Duplicity (2009)

A chance meeting in Dubai between a CIA agent (Julia Roberts) and an M16 agent (Clive Owen) doesn't turn out well when she drugs him and robs him of documents after they have sex. When they meet again years later, the attraction between them still exists and leads to a complex plot that will make them rich ..... or so they think. Written and directed by Tony Gilroy (MICHAEL CLAYTON), this is a marvelously stylish spy romantic comedy. In a complicated entertainment like this (it's not told in a linear fashion), it helps to have appealing and attractive stars in the leads and Roberts and Owen have a strong chemistry that was previously displayed in Mike Nichols' CLOSER (2004). It's a cinematic puzzle and that turns off a lot of people who just want their stories told straight but I like puzzles so I find movies like this appealing (though not always, MEMENTO anyone?). With Paul Giamatti, Tom Wilkinson, Denis O'Hare, Kathleen Chalfant, Carrie Preston and Thomas McCarthy.

Come Along With Me (1982)

After her husband dies, an eccentric widow (Estelle Parsons) sells her house and moves to a new city and adopts a new identity. Once established at a rooming house, she decides to use her psychic talent by giving a seance! Based on an unfinished novel by Shirley Jackson (THE HAUNTING OF HILL HOUSE) and directed by actress Joanne Woodward. This mischievous bit of whimsy is fitfully amusing in bits and pieces but those bits and pieces never come together which leaves this production (originally made for PBS) rather jerky in its execution. Estelle Parsons is fine although we're almost always aware of how (too) hard she is trying to be quirky. And why all the cookie eating? It's not as bad as gum chewing but it's an annoying device. With Sylvia Sidney and Barbara Baxley. 

Black Tuesday (1954)

On the night of his scheduled execution, a vicious criminal (Edward G. Robinson) is sprung from prison in a daring escape by his cohorts. He takes several other prisoners on death row with him but he's mainly interested in one prisoner. A cop killer (Peter Graves) who has $200,000 from a bank robbery safely hidden away. Directed by Hugo Fregonese (MAN IN THE ATTIC), this crime drama takes a suspension of disbelief to enjoy it. I found it entertaining but its escape plot is so preposterous that it impedes one's pleasure. Surely even in 1954, security measures were stricter than what we're shown in the movie. Robinson is very good here. He's at his most repugnant and brutal. He makes his crustaceous thug in KEY LARGO look like a wimp. The film seems to want to make Graves's killer somewhat sympathetic but I didn't buy it. With Jean Parker, Jack Kelly, Warren Stevens, Milburn Stone and Russell Johnson. 

I Aim At The Stars (1960)

The story of the famous German aerospace engineer and architect Wernher von Braun (Curt Jurgens) covering his early days in Nazi Germany and his post WWII work with NASA. Directed by J. Lee Thompson (THE GUNS OF NAVARONE). As far as movie biographies go, this one is actually pretty good. The movie doesn't let von Braun off the hook with his Nazi past and the film explores his psyche which sees himself as a scientist, first and foremost and not responsible for the death and destruction that his work for the Nazis in Germany caused. His lack of humanity stands next to his dedication to science. He surrendered to the U.S. after WWII and while some thought he should have been tried as a war criminal, instead he was put to work with the American space program which tapped his brain. Should science have a conscience? Curt Jurgens is very good as von Braun but there are two supporting performances that also stand out: Gia Scala as a German spy working for the Allies and James Daly as a U.S. Major who opposes von Braun's inclusion into the U.S. space program. With Victoria Shaw, Herbert Lom, Adrian Hoven and Karl Stepanek.

