Arthur's Whisky (2024)

After her husband dies, a senior citizen (Patricia Hodge) discovers that her late husband had invented a youth elixir that make people young again albeit only temporarily. She shares the secret with her two best friends (Diane Keaton, Lulu) and they become young again but they discover that they are ill equipped to be young in a modern world. Directed by Stephen Cookson (BRIGHTON). Yet another generic Diane Keaton comedy with older leading ladies. The novelty is that this time it's a British film but the script is as "haven't we seen this before?" deja vu as ever. Fortunately, the three actresses aren't required to act like juveniles (like COCOON) as three age appropriate young actresses play their younger selves (Keaton: Genevieve Gaunt, Lulu: Hannah Howland, Hodge: Esme Lonsdale). It's not remotely funny and the screenplay spins the usual cliches. We're supposed to believe three elderly ladies when finding themselves in their late teens again go nightclubbing looking for men! There is one lovely scene toward the very end when Hodge goes to visit the older version of the girl (a welcome Hayley Mills) she fell in love with in her youth. With Boy George, Lawrence Chaney, David Harewood and Mel Harris.

The French Connection (1971)

Set in New York City, an out of control and racist detective (Gene Hackman) on the narcotics detail suspects a major narcotics shipment will hit town very soon. He tails the the guy (Tony Lo Bianco) he suspects of being the middle man in the detail. All he knows is that a French visitor (Fernando Rey) is the connection. Based on the non fiction book by Robin Moore and directed by William Friedkin (THE EXORCIST). Winner of five Oscars (best picture, actor (Hackman), director, editing, screenplay), unlike many films of its era, it holds up quite well. Jerry Greenberg's razor sharp film editing is a textbook example on how to edit a thriller. In a well deserved Oscar win, Hackman makes no attempt to make his cop a hero. In his own way, he's as much of a sleazebag as the thugs he pursues. The legendary car chase sequence remains unequaled. The film has an almost documentary feel to it. Friedkin has admitted he was influenced by Costa Gavras' Z (1969). With Roy Scheider, Marcel Bozzuffi, Bill Hickman and Arlene Farber.

Out Of The Past (1947)

The owner (Robert Mitchum) of a small town gas station in California has a secret past that catches up with him. Now, he must return and confront that past and the devious femme fatale (Jane Greer) that ruined his life. Based on the novel BUILD MY GALLOWS HIGH by Daniel Mainwaring (who adapted his novel for the screen using his pseudonym of Geoffrey Homes) and directed by Jacques Tourneur (CAT PEOPLE). One of the all time great film noirs and with one of the greatest femme fatales (some would say the greatest) in all film noir, Jane Greer's Kathie Moffat. Aided by Nicholas Musuraca's evocative B&W cinematography, director Tourneur gives us a sleek ride into a complicated tale of deceit, betrayal, murder and double crosses. Mitchum is in his natural habitat but he's surrounded by a fine cast of supporting actors. Remade in 1984 as AGAINST ALL ODDS. With Kirk Douglas, Rhonda Fleming, Virginia Huston, Steve Brodie, Dickie Moore, Theresa Harris and Richard Webb.

The Salzburg Connection (1972)

An American lawyer (Barry Newman) on vacation in Austria gets more than he bargained for when a photographer he's asked to contact vanishes. Apparently the photographer knew the whereabouts of a long hidden chest that contains information wanted by several international governments. When dead bodies start turning up, he realizes he's in over his head. Based on the best selling novel by Helen MacInnes and directed by Lee H. Katzin (WHATEVER HAPPENED TO AUNT ALICE). Although the movie received near unanimous bad reviews when it opened, I enjoyed it. There's the striking Austrian locations, not only Salzburg but its lakes and mountains. Barry Newman and Anna Karina (playing the photographer's wife) make for appealing leads and there's a plethora of action buzzing around them. The only downside was the abundance of supporting characters all after the chest that it was often difficult figuring who was who and on which side! With Klaus Maria Brandauer, Joe Maross, Wolfgang Preiss, Udo Kier, Whit Bissell and Karen Jensen.

