found 3D a novelty, a gimmick that outwears its welcome very quickly. As to the film itself, it's a routine African adventure based on the true story of the Tsavo maneaters that killed dozens of railway workers in late 19th century Kenya. Although set in Africa, the landscape definitely looks like Southern California. The narrative attempts to create a somewhat complex character in Stack's engineer: a man married to his boss's daughter (Barbara Britton) who considers himself a failure and exiled to Africa as some sort of punishment. Being 1952, most of the violence is either muted or done off screen. Of interest as a historic footnote of Hollywood showmanship. With Ramsay Hill and John Dodsworth.

Against The Wind (1948)

Set during WWII, a Catholic priest (Robert Beatty) is recruited by the wartime British Special Operations Executive to covertly be dropped behind enemy lines in Belgium in order to destroy a Nazi records office in Brussels and to spring a prominent British agent (Peter Illing) from the prison where he is held by the Nazis. Directed by Charles Crichton (A FISH CALLED WANDA). An unexceptional war movie that's notable for Simone Signoret in her first English language film. As to the film itself, if you're into war movies you might enjoy it although the emphasis is not on battle but suspense as a handful of recruits parachute into Nazi held Belgium to accomplish their mission in a short span of time. I found some of these saboteurs not too bright as their actions risk the lives of their compatriots and the mission too. A proficient (it's watchable) but unimaginative movie. With James Robertson Justice, Jack Warner, Gordon Jackson, Paul Dupuis, John Slater and Andre Morell.

Blonde Crazy (1931)

A small time grifter (James Cagney) works as a bellhop in a midwestern hotel. He takes a fancy to the new chambermaid (Joan Blondell) and lures her into partnering with him into scamming rich men. But being arrogant and confident, he doesn't realize he's not ready for the big time ..... yet. Directed by Roy Del Ruth (EMPLOYEES ENTRANCE). This scrappy pre code dramedy is very entertaining. Cagney's larcenous punk is just ripe to get taken down and I got a bit of pleasure seeing him fall. It's actually Blondell who is the smart one while there's something of the spoiled child in Cagney's character. The movie's ending is unsatisfactory as one despicable character doesn't get his comeuppance and Cagney gets the blame. It's fast moving, there's snappy dialog and Cagney and Blondell make for a great team and they're supported by an ace cast of supporting players. Among them Ray Milland, Louis Calhern, Nat Pendleton, Guy Kibbee and Noel Francis.

Furiosa: A Mad Max Saga (2024)

Set in an apocalyptic Australian landscape, a young female child (Ayla Browne, just marvelous) is kidnapped and taken to a camp of biker hordes where their leader (Chris Hemsworth) takes a liking to her. This is just the beginning of a decades long wait to execute an act of vengeance. A prequel to MAD MAX: FURY ROAD directed by George Miller (THE WITCHES OF EASTWICK), who has directed all the Mad Max films (this is the fifth entry). It took awhile for me to get into the movie but once I did, I was riveted. Browne eventually morphs into Anya Taylor Joy (who doesn't come into the movie until its second hour) and she's marvelous too. The film is CGI heavy but the CGI effects are very well done and not distracting. I think it was a mistake to make Hemsworth's character so "campy" (it takes away from his vileness) though given some of his dialog, I suppose that was the only way to play it. Incredibly, the film was a box office failure (it had a $168,000,000 budget) in spite of sterling reviews which would indicate the end of the franchise but we'll see. All in all, a most satisfying prequel: intense, thrilling and beautifully crafted. With Tom Burke, Lachy Hulme (playing two roles), Nathan Jones and Charlee Fraser.