American Graffiti (1973)

Set in the Central Valley region of California in 1962, two high school graduates are both set to go East to college but one (Richard Dreyfuss) is starting to doubt if college is what he really wants and the other (Ron Howard) is having difficulty with his high school sweetheart (Cindy Williams) when he suggests they see other people while he is away at college. Directed by George Lucas (STAR WARS), this coming of age dramedy received critical acclaim (including 5 Oscar nominations) and was a massive box office hit. The movie is drenched in nostalgia for 1960s small town Americana and the era's music and cruising culture. There's no doubt this is expert film making but I found that it didn't hold up well for me. Things that were amusing or we let slide in 1973 are more grating now. Williams' whiny character dragging down her boyfriend to give up his dreams and stay in their small town so he can be next to her (the epilogue says he became an insurance salesman) leaves a sour taste in the mouth. Dreyfuss's escapade with a gang of thugs in destroying property and stealing isn't amusing the way it was in 1973. Lucas dismisses the female characters in the film when we're only told about the fate of the male characters in the film's epilogue. The huge cast includes Harrison Ford, Candy Clark (in an Oscar nominated performance), Charles Martin Smith, Kathleen Quinlan, Mackenzie Phillips, Paul Le Mat, Suzanne Somers and Bo Hopkins.

Fraulein (1958)

During the waning days of WWII in Germany, an American prisoner of war (Mel Ferrer) escapes with the help of a German professor (Ivan Triesault) and his daughter (Dana Wynter). After the war, the POW, now a Major in the U.S. army, attempts to track down the two Germans who helped him. Based on the novel by James McGovern and directed by Henry Koster (FLOWER DRUM SONG). Severely different from the provocative novel on which it is based (interracial romance, rape, homosexuality, neo-Nazism), while the movie shows the harsh realities of apolitical Germans adapting to the difficulties of post war occupied Germany, it still romanticizes the situation to an extent and leads to a happy ending. Ferrer's prisoner of war, a major character in the film isn't even in the book but created by the film makers for that happy ending. For what it is, I liked it and it was nice seeing the appealing Dana Wynter (who I've always liked) in a lead role that is the focus of the film. Alas, the transfer I saw was less than stellar. With Dolores Michaels, Margaret Hayes, James Edwards, Theodore Bikel, Herbert Berghof, Jack Kruschen and Helmut Dantine.

The Falcon And The Co-eds (1943)

A student (Amelita Ward) at a girls school contacts the amateur detective known as The Falcon (Tom Conway) for help in solving the murder of a popular teacher at the school. When he arrives at the girls school, he finds that the teacher's death has been ruled a suicide. Directed by William Clemens (THE CASE OF THE VELVET CLAWS), this is the seventh entry in the Falcon franchise and it is one of the lesser ones. The mystery just isn't very interesting and neither are the plethora of red herring suspects. The gaggle of RKO starlets surrounding Conway's Falcon aren't much help to the convoluted shenanigans. Fortunately, at a quick one hour and eight minutes running time, one doesn't get bored but it's still a disappointment. With Jean Brooks, Isabel Jewell, Rita Corday, George Givot and William Gargan.

Private Number (1936)

A young girl (Loretta Young) gets a job as a maid in the household of a wealthy family. She catches the eye of the devious butler (Basil Rathbone) who rules the household staff with an iron hand. Although he makes romantic overtures to the girl, she finds herself falling in love with the household's young heir (Robert Taylor). Based on the play COMMON CLAY by Cleves Kinkead (previously filmed in 1930) and directed by Roy Del Ruth (ON MOONLIGHT BAY). The 1930 film version was a pre code film so it was allowed to be more sordid. This movie coming in during the era of the Hays Code is cleaned up and made more romantic. It's yet another movie about a poor serving girl and the rich young master falling in love with class distinctions of the time proving an obstacle to their love. This one creaks. Young is lovely but her character is impossible to believe. Was anyone so naive, even in the 1930s? Taylor is still in his pretty boy phase, he would become much more interesting as a an actor in the 1940s and more so in the 1950s. With Patsy Kelly, Marjorie Gateson, Joe E. Lewis (the subject of the 1957 film THE JOKER IS WILD) and Jane Darwell.

Jessica (1962)

A young American widow (Angie Dickinson) is newly arrived in a small Italian village to work as a midwife and nurse. However, her presence in the village causes a disruption when the men of the town lust after her and the jealous wives treat her shabbily. Based on the novel THE MIDWIFE OF PONT CLERY by Flora Sandstrom and directed by Jean Negulesco (THREE COINS IN THE FOUNTAIN). A wispy rural comedy filmed in Sicily that never comes alive. Handsomely shot in wide screen Panavision by Piero Portolupi (Visconti's BELLISSIMA), the film benefits from the attractive presence of Angie Dickinson but we're saddled with a lump of a narrative about small town pettiness among ignorant peasants. Then there's the singing, folksy country priest played by Maurice Chevalier at his Gallic worst. With Gabriele Ferzetti, Agnes Moorehead, Sylva Koscina, Marcel Dalio, Danielle De Metz, Marina Berti, Rossana Rory and Kerima.