Coriolanus (2011)

Set in an unknown Balkan state called Rome, its citizens are outraged as civil liberties are restricted and there is a lack of food and they blame this on the city's General (Ralph Fiennes), who is off fighting a war against a neighboring tribe. But the General has a contempt for Rome's citizens and is not swayed by their grievances. Based on the play by William Shakespeare and directed by Ralph Fiennes in his film directorial debut. CORIOLANUS is one of Shakespeare's lesser known plays and truth to tell, it's not one of his best tragedies (hey, it's still Shakespeare!) but boy has Fiennes done a dynamic job of bringing it to the screen. With a superb visual sense and pacing, this modern updating of Shakespeare's 1605-1608 play works like a dream. The actors speak their lines with a natural resonance instead of a lofty delivery. Indeed if one didn't know it was Shakespeare, you'd just think it was good writing. With Vanessa Redgrave (excellent as Fiennes' mother), Jessica Chastain, Gerard Butler, Brian Cox and John Kani.

Lady In A Jam (1942)

An entitled and arrogant heiress (Irene Dunne) has no sense of money and squanders her entire inheritance until she's bankrupt. A psychiatrist (Patric Knowles) is assigned to her case. Posing as her chauffeur, he takes her to Arizona where her pragmatic grandmother (Queenie Vassar) lives. Directed by Gregory La Cava (MY MAN GODFREY). As a screwball comedienne supreme, Dunne is in her element here but alas, the material is inferior. The film also has an unsavory misogynistic undercurrent to it. After Knowles slaps her, she actually says, "When a man slaps a woman, it shows he loves her!". Everybody tries their damnedest to to make the thing work but to no avail. Patric Knowles is usually a pleasant if benign presence in his movie roles but he's too sane to be a convincing lead in a screwball comedy unless he's playing the third wheel but the part goes to Ralph Bellamy, who specialized in these kinds of roles. As the grandmother, Queenie Vassar brings some much needed spark and sass to the film. With Eugene Pallette and Samuel S. Hinds. 

Ramona (1936)

Set in Southern California around 1848, a bi racial girl (Native American and Caucasian) named Ramona is raised by a wealthy Spanish family whose son (Kent Taylor) is in love with her against his mother's (Pauline Frederick) wishes. But Ramona is in love with a Native American (Don Ameche), the son's best friend. Based on the 1884 novel by Helen Hunt Jackson and directed by Henry King (CAPTAIN FROM CASTILE). A hugely popular novel in its day, the movie has seen five film adaptations and in the Southern California city of Hemet, has been performed outdoors annually since 1923. This film version differs from the novel in some major ways and has a slight religious bent, predominantly in the film's last half hour. One of the earliest movies shot in three strip Technicolor, one has to accept the unlikely casting of Don Ameche as an Indian/Native American. I found most of the film charming and simpatico to the Native Americans and Spanish residents prior to the Caucasian annexation of California. Loretta Young was in her interim period during the mid to late 1930s. Relaxed and sexy in her pre code melodramas of the early thirties, she segued into an often pleasing actress (especially in comedies) in the mid to late 1930s before (not unlike Crawford) turning rather sanctimonious in the 1940s and 1950s. And she looks great in Technicolor. But oh that drippy pious last half hour. With J. Carrol Naish (in the film's worst performance), Jane Darwell, Katherine DeMille, John Carradine and Victor Kilian.

Black Patch (1957)

When a bank robber (Leo Gordon) escapes from jail and is shot in the back, the town marshal (George Montgomery) is suspected of killing him for two reasons: to get the stolen money and get the robber's wife (Diane Brewster). Directed by Allen H. Miner (THE RIDE BACK). Leo Gordon was a character actor, usually playing villains. He wrote BLACK PATCH, once again playing the villain but it's not a bad B programmer western. In fact, its narrative stands out because it's different from the traditional western in that the emphasis is on the conflicts, misunderstandings, manipulation and greed of its characters rather than the usual shoot 'em ups although there is no shortage of gunfights. The film is notable for being the very first feature film scored by the great Jerry Goldsmith. His score here isn't particularly memorable and nothing would indicate the prolific career that would follow. With Sebastian Cabot, Strother Martin, Tom Pittman and Lynn Cartwright.