Hellzapoppin (1941)

A producer and composer (Robert Paige) is in love with a wealthy heiress (Jane Frazee) but keeps it to himself as she's engaged to his best friend (Lewis Howard). An adaptation of the Broadway musical comedy revue and directed by H.C. Potter (MR. LUCKY). It's an adaptation of the Broadway hit in the loosest way because the play was constantly changing during its (over) three year run on Broadway (1,404 performances) with constant improvisation and script changes to remain topical. The stage show's stars Olsen and Johnson, a vaudeville comedy team, also star in the film. It's one bizarre movie as you can tell right from the beginning when a stage of chorus girls literally go to Hell where they are tortured by demons! The actors continually break the fourth wall and address the audience and we're constantly reminded we're watching a movie as it (intentionally) goes out of frame or the film breaks. Its frantic comedy is all over the place with sight gags and jokes coming from everywhere. With the constant barrage, some of the gags hit the mark, some don't. It's the kind of comedy where someone says, "It's got everything but the kitchen sink!" and the next moment someone walks in, "Here's your kitchen sink!". Yes, it's that kind of comedy. It also presages THE PRODUCERS by 25 years in having an intentionally bad musical so that it will flop turn into a hit show. The film's highlight is a sensational jitterbug number by black dancers known as Whitey's Lindy Hoppers. With Martha Raye, Mischa Auer, Hugh Herbert, Shemp Howard, Jody Gilbert and Elisha Cook Jr.

The Curious Case Of Benjamin Button (2008)

Set in New Orleans, an elderly woman (Cate Blanchett) on her deathbed asks her daughter (Julia Ormond) to read from the diary of a man she once knew called Benjamin Button (Brad Pitt in an Oscar nominated performance). Benjamin was born with the appearance and maladies of an elderly man but as the years go by, he progressively becomes younger. Loosely based on a short story by F. Scott Fitzgerald (THE GREAT GATSBY) and directed by David Fincher (GONE GIRL). The most humanistic of Fincher's films and despite its inordinate length (it pushes the three hour mark), my favorite of his cinematic output. It's just a lovely, poignant tale beautifully told and well acted. The film had been trying to get off the ground since the 1980s with directors like Steven Spielberg, Ron Howard, Frank Oz, Spike Jonze set to direct and actors like Tom Cruise, John Travolta and Martin Short in mind for the title role. Thankfully none of that came to pass as it's just about perfect the way it is and I can't imagine anyone else but Brad Pitt in the title role. The film received mostly positive reviews although it had its share of detractors which mystifies me (Roger Ebert just didn't get it). Magical and affecting, it gives us much to ponder as it examines a life worth living. With Taraji P. Henson (in an Oscar nominated performance), Tilda Swinton, Jared Harris, Elle Fanning, Mahershala Ali, Elias Koteas and Jason Flemyng. 

The Bat Whispers (1930)

A woman (Grayce Hampton) has rented a secluded country mansion for the summer. But a notorious killer known as The Bat begins terrorizing her household. It seems a large amount of money is hidden in the household. But just who is The Bat? Based on the play by Mary Roberts Rinehart and Avery Hopwood (previously filmed in 1926) and directed by Roland West (ALIBI). This version of THE BAT WHISPERS was filmed twice, once in 35 millimeter academy ratio (1.37) and once in 65 millimeter wide screen ratio (2:1) in a process named Magnifilm (wide screen wouldn't become the norm until 1953 when CinemaScope debuted). I watched the wide screen version and it looks gorgeous! Robert H. Planck (Ray June shot the 35mm) makes excellent use of the wide screen format and his crisp B&W lensing is a treat for the eye. As to the film itself, it creaks and the narrative is overcomplicated and the frantic acting plays to the balcony. I could have done without the comic relief of Maude Eburne's shrieking maid. I was hoping she would be one of The Bat's first victims but no such luck! THE BAT would be remade in 1959 as a film and done for television in 1960. With Chester Morris, Una Merkel, Gustav von Seyffertitz, Spencer Charters and William Bakewell.