Ferrari (2023)

Set in 1957 Italy, the motor racing entrepreneur Enzo Ferrari (Adam Driver) finds his manufacturing company in poor shape. Battling problems on the home front with his estranged wife (Penelope Cruz) only adds to his problems. He risks everything on winning an auto race called the Mille Miglia, which will restore prestige and financial success to the Ferrari company and name. Based on the non fictional book ENZO FERRARI: THE MAN, THE CARS, THE RACES, THE MACHINE by Brock Yates and directed by Michael Mann (LAST OF THE MOHICANS). The auto racing portions of the film didn't interest me much. What I found compelling was the domestic tension between Ferrari and his estranged wife (Penelope Cruz), who have a facade of a marriage while he supports his mistress (Shailene Woodley) and his son (Giuseppe Festinese). Cruz is sensational here, she's a force of nature and one can't help but be on her side when she's paired with the clinical and cold Ferrari as played by Driver. There's a scene where an out of control racing car crashes into a group of bystanders that should be devastating but the sequence is so obviously CGI that it doesn't have the impact it should have. With Gabriel Leone, Patrick Dempsey, Jack O'Connell, Sarah Gadon and Michele Savoia.

Natural Enemy (1996)

A stock broker (Donald Sutherland) has a business that is teetering on the verge of bankruptcy. He takes an ambitious young man (William McNamara) under his wing and makes him a part of his company which appears on the road to recovery. But the young man has something else on his mind ..... revenge! Directed by Douglas Jackson (MIDNIGHT IN ST. PETERSBURG). This Canadian thriller is your standard psycho stalker film. It's severely compromised by the miscasting of William McNamara. McNamara exudes a creepiness, there's something "off" about him. We notice it but no one in the movie does! If we can see it, why can't they? You want to yell at the screen, "Can't you see he's batshit crazy?". By the time the film's characters discover what a psycho he is (including three murders), the damage is done. Still, I have to admit that director Jackson keeps the suspense quotient turned up high. The film casts some dubious shade on adopted children that I'm not sure is substantiated by facts. With Lesley Ann Warren, Joe Pantoliano, Tia Carrere and Christian Tessier.

Banning (1967)

A once rising golf star (Robert Wagner) on the PGA tour circuit finds his career destroyed when he is accused of match fixing. Under a different name, he attempts to rebuild his life at an Arizona country club working as an assistant pro. Directed by Ron Winston (DON'T JUST STAND THERE). I'm not a golfer so the finer points of the game are lost on me but fortunately most of the movie focuses on the personal relationships of its characters. But the rich country club set (not a black face to be seen) with their parties, poker games and musical beds aren't all that interesting much less sympathetic. Although a wide screen theatrical film, it has the look of those Universal TV movies that were prolific in the 1960s and early 70s. It's watchable if unmemorable though I enjoyed Jill St. John's performance as a rich bitch, the movie perked up a bit when she was on. The film's theme song The Eyes Of Love was nominated for an Oscar. With Gene Hackman, Susan Clark, Guy Stockwell, James Farentino, Anjanette Comer, Howard St. John and Sean Garrison.

Cocktail Hour (1933)

An attractive illustrator (Bebe Daniels) for popular magazines is an independent woman with no interest in marriage in spite of the marriageable men pursuing her. Two of the men are her boss (Randolph Scott) who has a Neanderthal attitude toward career women and a callow youth (Barry Norton). On the ship to Europe, she meets yet another man (Sidney Blackmer)! Based on the short story PEARLS AND EMERALDS by James Kevin MacGuinness and directed by Victor Schertzinger (ROAD TO SINGAPORE). Typical of the attitude toward career women in the 1930s and 1940s, this pre code romantic drama has a strong and independent career woman who lives life her way at the center of its story but, of course, before the movie is over she succumbs to the male of the species and settles for home and hearth. Still, Daniels has an appealing presence and she makes her character more complex than the screenplay would have it. With Muriel Kirkland, Jessie Ralph, George Nardelli and Marjorie Gateson.