A Complete Unknown (2024)

In 1961, the young Bob Dylan (Timothee Chalamet) arrives in New York City hoping to meet his idol Woody Guthrie (Scoot McNairy). It isn't long before the young Dylan rises to fame as the premier folk singer of his generation. Based on the non fiction book DYLAN GOES ELECTRIC by Elijah Ward and directed by James Mangold (GIRL INTERRUPTED). I'm not a big Dylan fan (his music yes, his singing no) and honestly I wasn't looking forward to watching the movie. So I was quite surprised that I liked it much more than I thought I would. That being said, it can't shake off the curse of the Hollywood biopic and its formulaic narrative. Also, Chalamet as good as he is (and he's very good) never quite convinced me as Dylan. Chalamet has a (and this is not a negative attribute) feminine quality about him that Dylan doesn't, he never gives off the edgy vibe that Dylan does. Once I realized he wasn't going to inhabit Dylan (the way Joaquin Phoenix inhabited Johnny Cash in WALK THE LINE or Renee Zellweger inhabited Garland in JUDY), I relaxed and enjoyed his performance. Dylan's life isn't that interesting enough to hold our attention for a two hour movie so the dramatic highpoint of the film is his going from acoustic to electric and the drama that ensued from that decision. With Elle Fanning (who gives the movie's best performance), Monica Barbaro as Joan Baez, Edward Norton as Pete Seeger and Boyd Holbrook as Johnny Cash.

Bye Bye Braverman (1968)

When a mutual friend dies suddenly, four friends cram themselves into a Volkswagen Beetle to attend the funeral: a public relations man (George Segal), a writer (Joseph Wiseman), an essayist (Jack Warden) and a book reviewer (Sorrell Booke). Based on the novel TO AN EARLY GRAVE by Wallace Markfield and directed by Sidney Lumet (DOG DAY AFTERNOON). Oy Vey! What a dud! Sidney Lumet is the last director one would think of for a comedy. Many of his dramas have a heavy touch to put it mildly and this attempt at black comedy could have used a lighter brush. Filled with Jewish stereotypes, the film goes in circles in search of ..... what? It's cobbled together and the lack of cohesiveness only accentuates how makeshift the project feels. I'm all for ethnic humor but there's something condescending here. With Jessica Walter, Phyllis Newman, Alan King, Godfrey Cambridge (saddled with the movie's worst scene) and Zohra Lampert (the only character in the movie I could relate to).

Eye Of The Beholder (1999)

An intelligence agent (Ewan McGregor) is assigned to track down the son of his wealthy boss to determine what trouble the son has gotten into. Instead, he becomes obsessed with the beautiful psychopath (Ashley Judd) who kills the son and follows her as she travels from state to state. Based on the novel by Marc Behm (previously filmed in 1983 in France) and directed by Stephan Elliott (ADVENTURES OF PRISCILLA, QUEEN OF THE DESERT). This is one of those movies that is an incoherent mess that makes no sense whatsoever yet it's so riveting that you can't take your eyes of it. The implausible plot is near laughable and the backstory of Judd's psychosis is a weak explanation of her turning into a serial killer. That being said, Judd is very good and one can't help but admire her commitment to the part. The film might have worked if director Elliott had a sense of style. I couldn't help but wonder what a director like Brian De Palma might have done with it. With Genevieve Bujold, Patrick Bergin, Jason Priestley and K.D. Lang.