Boys On The Side (1995)

A struggling lesbian rock singer (Whoopi Goldberg) wants to move to L.A. She responds to an ad looking for someone to share a ride to California which was put in the paper by an uptight real estate agent (Mary Louise Parker), who's in ill health, moving to California. On their way, they stop in Pittsburgh to visit the singer's ditzy friend (Drew Barrymore), who decides to join the others on their road trip after she smashes a baseball bet onto her abusive boyfriend's skull. It is only later they discover he died from his head wounds. Directed by Herbert Ross (THE GOODBYE GIRL), this road movie sounds like a retread of THELMA AND LOUISE but it isn't. It's yet another movie about female friendships and it shouldn't work but it does, largely because of its three talented (and appealing) leading ladies. The film expresses how although we can't choose the family we're born into, we can choose the family we want as adults and they don't have to be blood kin. It's funny, it's poignant and it's smart. This glut of films in recent years with over age 65 actresses about female friendships could take a lesson from this one. The excellent supporting cast includes Matthew McConaughey, Estelle Parsons, Anita Gillette, James Remar, Amy Aquino and Gedde Watanabe.

Huckleberry Finn (1974)

Set in Missouri, a boy (Jeff East) is adopted by a widow (Lucille Benson) and her sister (Ruby Leftwich) after his abusive father (Gary Merrill) is presumed dead. But when the father turns up alive, the boy joins a runaway slave (Paul Winfield) in going downriver on a raft to Illinois. Based on the classic novel by Mark Twain and directed by J. Lee Thompson (CAPE FEAR). A real dud! This musical adaptation of Twain's novel with songs by Robert B. and Richard M. Sherman (MARY POPPINS) is a chore to sit through. The songs are just awful and with one exception, the majority of the performances are inconsistent, either too broad or too flat. The one exception is Paul Winfield who brings some dignity to Jim, the runaway slave. I'm not particularly a fan of the Twain novel but it deserves a better movie than this. Granted there have been some dozen or more film, TV and stage adaptations including another musical version BIG RIVER, a 1985 Broadway musical which won some 7 Tonys (which I've not seen) but it has to be better than this. With Harvey Korman, David Wayne, Natalie Trundy, Arthur O'Connell and Odessa Cleveland.

Riverboat: Payment In Full (1959)

A simple minded man (Aldo Ray) works as a flunky for a gambler (William Bishop), who is his only real friend. But when the gambler accidentally kills a man and goes into hiding, the mentally challenged man turns him in for a $1,000 reward so he can give the girl (Barbara Bel Geddes) he loves the things she deserves but his conscience won't leave him alone. Directed by Douglas Heyes (KITTEN WITH A WHIP), this was originally the first episode of the RIVERBOAT television series. On its own, it's a rather formulaic tale of guilt and redemption. But the acting is good, especially Aldo Ray who brings a pathos to his beefy childlike hulk. Director Heyes and his cinematographer Ray Rennahan (GONE WITH THE WIND) give the story an authentic atmosphere of riverboat life on the Mississippi. The rousing score is by Elmer Bernstein (THE MAGNIFICENT SEVEN). With Darren McGavin, Burt Reynolds, Louis Hayward, Nancy Gates and John Larch.

Posse From Hell (1961)

A group of escaped criminals ride into a town called Paradise and proceed to shoot up the town, killing several townsfolk, as well as robbing the bank. They leave the town with a female hostage (Zohra Lampert) who they gang rape before leaving her for dead. The town's new sheriff (Audie Murphy), a former gunslinger, sets out with an inexperienced and unreliable posse to recover the girl, the bank's stolen money and get the killers dead or alive. Based on the novel by Clair Huffaker (FLAMING STAR) and directed by Herbert Coleman, better known as a producer and assistant director for Alfred Hitchcock in films like VERTIGO and THE MAN WHO KNEW TOO MUCH (1956). This is one of only two feature films he directed himself. As a westerns fan, I love coming across unheralded sleepers like this. It's a brutal, tough little western and very adult for its time. Audie Murphy may not have been a great actor but I've always liked his natural "acting" which was often better than those who didn't bother to hide their acting. His scenes with Lampert, a trained "Method" actress are very good as the dissimilarity between his subdued line readings and Lampert's decidedly dramatic line readings make for a nice contrast. Highly recommended for westerns fans. With John Saxon, Vic Morrow, Lee Van Cleef, Rodolfo Acosta, Robert Keith, Frank Overton and Ray Teal. 