Prince Of Players (1955)

A noted Shakespearean actor by the name of Junius Brutus Booth (Raymond Massey) has sunk into alcoholism and despair but he has two actor sons who will carry the family name to both glory and infamy: Edwin Booth (Richard Burton) and John Wilkes Booth (John Derek). Based on the non fiction book by Eleanor Ruggles (and adapted for the screen by Moss Hart no less) and directed by Philip Dunne (BLUE DENIM). A stodgy biographical movie that gives us no insight into the dynamics of the Booth dynasty, just the usual film biography cliches. Eleanor Ruggles, the author of the biography researched it for four years so I'll assume it's mostly factual though the movie's ending seems hokey but this film adaptation seems like a retread of the sub genre. The film is crammed with scenes from Shakespeare so we get to see Burton play Romeo, Richard III and Hamlet. So much Shakespeare that the director Dunne blamed the film's failure on too much Shakespeare in the movie. There's an excellent underscore by Bernard Herrmann. With Maggie McNamara, Charles Bickford, Elizabeth Sellars and in her film debut, the legendary theatre actress Eva Le Gallienne.

The Natural (1984)

A young baseball player (Robert Redford) leaves Nebraska for a tryout with the Chicago Cubs. It is on his way that he meets a mysterious, psychotic beauty (Barbara Hershey) who shoots him. He disappears for 16 years and then, no longer young and promising, he attempts a return to the world of professional baseball. Based on the novel by Bernard Malamud (THE FIXER) and directed by Barry Levinson (DINER). The film's screenplay makes some major changes to the Malamud novel. Notably, Malamud's downbeat ending is now a victorious happy ending. Reputedly, Malamud had no problem with the movie version of his book. The movie is a fable and perhaps not to be taken literally. Yes, the film leans toward sentimentality but there's a magical element to it that justifies that sentimentality. I liked it very much and was absorbed for the entire running time and this is coming from someone who has zero interest in baseball. The score by Randy Newman is terrific. With Glenn Close (in an Oscar nominated performance), Robert Duvall, Kim Basinger, Richard Farnsworth, Darren McGavin, Joe Don Baker, Michael Madsen, Wilford Brimley and Robert Prosky.

All The President's Men (1976)

A new reporter (Robert Redford) on the Washington Post is assigned a story on a break in at the DNC headquarters at the Watergate complex. At first, it's considered a minor story but it slowly builds into a massive cover up that goes all the way up to the White House. Based on the non fiction book by Carl Bernstein and Bob Woodward (the two reporters who broke the Watergate scandal) and directed by Alan J. Pakula (KLUTE). One of the best political thrillers (and one of the best newspaper related films) ever made. It plays out like a detective story as riveting as anything Agatha Christie ever wrote as Bernstein (Dustin Hoffman) and Woodward (Redford) meticulously ferret out the details which leads to one of the biggest political scandals of the 20th century, one that will lead to the downfall of a President. It's a taut suspense filled nail biter that would have done Hitchcock proud. A classic of its kind. David Shire's low key minimalist underscore is an asset to the film as is the huge supporting cast that all deserve mention including Jason Robards (in an Oscar winning performance), Jane Alexander (in an Oscar nominated performance), Jack Warden, Hal Holbrook, Martin Balsam, Ned Beatty, Lindsay Crouse, F. Murray Abraham, Stephen Collins, Meredith Baxter, John McMartin, Allyn Ann McLerie, Penny Fuller, Robert Walden, Valerie Curtin, James Karen and Polly Holliday.