Make Me A Star (1932)

A star struck yokel (Stuart Erwin) from a small town goes to Hollywood to fulfill his dream of becoming a movie star. After crashing the gates of a major studio, he waits for his big break but he isn't prepared for how tough it is to make it in Hollywood. Based on the play MERTON OF THE MOVIES by George S. Kaufman and Marc Connelly by way of the novel by Harry Leon Wilson and directed by William Beaudine (BELA LUGOSI MEETS A BROOKLYN GORILLA). The movie is hampered by the non descript Stuart Erwin as its chief protagonist. He's playing a naive dullard but when you have an actor who's a cipher on the screen, it's just not interesting. Fortunately there's the sassy Joan Blondell (borrowed from Warners) as an actress who takes him under her wing to compensate for Erwin's lack of sparkle. I was taken aback by the film's ambiguous ending which leaves Erwin's future up in the air. With Gary Cooper, Tallulah Bankhead, Fredric March, Sylvia Sidney and Maurice Chevalier playing themselves and Ruth Donnelly and Ben Turpin.

In A Lonely Place (1950)

A down on his luck screenwriter (Humphrey Bogart) invites a star struck hatcheck girl (Martha Stewart) to his apartment to tell him the story of a book he has been asked to adapt for the screen as he has no interest in reading the novel himself. When the girl is later found murdered, he becomes the primary suspect. Based on the novel by Dorothy B. Hughes and directed by Nicholas Ray (BIGGER THAN LIFE). An excellent film noir containing one of Bogart's very best performances. His screenwriter is a very disturbed individual whose demons cause him to act out in an antisocial and an often violent manner. While we don't know whether he is a killer until the movie's end, his behavior suggests that he could well be. Bogart's superlative performance doesn't try to make his character likeable or attempt to soften the psychological damage that exists in his psyche. With Gloria Grahame, Frank Lovejoy, Jeff Donnell, Carl Benton Reid, Art Smith, Hadda Brooks and Alix Talton.

That's Life (1986)

A well known singer (Julie Andrews) is the wife of a wealthy California architect (Jack Lemmon), who's having a midlife crisis. She is nervously awaiting the results of a hospital test for a suspected throat cancer. She keeps this to herself as she patiently deals with her neurotic husband's hypochondria, paranoia and fear of death. She also deals with the drama that is going on in the lives of her adult children. Co-written and directed by Blake Edwards (BREAKFAST AT TIFFANY'S). Depending on one's point of view, one can look at the film as either a labor of love or a vanity project. The movie was filmed in Blake Edwards and Julie Andrews' Malibu home and Emma Walton (Andrews' daughter) and Jennifer Edwards (Blake's daughter) play the daughters. In addition, Chris Lemmon (Jack's son) plays the son and Felicia Farr (Lemmon's wife) plays a sexually charged fortune teller in the film. Lemmon is at his excessive late career worst so I was grateful for Andrews' much needed contrasting down to earth demeanor. Not without interest but there's just a "let's get our friends together and make a movie" feel to it. With Sally Kellerman, Robert Loggia, Cynthia Sikes and Jordan Christopher.

Four Men And A Prayer (1938)

When a British Indian Army colonel (C. Aubrey Smith) is dishonorably discharged he returns to London. His four sons - a barrister (George Sanders), an aviator (David Niven), an attache (Richard Greene) at the British Embassy in Washington DC and a student (William Henry) at Oxford - rally around to support him. But when he's murdered, the sons take it upon themselves to clear his name. Based on the novel by David Garth and directed by John Ford (THE SEARCHERS). One rarely sees this film brought up when discussing Ford's filmography and one can see why. With the exception of one sequence, there's not much Fordian about it. The one sequence which is typically Ford is a brawl in a bar, this time Barry Fitzgerald is the Irishman who starts it rather than Ford regular Victor McLaglen. The rest of the movie is entertaining enough with some shade thrown on gun manufacturers for taking no responsibility for how guns are used (there's a massacre of Argentinean peasants and revolutionaries). For awhile, I thought the top billed leading lady (Loretta Young) was superfluous but she proves an very important character in the second half of the film. With John Sutton, Reginald Denny, John Carradine and Cecil Cunningham.

Find The Blackmailer (1943)

A down on his luck private investigator (Jerome Cowan) is hired by a politician (Gene Lockhart) to find a crow (sic) that might involve him in a crime. It seems the bird knows too much. Based on a short story by G.T. Fleming Roberts and directed by D. Ross Lederman (THE GORILLA MAN). Silly comedic murder mystery meanders round and round without a sense of where it's going. When Jerome Cowan plays a lead, you know you're watching a B (or maybe even a C) programmer. Cowan's attempts at playing a tough guy are futile as he's about as frightening as a new born kitten. When it's over, you can barely remember what you just saw. Pretty much a flop all the way around. With Faye Emerson and Marjorie Hoshelle. 