The River (1951)

A wounded war veteran (Thomas E. Breen) comes to India to visit his cousin (Arthur Shields). Three young girls (Adrienne Corri, Radha Burnier, Patricia Walters) have their first encounter with love when they all fall in love with the American war veteran. Based on the novel by Rumer Godden (BLACK NARCISSUS) and directed by Jean Renoir (THE RULES OF THE GAME). This coming of age tale is just lovely. Played as a memory piece (the film is narrated by the adult version of Patricia Walters), we not only get a non sentimental view of adolescent growing pains but we see the beauty of India (albeit through western eyes) and how it casts its spell on foreigners without the clash of culture. These expatriate Brits (author Godden lived in India) blend in the best they can rather than impose Colonialist condescension toward the indigenous citizens. Visually, the film is stunning with the three strip Technicolor lensing of Claude Renoir (THE SPY WHO LOVED ME) creating a striking feast for the eyes. Renoir uses some non actors (like Breen and Walters) in major roles and while their inadequacies (especially Breen) show, it doesn't harm the movie in any way. A perfect example of cinema as poetry. With Nora Swinburne and Esmond Knight.

The Spider Woman Strikes Back (1946)

A young woman (Brenda Joyce) comes to a small rural town to act as a companion to a blind woman (Gale Sondergaard) who lives in a secluded mansion with only a mute servant (Rondo Hatton) residing with her. It doesn't take long for the new companion to suspect something is not right in the foreboding household especially when the local cattle begins to mysteriously die. Directed by Arthur Lubin (ALI BABA AND THE FORTY THIEVES). Sondergaard had played the Spider Woman in the 1943 Sherlock Holmes film THE SPIDER WOMAN but this is not a sequel and in no way related to the Holmes film. Universal had hoped to add a SPIDER WOMAN franchise to its horror catalog but the movie was not a success and the idea was abandoned. As a horror movie, there's not much style or suspense attached to it and outside of Sondergaard's sinister performance and Rondo Hatton's creepy looks, it's not interesting at all. Certainly, the bland supporting cast brings nothing to the party. Granted, it's a feeble script but director Lubin doesn't even try to up the ante, his direction just plods along. With Kirby Grant, Milburn Stone and Hobart Cavanaugh.

Dark Hazard (1934)

A compulsive gambler (Edward G. Robinson) falls in love with a nice girl (Genevieve Tobin) and resolves to give up gambling and become the kind of husband and family man that would make his wife happy. He tries but after they're married, the lure of gambling is too strong. Based on the novel by W.R. Burnett (LITTLE CAESAR) and directed by Alfred E. Green (THE JOLSON STORY). An unusual pre code film in that it acknowledges its protagonist's addiction while suggesting that maybe he's not the family man type and maybe he would be better off with his own kind. The film's title comes from the name of a black greyhound that the gambler becomes fond of while betting on dog racing. The movie subverts our expectations and instead of our "hero" giving up gambling and becoming a suburban husband and living happily ever after with his traditional wife, we get the happy ending but it's not the cliched one. With Glenda Farrell, Sidney Toler, George Meeker, Emma Dunn and War Cry in the role of Dark Hazard.