L'Annee Derniere A Marienbad (aka Last Year At Marienbad) (1961)

At a palatial luxury hotel surrounded by gardens, a man (Giorgio Albertazzi) approaches a woman (Delphine Seyrig) and reminds her that they met the year before when they had an affair. She denies this but the man continues to insist it happened. Did it? Directed by Alain Resnais (STAVISKY). I haven't seen MARIENBAD in over 50 years but I distinctly remember loathing it. Fifty years later, have my feelings changed? Yes, somewhat. While I can no longer say I loathe the film, my feelings toward it are ambiguous. While I can appreciate the artistry and images (Sacha Vierny's cinematography is impeccable) and how Resnais was trying to push the limits of cinema toward a new cinematic language, closer to a novel than a movie. I still, however, find it one of the most pretentious movies ever made. We pretty much get it at the halfway mark yet we're fed more of the surrealistic but repetitive narrative for another 45 minutes. The acting is irrelevant in a movie like this. The actors recite their lines dutifully if inexpressively for the proper effect. I found it more interesting for its visuals than its narrative. I found myself not really caring what Resnais was trying to say (I suspect he wasn't trying to say anything, he just wants the mood). Delphine Seyrig looks smashing in her soignee Chanel coutoure. With Sacha Pitoeff as Seyrig's husband (or possibly her lover). 

Say One For Me (1959)

Set in New York, a parish priest (Bing Crosby) caters to an acting and performing community. He even serves mass at 2 AM for the late night crowd. He's taken an aspiring performer (Debbie Reynolds) under his wing and becomes concerned when she falls under the influence of a wolf (Robert Wagner) who runs a nightclub. Produced and directed by Frank Tashlin (THE GIRL CAN'T HELP IT). At his best, Frank Tashlin (who came from the world of animation) served up eccentric and often subversive comedies. Alas, none of that is on view with this sentimental twaddle. Bing Crosby won an Oscar for playing a priest in GOING MY WAY (1944) and had a big hit playing a priest in THE BELLS OF ST. MARY'S (1945) and here goes back to the well for a third time. While not as bad as GOING MY WAY (what could be?), I'm mystified what Tashlin saw in this sappy screenplay that made him want to produce and direct it. It's a musical and some of the songs are good (composed by Jimmy Van Heusen and Sammy Cahn) but not those given to Crosby and the choreography by Alex Romero is lively. As a singer, Robert Wagner isn't bad though he can not dance to safe his life. Reynolds, of course, is a seasoned veteran when it comes to song and dance. But everything between the musical numbers is pretty turgid. Surprisingly, the movie was a hit. Go figure! With Ray Walston, Stella Stevens, Sebastian Cabot, Frank McHugh, Nina Shipman, Connie Gilchrist and Judy Harriet whose song The Night Rock 'n Roll Died is a highlight.

The Desperadoes (1943)

Set in 1863 Utah, a hunted gunman (Glenn Ford) tries to go straight even though there's a price on his head. But that proves difficult when the town's corrupt banker (Porter Hall) tries to make him the fall guy for a faux bank robbery that the banker concocted so that he could keep all the bank's money. Based on a story by Max Brand and directed by Charles Vidor (GILDA). This is a routine western enhanced by its location shooting (Utah) and three strip Technicolor (Columbia's first film shot in color). For western fans, it's eminently watchable but so predictable you can call out the cliches before they happen. The film is notable because the film was produced by Harry Joe Brown, its leading man was Randolph Scott and the movie's assistant director was Budd Boetticher. Some thirteen years later, the three gentlemen would form Ranown productions which would create some of the best western movies from 1956-1960 so one should be grateful this movie was made so the men could meet. With Claire Trevor, Evelyn Keyes, Edgar Buchanan, Guinn Williams and Joan Woodbury.

The Man Who Broke The Bank At Monte Carlo (1935)

Fleeing post revolutionary Russia, a Russian prince (Ronald Colman) is currently working as a taxi cab driver in Monaco. When he makes a killing at a Monte Carlo casino, the owners of the casino want their money back. So they attempt to lure him back to the casino but he's not interested. Enter a beautiful blonde (Joan Bennett). Based on the play by Ilya Surgutchoff and Frederick Albert and directed by Stephen Roberts (STORY OF TEMPLE DRAKE). A rather wan romantic comedy that needs to sparkle like champagne (or at the very least, a Coca Cola) to work but what we get is a tepid cup of lukewarm tea. Nothing much really happens so a movie like this needs really charming lead actors in its lead roles. Colman was always his best in his brooding roles like A TALE OF TWO CITIES rather than light romcoms and while I adore Joan Bennett, she's surprisingly enervating here. With Colin Clive, Nigel Bruce, Lynn Bari, Montagu Love and Frank Reicher. 