That's Entertainment! (1974)

When it came to movie musicals, MGM was the creme de la creme of film musicals. No other studio could touch them. Producers like Arthur Freed, directors like Vincente Minnelli and stars like Fred Astaire, Judy Garland and Gene Kelly were just a few of the studio's assets. This documentary (or compilation film if you prefer) on MGM's "golden age" of musicals (the 1930s thru the 1950s) was and is a treat for film buffs. I was already a movie musicals geek when I saw the film in its original 1974 release but the film (an unexpected hit) caused many younger movie fans to seek out the films based on the clips featured here. I know after seeing it, I made a point of seeking out every Esther Williams movie I could find. Very few musical numbers are shown in their entirety and it's not fair to many of them (notably the AMERICAN IN PARIS ballet). The film is hosted and narrated by several MGM alumni including Elizabeth Taylor, James Stewart, Fred Astaire, Debbie Reynolds, Mickey Rooney, Frank Sinatra, Bing Crosby, Liza Minnelli, Peter Lawford and Donald O'Connor.

Sink The Bismarck! (1960)

In May of 1941, British naval intelligence discovers that the German battleship Bismarck is sailing into the North Atlantic to destroy Allied convoys. In an underground war room in London, it falls to one man (Kenneth More) to coordinate the hunt for the Bismarck and destroy it. Based on the novel THE LAST NINE DAYS OF THE BISMARCK by C.S. Forester and directed by Lewis Gilbert (ALFIE). Unusual for a war film, this production focuses as much, if not more, on the back room planners as the combatants themselves. I'm not a big war movie fan so I found the war room's detailed planning and its characters more interesting than the battles themselves. The film has a fan base among war aficionados and I can see why. I preferred the relationship between the stoic Captain (More) and the tender hearted WREN (Dana Wynter) as she eventually thaws him out. With Laurence Naismith, Michael Hordern, Geoffrey Keen, Carl Mohner, Karel Stepanek and David Hemmings. 

Made For Each Other (1971)

A neurotic struggling actress (Renee Taylor) and a womanizing man (Joseph Bologna) meet in an "Emergency Encounter Group". They come from drastically different backgrounds but their need to be loved brings them together despite the constant quarreling. Written by the film's stars, Taylor and Bologna, who had previously written LOVERS AND OTHER STRANGERS. The film's direction is credited to one Robert B. Bean, who has no other directing credits which fuels rumors that the film was actually directed by Bologna or Bologna and Taylor. I found the movie's first hour too broad and too contrived with everyone trying too hard to be funny. Then, a small miracle occurs in the film's second hour. While still a comedy, it gets serious and there's something poignant about these two bruised souls, a woman too desperate in her need to be loved and a man who fights against being in love who are so wrong for each other yet they fulfill a need in each other. If you can manage to get past that first hour, you'll be rewarded in the second half. With Olympia Dukakis, Paul Sorvino, Ron Carey, Peggy Pope, Louis Zorich and Despo Diamantidou.

The Return (2024)

Years after the Trojan War, the warrior king Odysseus (Ralph Fiennes) returns to his kingdom of Ithaca. Haggard, unrecognizable and no longer the mighty warrior he was. His Queen (Juliette Binoche) is a prisoner in her palace while suitors demand she choose a new husband and his son (Charlie Plummer) faces death at their hands. Based on the last sections of THE ODYSSEY by Homer and directed by Uberto Pasolini (STILL LIFE). A fine retelling of the latter chapters of the Homer epic albeit not without its flaws. It's not Homer's ODYSSEY as Pasolini brings a contemporary attitude to classic mythology. It works for the most part although the son's character is ill conceived. He comes across as a petulant spoiled brat (though that might be the fault of Plummer) which I don't think is what they intended. Also some of the hairstyles of the males are glaringly anachronistic. But it's a solid effort and the performances of Fiennes and Binoche (their third teaming) are perfect. A big thumbs up to the cinematography of Marius Pandru (shot on location in Greece) and the score by Rachel Portman. With Angela Molina and Marwan Kenzari.