The Best Things In Life Are Free (1956)

Set in the 1920s, the songwriting team of DeSylva (Gordon MacRae), Henderson (Dan Dailey) and Brown (Ernest Borgnine) have great success at turning out song hits and Broadway musicals but less luck with their personal turmoil. Directed by Michael Curtiz (WHITE CHRISTMAS). Yet another slapdash musical that takes the lives of a composer(s) and turns it into a cliche pudding. Alas, this one is drearier than most and it feels cut rate (it's 20th Century Fox, not MGM). DeSylva, Henderson and Brown are responsible for some famous songs like Button Up Your Overcoat, You're The Cream In My Coffee, It All Depends On You, Varsity Drag as well as the title tune. The credits claim it was based on a story by John O'Hara (BUTTERFIELD 8) though there's nothing remotely O'Hara in the film's morass of banal narrative. Some of the musical numbers are decently executed with only one, Birth Of The Blues danced by Sheree North (playing MacRae's on again-off again girlfriend) and Jacques D'Amboise that stands out. With Tommy Noonan, Larry Keating, Phyllis Avery, Roxanne Arlen, Murvyn Vye and Ann B. Davis.

Book Club: The Next Chapter (2023)

COVID-19 has forced four friends to doing their book club thru Zoom calls rather than meet in person. When the pandemic has subsided enough so they can meet in person, there have been changes in their lives. Carol (Mary Steenburgen) has been forced to close her restaurant, Sharon (Candice Bergen) has retired as a judge, Vivian (Jane Fonda) gets engaged to her boyfriend (Don Johnson) and Diane (Diane Keaton) resists overtures to marry her boyfriend (Andy Garcia). To celebrate Vivian's engagement, the girls decide to throw her a bachelorette party ..... in Italy! A sequel to the 2018 BOOK CLUB and directed by Bill Holderman, who directed the first installment. Was a sequel really necessary? Not really but we're treated to a Cook's tour of Rome, Venice and Tuscany gorgeously shot by Andrew Dunn (GOSFORD PARK). The four actresses are enormously appealing which almost helps them coast over the formulaic sitcom plot and dialog as it marches to its corny conclusion. You know what you're in for but if you're a fan of the four actresses, it's tolerable (just). With Giancarlo Giannini, Don Johnson, Andy Garcia, Craig T. Nelson, Hugh Quarshie and Vincent Riotta. 

Dune (2021)

In the very distant future, the ruler (Oscar Isaac) of the planet Caladan is assigned to take the position of fiefholder on the planet Arrakis, a desert planet. He is accompanied by his concubine (Rebecca Ferguson) and their son (Timothee Chalamet), who has a destiny to fulfill on the desert planet. Based on the novel by Frank Herbert (previously filmed in 1984 and as a mini series in 2000) and directed by Denis Villeneuve (ARRIVAL). It's expertly made, certainly superior to the disastrous 1984 David Lynch movie (haven't seen the mini series) but I suspect I'm not the demographic for this kind of movie. It takes itself deadly serious as if it were actually saying something important. While it's enterprising in its attempted range, it's handicapped by its cumbersome source (the Herbert novel). The production values and special effects are superb but I wasn't impressed by dreary score by the Hans Zimmer factory. I'll catch up with DUNE 2 but I'm not looking forward to it. Hopefully, it will be more stirring. The large cast includes Javier Bardem, Zendaya, Jason Momoa, Josh Brolin, Stellan Skarsgard, Dave Bautista, Charlotte Rampling and Sharon Duncan Brewster (the film's best performance). 

Movie Movie (1978)

Two different stories set in the 1930s but both a homage to the so called Golden Age of Hollywood: DYNAMITE HANDS is a B&W boxing movie about a delivery boy (Harry Hamlin) studying to be a lawyer at night who becomes a boxer to get fast money so he can get enough for an operation for his kid sister (Kathleen Beller), who is losing her sight. BAXTER'S BEAUTIES OF 1933 is a color musical about a terminally ill Broadway producer (George C. Scott) who wants to produce one last big hit before he dies. Directed by Stanley Donen (FUNNY FACE). This is an affectionate parody of 1930s genre films, specifically by Warner Brothers (here called Warren Brothers). If you're a film buff, there's a lot of charm throughout and Donen and his writers don't condescend to the movies they're satirizing (much like Mel Brooks tribute to westerns and horror movies in 1974). Alas, in spite of sterling reviews, the movie died at the box office. Some of the cast (like Scott) appear in both movies while some (like Hamlin) only appear in one of them. Fun stuff. Among other cast members: Art Carney, Eli Wallach, Barbara Harris, Trish Van Devere, Red Buttons, Ann Reinking, Barry Bostwick, Michael Kidd, Jocelyn Brando and Rebecca York.