Rapito (aka Kidnapped: The Abduction Of Edgardo Mortara) (2023)

In 1851 Italy, a six year old year Jewish boy (Enea Sala) is forcibly taken away from his parents (Fausto Russo Alesi, Barbara Ronchi) by the Catholic church because he was secretly baptized by a family servant (Aurora Camatti) and therefore is considered Catholic and cannot be raised by Jews. Based on the non fictional book IL CASO MORTARA by Daniele Scalise and directed by Marco Bellocchio (CHINA IS NEAR). Historically, the Catholic church has many egregious sins to account for from the Inquisition to shielding pedophile priests. This infamous incident is just one other blot on their history. Bellocchio's film is a masterful telling of the real life case from the abduction to the boy's indoctrination (or is it brainwashing?) into the Catholic church to his becoming a priest and ends with the death of his mother. The church as a fascist political faction does not go ignored. Of course, there is some creative license taken as with all non documentary films on a real life subject or incident but the facts remain explicit. A stunning film that should have been better known in the U.S. and worth checking out. At one time, Steven Spielberg was interested in making a film about Mortara. With Leonardo Maltese as the adult Edgardo, Paolo Pierobon and Fabrizio Gifuni. 

The House Of Seven Corpses (1973)

A film director (John Ireland) is making a low budget horror movie set in a decaying mansion that was the actual setting of seven murders. While making the film however, it seems there is an evil presence in the house. Directed by Paul Harrison, a TV director whose only theatrical film this is. Filmed in Utah, the film has the feeling of an amateurish home movie. If filming took longer than a week, I'd be terribly surprised. For a horror movie, there's no horror! No suspense! And just one raggedy looking zombie moving at a snail's pace. The acting is weak but the scenario and dialog are so poor that it would be unfair to blame the actors for their performances. Calling it a B movie is being generous, grade C is more like it. With Faith Domergue, John Carradine, Carole Wells and Jerry Strickler.

Whiplash (1948)

An easy going painter (Dane Clark) in California falls in love with a mysterious woman (Alexis Smith), who disappears from his life as abruptly as she came in. Months later, after moving to New York, he discovers her singing in a Manhattan nightclub ..... and married! Directed by Lewis Seiler GUADALCANAL DIARY). A nifty if predictable (very) minor film noir from Warner Brothers. Not too much one can say about a programmer like this other than it accomplishes what it set out to do and it holds your interest. Everyone is pretty much cast to (stereo)type: Dane Clark the scrappy tough guy, Alexis Smith the femme fatale, Zachary Scott the slimy wheelchair bound villain, Eve Arden the wisecracking gal pal and S.Z. Sakall the sweet and cuddly bar owner. If it comes your way, you could do worse. With Jeffrey Lynn, Alan Hale and Douglas Kennedy.

The Spy Who Came In From The Cold (1965)

A burnt out British M16 agent (Richard Burton in an Oscar nominated performance) is assigned the task of defecting to East Germany with the aim of throwing suspicion on a top communist intelligence officer (Oskar Werner). Based on the novel by John Le Carre and directed by Martin Ritt (THE LONG HOT SUMMER). With the James Bond films, the 1960s ushered in the era of spy movies with exotic locations, beautiful women and plenty of action. But there was a sort of backlash to these glamourous spy movies with bleak films showing the grimy more realistic and often unpleasant side of spy work. THE IPCRESS FILE was one and so was this stark B&W spy movie. The three lead performances (Claire Bloom as a naive communist librarian is the third star) are pure gold. It's not an easy watch as you sense that things aren't going to end well and if there's any flaw in the movie, it's that I wish its obvious desolate ending weren't telegraphed. With Peter Van Eyck, Sam Wanamaker, Cyril Cusack, Michael Hordern and George Voskovec.