Layout At Glen Canyon (1960)

Two temporary workers (George Maharis, Martin Milner) working at a construction site in a secluded area of Arizona are assigned to run interference for a group of fashion models doing a photo shoot at the construction site. The models' chaperone (Bethel Leslie) and the project manager (Charles McGraw) have a past together which causes tension. Directed by Elliot Silverstein (CAT BALLOU). Originally shown as an episode of the ROUTE 66 television series, the emphasized dramatics are pushed too hard, not surprising considering it was written by Stirling Silliphant (IN THE HEAT OF THE NIGHT) best known for his TV work on episodic shows like NAKED CITY and PERRY MASON. The underrated Bethel Leslie (who should have had a bigger career) gives a strong performance that makes an impression unlike the other cast members. With Zohra Lampert, Donna Douglas and Elizabeth MacRae.

The Brasher Doubloon (1947)

Set in Los Angeles, a private detective (George Montgomery) is hired by a wealthy Pasadena woman (Florence Bates) to find a rare and valuable coin called the Brasher Doubloon that has been stolen. But things go astray when she withdraws her offer and dead bodies start turning up. Based on the novel THE HIGH WINDOW by Raymond Chandler (previously filmed in 1942) and directed by John Brahm (HANGOVER SQUARE). As a film noir, the film is passable and Brahm's direction is decent. But the movie is an excellent example of how miscasting can sink a movie. George Montgomery is so wrong in the role of Philip Marlowe (calling him inadequate is being generous) that he gums up the narrative. Marlowe has been played successfully by Humphrey Bogart, Robert Mitchum and Dick Powell to name a handful and they brought the necessary edgy gravitas to Chandler's detective. Montgomery brings nothing! The movie is more successful in its two female characters: Nancy Guild as neurotic secretary with a secret and Florence Bates is spot on as the wealthy but malevolent dowager. With Roy Roberts, Conrad Janis and Frtiz Kortner.

Dominick And Eugene (1988)

A young intern (Ray Liotta) has been supported through medical school by his twin brother (Tom Hulce), who works as a garbage man. The loving and sensitive brother is "slower" than most because of a childhood accident that damaged his mental capabilities. But when the med intern gets an opportunity to study at Stanford, he must make a decision. Directed by Robert M. Young (EXTREMITIES). Released the same year as the Oscar winning RAIN MAN which also dealt with two brothers, one of whom is mentally challenged, this sleeper got pushed aside. Which is a pity because not only is it a better film but Tom Hulce delivers a wonderful performance that plays just the right notes without condescending or using cliches. The movie could have tipped over into schmaltz but director Young keeps the focus on the tender loving relationship between the two brothers that carries the movie. With Jamie Lee Curtis, Todd Graff and David Strathairn.

Craze (1974)

Set in London, an antiques dealer (Jack Palance) is in dire straits financially. He belongs to a coven that worships an African god called Choku that requires human sacrifice. When he suddenly comes into a large amount of money, he believes it is because of Choku and he continues to murder women in order to keep Choku's favor. Based on the novel THE INFERNAL IDOL by Henry Seymour and directed by cinematographer Freddie Francis (THE DOCTOR AND THE DEVILS). One of the great cinematographers (his films include ROOM AT THE TOP, SONS AND LOVERS, THE ELEPHANT MAN), as a director Freddie Francis specialized in horror movies. This effort is rather crude and predictable. How such prestigious actors like Trevor Howard and Edith Evans got roped into something like this is curious. Palance is so creepy that he has "I'm a batshit crazy serial killer" written all over his face. That being said, it held my interest, mostly because I was curious how the police would find Palance out. With Diana Dors, Hugh Griffith, Michael Jayston, Suzy Kendall, Kathleen Byron, Martin Potter and Marianne Stone.