Saigon (1948)

After the end of WWII, a pilot (Alan Ladd) learns his flying buddy (Douglas Dick) is terminally ill. In order to finance one last fling for his pal, he accepts a lucrative flying job from a crooked profiteer (Morris Carnovsky). But everything goes wrong, starting with a crash landing in French Indochina (now Vietnam). Directed by Leslie Fenton (THE SAINT'S VACATION), this was the fourth and final pairing of Alan Ladd and Veronica Lake, a popular screen team at Paramount. Unlike their previous hit movies, the film was only a modest success and Lake's career began fading away while Ladd continued to be a popular star at Paramount. The film is usually derided as the weakest of the Ladd/Lake vehicles and while I can't argue that it's the least effective of their pairings, it's not a horrible film. The Ladd/Lake chemistry is still in full force but the narrative is tired and the film's exotic atmosphere (although filmed on the Paramount soundstages) can't disguise the wan screenplay. Lake looks quite fetching in her Edith Head costumes. With Luther Adler and an annoying Wally Cassell, who's there (I think) for laughs but I found him ultra irritating.

The One And Only, Genuine Original Family Band (1968)

Set against the backdrop of the 1888 presidential election, a family finds itself divided by politics as the grandfather (Walter Brennan) is a Democrat for Grover Cleveland and his son (Buddy Ebsen) is a Republican for Benjamin Harrison. Based on the biographical book THE FAMILY BAND: FROM THE MISSOURI TO THE BLACK HILLS by Laura Bower Van Nuys and directed by Michael O'Herlihy (FIGHTING PRINCE OF DONEGAL). After the success of MARY POPPINS, Walt Disney attempted to follow that with more family oriented musicals but neither THE HAPPIEST MILLIONAIRE (1967) or this one found favor with either critics or the public. Personally, I found FAMILY BAND rather pleasant with some good songs by Richard M. And Robert B. Sherman (CHITTY CHITTY BANG BANG) and energetic choreography by Hugh Lambert especially in the West Of The Wide Missouri production number. Its thin storyline can hardly be called scintillating but it's good enough to hang a handful of musical numbers on it. With Lesley Ann Warren, Janet Blair, John Davidson, Kurt Russell, Wally Cox, Pamelyn Ferdin and in her film debut, Goldie Hawn.

The Mackintosh Man (1973)

A petty criminal (Paul Newman) becomes an intelligence operative for British Intelligence. His assignment is to infiltrate a Soviet spy ring operating in Great Britain. This necessitates going undercover into prison and breaking out with an imprisoned Soviet spy (Ian Bannen). Based on the novel THE FREEDOM TRAP by Desmond Bagley and directed by John Huston (TREASURE OF THE SIERRA MADRE). If I had to sum this movie up in one word, it would be ... forgettable! Three years earlier, Huston had done a much superior and underrated spy thriller THE KREMLIN LETTER and he should have let the Cold War spy genre alone after that. It's an inert movie lacking any suspense or atmosphere. I did like the movie's cold blooded ending but you have to wade through 90 minutes of tediousness to get to that. There's a lot of talent involved including director Walter Hill (who wrote the screenplay), cinematographer Oswald Morris (OLIVER!), composer Maurice Jarre (LAWRENCE OF ARABIA) but none of their talent shows up on the screen. With James Mason, Dominique Sanda, Harry Andrews, Michael Hordern, Jenny Runacre and Roland Culver.