Zombieland (2009)

Set in a post apocalyptic world where mankind has been decimated by a disease that has turned them into zombies, a young college student (Jesse Eisenberg) travels to California with a twinkie loving yokel (Woody Harrelson) and two sisters (Emma Stone, Abigail Breslin). Directed by Ruben Fleischer (GANGSTER SQUAD). I love movies that are both scary and funny together! This one is neither. It's rather dumb actually but fortunately, it has an immensely likeable quartet of actors in the leads and it moves fast (it runs under 90 minutes) so it's not too painful to sit through. Filled with blood and gore and guns and vomit, it seems aimed at the 14 year old male audience (I can't imagine grown men being taken with it). There's a bit of uncomfortable body shaming that was still acceptable in 2009 that doesn't play well today. Not quite as clever as its film makers seem to think it is. With Bill Murray and Amber Heard.

Heat (1972)

A ex-child star (Joe Dallesandro) is working as a male prostitute while trying to revive his acting career. He hooks up with a washed up aging actress (Sylvia Miles) who falls in love with him although he's only interested in what she can do for his career. Written and directed by Paul Morrissey (TRASH) and produced by Andy Warhol. Conceived as a softcore porn parody of SUNSET BOULEVARD (1950), the film is amusing at first but there's no where to go after we "get it" and the film meanders in the second half till it just runs out of steam. It's not as fun as Morrissey's outrageous previous film TRASH, there's a rather sad exploitative feeling to it. The film seems improvised while Sylvia Miles does well as the has been star (hey, she is a two time Oscar nominated actress), Dallesandro seems adrift. The film's best performance comes from Andrea Feldman as Miles' crazy bisexual daughter but apparently Feldman was wacko so how much is acting and how much is the film exploiting her? She committed suicide at the age of 24 before the movie came out. With Pat Ast and Lester Persky.

Black Tights (1961)

Four short ballets choreographed by Roland Petit: THE DIAMOND CRUNCHER featuring Zizi Jeanmaire as a pickpocket with a penchant for swallowing diamonds. CYRANO DE BERGERAC played by Roland Petit is based on the Edmond Rostand play featuring Moira Shearer as Roxanne. A MERRY MOURNING features Cyd Charisse as woman enjoying her widowhood. CARMEN features Zizi Jeanmaire as the heroine based on Bizet's opera. Directed by Terence Young (WAIT UNTIL DARK). For lovers of dance, the film is a real treat ranging from tragedy (CYRANO, CARMEN) to the playful (CRUNCHER, MOURNING). If you're not into ballet, you may find the film tedious at times. My two favorites were the whimsical MERRY MOURNING and the saucy CARMEN. Alas, the transfer I saw was in poor shape (it's fallen into public domain hell) and while watchable, it needs a full restoration to return it to its original pristine Technirama and Technicolor glory to do Henri Alekan's (WINGS OF DESIRE) cinematography justice. With Maurice Chevalier, Dirk Sanders and Georges Reich.

The Gene Krupa Story (1959)

Despite the protestations of his father (John Bleifer), who wants him to enter the priesthood, a young Gene Krupa (Sal Mineo) is determined to become a professional drummer in a jazz band. The road ahead is long and hard and fraught with the temptation of women and drugs. Directed by Don Weis (LOOKING FOR LOVE). Gene Krupa is one of the greatest drummers of the 20th century and some would argue, the greatest drummer ever (his drum solo on Benny Goodman's Sing Sing Sing is legendary). Alas, this biopic on his life is rife with the usual biopic cliches and can't rise above it to become anything insightful or fresh. Although the bulk of the film takes place in the 1920s and 1930s, like most movies of the 1950s, there's very little accuracy in clothes and hairstyles. Everybody looks distinctly 1959. Even the rear projection is off: when Mineo's Krupa goes to New York for the first time, we see a movie theatre playing John Ford's WAGONMASTER which was released in 1950! Physically, Mineo is a great choice for Krupa and Mineo even gets Krupa's manic style of drumming down pat. But Mineo who was 20 years old when he made the film isn't convincing as Krupa ages, he's still a baby faced 20 year old. With Susan Kohner, James Darren, Susan Oliver, Yvonne Craig, Gavin MacLeod, Lawrence Dobkin, Celia Lovsky, Bobby Troup and Anita O'Day.

The Falcon In Danger (1943)

At a New York airport, a passenger aircraft crash lands but when authorities enter the plane, it's totally empty, not a soul on board. Among the missing passengers is a leading industrialist (Clarence Kolb), who had $100,000 worth of securities with him. Enter the amateur detective known as the Falcon (Tom Conway) to solve the mystery. Directed by William Clemens (THE CASE OF THE VELVET CLAWS). The sixth film in The Falcon franchise is a notch above average although the solution to the mystery is never in doubt. The only negative thing I have to say about the movie is the irritating Southern belle (Amelita Ward) who plays the Falcon's latest girlfriend. Standard B movie stuff for whodunit addicts only. With Jean Brooks, Elaine Shepard, Edward Gargan and Ian Wolfe.

Strictly Dishonorable (1931)

A young woman (Sidney Fox) and her obnoxious fiance (George Meeker) stop in for a drink at a Manhattan speakeasy. It's there that she meets a famous opera singer (Paul Lukas) and their attraction to each other threatens to cause a rift in her engagement especially after she spends the night in the opera singer's apartment. Based on a play by Preston Sturges and directed by John M. Stahl (LEAVE HER TO HEAVEN). This pre code comedy is pretty racy and it reminded me of the controversial (for its time) THE MOON IS BLUE (1953). It doesn't make any attempt to disguise its theatrical roots. The film is split into two acts and while I enjoyed the first act which takes place at the speakeasy, I found the second act which takes place in the opera singer's apartment exceedingly monotonous (it's too chatty) and my interest started to wane.  Remade in 1951 with all the sexual innuendo deleted. With Lewis Stone and Sidney Toler.

Mardi Gras (1958)

At a military school in Virginia, three cadets (Tommy Sands, Gary Crosby, Dick Sargent) rope their strait laced friend (Pat Boone) into entering a contest to win a date with a famous movie star (Christine Carere) not expecting him to win. But he does win! Directed by Edmund Goulding (GRAND HOTEL). This piece of recycled musical fluff is burdened with forgettable musical numbers and the blandest male leads one could imagine. As if a famous French film actress (Carere) could fall in love with a dull milk guzzling cadet (Boone). The female characters are much more interesting than the males. In addition to Christine Carere, they include Sheree North as a film publicist and Barrie Chase as a stripper working her way through college. The most amusing thing in the movie is how 20th Century Fox cross promotes its own product: in a restaurant scene, the theme from A CERTAIN SMILE (Carere's previous film) plays in the background, Sheree North walks by a movie poster of IN LOVE AND WAR (her previous film) and a Fox executive walks in with a book in his hand announcing he's just bought the rights to THE BEST OF EVERYTHING (released the following year). With Robert Wagner, Jeffrey Hunter, Fred Clark, Geraldine Wall and Jennifer West.

Love Lies Bleeding (2024)

A lesbian (Kristen Stewart) who works in a gym gets the hots for a bisexual female bodybuilder (Katy O'Brian) and gets her hooked on steroids. The steroids turn her into a psychotic female version of The Incredible Hulk as she turns into a killer when she gets into a rage. Directed by Rose Glass (SAINT MAUD), this black comedy is fun for awhile before it sinks into preposterousness and gets just plain silly. Every character in the movie is a sleazebag and it's hard to get empathy for any of them, even the physically abused sister (Jena Malone) who takes her beatings without complaint and desperately wants to return to abuser husband (Dave Franco) even after he's put her into the hospital! The laughs are erratic though there is one laugh out loud moment when O'Brian expresses horror that she's murdered people and Stewart lovingly assures her that there's nothing wrong with her! Reading through some of the favorable reviews of the film, I was shocked to see that some critics took the movie seriously. Personally, I've always found bodybuilders sort of creepy and this film only validates my feeling. Worth checking out but if you want to see a really good movie about criminal lesbians, check out the Wachowski's BOUND. With Ed Harris (who gives the best performance in the film) and Anna Baryshnikov (Mikhail's daughter).