Des Femmes Disparaissent (aka The Road To Shame) (1959)

Suspicious of where his girlfriend (Estella Blain) goes at night, her boyfriend (Robert Hossein) attempts to follow her but he is attacked by two thugs (Philippe Clay, Pierre Collet). It seems the naive girlfriend thinks she's going to a party with her girlfriends when in reality, she's walking into a sex trafficking ring. Based on the novel by Gilles Morris Dumoulin and directed by Edouard Molinaro (LA CAGE AUX FOLLES). The movie opens with a scrawl saying it won't sugarcoat the horror of sex trafficking but it seems to exploit the topic in an unpleasant way. It wouldn't be wrong to suggest they use the topic to titillate their audience. If it weren't for the talent behind and before the camera like director Molinaro and fine actors like Hossein, Clay and Magali Noel (as a procuress for the trafficking ring), I'd call it an exploitation film. The film is accompanied by an excellent jazz score by the great Art Blakey. With Robert Lombard, Jane Marken and Jacques Dacqmine.

Hi Nellie! (1934)

After refusing to print an unsubstantiated story, a newspaper editor (Paul Muni) is demoted to writing the paper's advice to the lovelorn column. In a bit of irony, this assignment will lead to the biggest story the newsman ever had! Directed by Mervyn LeRoy (RANDOM HARVEST). The 1930s were fond of movies about the press and the reporters who would put everything on the line for a major scoop. "Stop the presses! I've got a story that will blow this town wide open!" was a familiar line. This tight little crime drama zips along like a bullet train. Early in his film career, Paul Muni was an exciting actor to watch in movies like SCARFACE, BORDERTOWN and I AM A FUGITIVE FROM A CHAIN GANG and he's terrific here in a role that one usually associates with an Edward G. Robinson or Warren William. Alas, after "prestigious" film like STORY OF LOUIS PASTEUR and LIFE OF EMILE ZOLA, he lost his edge and began giving hammy performances. If you're a fan of these quick moving newspaper movies, this one is a joy. With Glenda Farrell, Ned Sparks, Douglass Dumbrille, Marjorie Gateson and Edward Ellis. 

Texas, Brooklyn And Heaven (1948)

A reporter (Guy Madison) on a Texas newspaper quits his job and drives to New York where he hopes to write a play. On route, he picks up a hitchhiker (Diana Lynn) who he talks into coming to New York with him. Based on the novel EDDIE AND THE ARCHANGEL MIKE by Barry Benefield and directed by William Castle (HOUSE ON HAUNTED HILL). A monotonous romantic comedy impeded by a substandard screenplay, torpid direction and a miscast leading man. The hunky Madison was good in westerns but a fizz in romcom. The high spirited Diana Lynn gives it a good try but Madison gives her nothing to play off of. Granted, the public domain transfer I saw was pretty ragged but I doubt even a pristine print could improve the film outside of visually. The movie's one bright spot is Florence Bates, who steals the film as a pickpocket trying to reform. With Audie Murphy, James Dunn, Lionel Stander, Margaret Hamilton, Michael Chekhov, Irene Ryan, William Frawley and Moyna Macgill.  

The Shuttered Room (1967)

Sent away at the age of 4 from the island off the coast of Massachusetts where she was born, a young woman (Carol Lynley), recently married, returns to the island to claim her inheritance, an old mill left to her by her parents. The superstitious islanders urge her to stay away as there is a curse on the house. Based on the story by H.P. Lovecraft and August Derleth and directed by David Greene (GRAY LADY DOWN). Although the story takes place in the U.S., the movie was filmed in England and aside from its two stars, the rest of the cast is British. Thus, the film never feels like it takes place in America, it looks like England and the Brit cast aren't convincing as Yanks. The film is handsomely shot courtesy of cinematographer Kenneth Hodges (THE RULING CLASS). Alas, the screenplay is poorly constructed. There's no suspense and its characters don't behave naturally, they behave like the script wants them to. With a young Oliver Reed (exuding a menacing sex appeal), Flora Robson and Ann Bell.

Finger Man (1955)

An ex-convict (Frank Lovejoy) is caught heisting a truck shipment. The police offer him a deal that if he goes undercover to get information on a mobster (Forrest Tucker) that he will receive immunity from prosecution ..... if he survives! Directed by Harold D. Schuster (TARZAN'S HIDDEN JUNGLE). This crime film noir may be a by the numbers B movie but it serves its purpose. As the petty crook who finds himself at a crossroads and decides to play on the side of the good guys, Frank Lovejoy dutifully sneers and punches people out but he doesn't have the bravado necessary for the role, something even a minor actor like John Payne could have easily  knocked off. As the femme fatale, Peggie Castle is bumped off too early and she's missed.  A very minor entry in the noir canon but film noir fans should have a pleasant enough time with it. With Timothy Carey (very effective as a sadistic cry baby thug), Joi Lansing and John Cliff.

The Only Thrill (1997)

Set in a small rural town in 1966 Texas, a man (Sam Shepard) who owns a clothing store has a wife in a coma from which she will never awake. Into his shop one day walks a seamstress (Diane Keaton) looking for work. Their attraction to each other is casual at first but as the movie follows their rocky relationship for the next 30 years, it's apparent that it isn't casual. Based on the play THE TRADING POST by Larry Ketron (who adapts his play for the screen) and directed by Peter Masterson (TRIP TO BOUNTIFUL). A tedious ..... romantic comedy (?) for lack of a better description although I found it neither romantic or comedic. What I found it was pointless and lethargic. The film's "message" of grab love when you find it or else you'll regret it for the rest of your life has been done before and in better movies (LETTERS TO JULIET comes to mind). With Diane Lane, Robert Patrick, Sharon Lawrence and Tate Donovan. 

Street Scene (1931)

Set during a heat wave in a working class neighborhood in New York City, the residents of a tenement apartment house live out their lives. Some are content to accept their lot in life while others dream of more. Based on the Pulitzer Prize play by Elmer Rice (who adapted his play for the screen) and directed by King Vidor (OUR DAILY BREAD). This pre code drama makes little concession to cinema for most of its running time as (like the play), almost the entire action takes place on the stoop of a brownstone apartment house. With the exception of one brief scene, director Vidor shot the entire film on a single soundstage. Toward the tragic finale, Vidor breaks away from the stoop front and opens up the film including some marvelous wide crane shots. It's a talky film but the dialogue is good and Rice gives us a sense of the frustration of its characters who dream of getting out of its often shallow and petty neighborhood where small minds gossip and judge. Many of the actors in the film are recreating their stage roles. The film is also notable for Alfred Newman's titular title theme which has been cinematically synonymous with the New York skyline and which he re-used in many subsequent film scores (notably HOW TO MARRY A MILLIONAIRE). The excellent cast includes Sylvia Sidney, Estelle Taylor, Beulah Bondi, William Collier Jr., David Landau, Russell Hopton and John Qualen. 

Celle Que Vous Croyez (aka Who You Think I Am) (2019)

After her much younger lover (Guillaume Gouix) abandons her, a middle aged college professor (Juliette Binoche), who fears aging, creates a fake Facebook account using a fake identity as a much younger woman and begins a virtual romance with another younger man (Francois Civil), who happens to be her ex-lover's roommate. But this "catfish" romance will end in psychological damage and tragedy. Based on the novel by Camille Laurens and directed by Safy Nebbou (IN THE FORESTS OF SIBERIA). It took awhile for me to get into this psychological drama because I found Binoche's character too disturbing. She's obviously an intelligent woman yet she pursues this virtual relationship knowing it's impossible for it to end happily. Her behavior is borderline psychotic. Eventually, in the movie's second half we find out the psychological reasons for her behavior and I became more sympathetic toward her and she slowly seems to be healing then comes the chilling final shot! Binoche is excellent (when isn't she?) but this is one distressing movie! With Nicole Garcia, Marie Ange Casta and Charles Berling.