Viridiana (1961)

Before taking her final vows as a nun, a young woman (Silvia Pinal) visits her estranged Uncle (Fernando Rey). Her Uncle is attracted to her because she resembles his dead wife but she spurns his advances. In a strange turn of events, it doesn't end there and she'll never return to the convent. Loosely based on the novel HALMA by Benito Perez Galdos and directed by Luis Bunuel (EXTERMINATING ANGEL). This black comedy finds Bunuel at his most irreverent and cynical. The winner of the Palme d'Or at the 1961 Cannes film festival, the Catholic church found it blasphemous and it wasn't shown in Spain until 1977! Bunuel satirizes piety and good deeds and the beggar's banquet sequence is both hilarious and repulsive. Some of it is too obvious to be amusing like Bunuel's use of Handel's Hallelujah Chorus and I suppose the same could be said of his satirizing The Last Supper but I found that wickedly amusing. With Francisco Rabal, Margarita Lozano and Lola Gaos.

District 9 (2009)

In 1982, an extraterrestrial spaceship arrives and hovers over Johannesburg, South Africa. When an investigation finds thousands of malnourished aliens, they are put in camps and forbidden to interact with the human population. 20 years later, the camps have become slums and as tensions arise between the local human population and the aliens, a government bureaucrat (Sharlto Copley) is assigned to relocate the aliens to another camp which they refuse to do. Based on the short movie ALIVE IN JOBURG directed by Neill Blomkamp, who also directed this South African film. This engrossing science fiction film explores apartheid, xenophobia and racism using aliens from another planet as a stand in for humans without being preachy. It's quite intense and well written and director Blomkamp keeps the tension quotient high. The movie isn't without some big flaws however. Copley's character is an utter moron so it's difficult to empathize with him, even as he slowly morphs into one of the aliens. With Jason Cope, David James and Vanessa Haywood.

Laughing Sinners (1931)

After her lover (Neil Hamilton) dumps her, a cabaret singer (Joan Crawford) becomes suicidal. But she is saved by a Salvation Army member (Clark Gable), who tries to turn her life around. Based on the play TORCH SONG (no relation to the 1953 film also starring Crawford) by Kenyon Nicholson and directed by Harry Beaumont (OUR DANCING DAUGHERS). This may be a pre code feature but it's ridiculous and preachy! Crawford and Gable (the second of their eight teamings together) as Salvation Army workers? About as believable as casting Lassie as a vegetarian! It's the old Cecil B. DeMille ruse, show the sin and let the audiences enjoy it before getting all sanctimonious and righteous at the film's end! Still, audiences ate it up and the film was a hit. With Marjorie Rambeau, Roscoe Karns, Guy Kibbee and Cliff Edwards.

Buck Privates (1941)

Two sidewalk peddlers (Bud Abbott, Lou Costello) on the run from the cops accidentally sign up to join the wartime army. Meanwhile, a rich playboy (Lee Bowman) is drafted but he expects his influential father (Douglas Wood) to get him out of the army. Directed by Arthur Lubin (FOOTSTEPS IN THE FOG). Abbott and Costello had made their film debut as supporting players in ONE NIGHT IN THE TROPICS (1940). They were such a hit that Universal made them the leads in BUCK PRIVATES which was originally intended as supporting comedic relief for them. This is one of their best vehicles and it ended up as Universal's highest grossing movie of 1941. In support are The Andrews Sisters, who perform two of their biggest hits: In Apple Blossom Time and the classic Oscar nominated Boogie Woogie Bugle Boy Of Company B. There's some wonderful dancing sequences in the film, classic jitterbug and the Lindy Hop! You don't have to be an Abbott and Costello fan to enjoy this one. Good fun although the romantic subplot drags the film down a bit. With Jane Frazee, Alan Curtis and Nat Pendleton.

Chicago Syndicate (1955)

After an informant is assassinated, an accountant (Dennis O'Keefe) is asked by a group of civic leaders to go undercover and infiltrate the crime syndicate of a mobster (Paul Stewart) to find proof that could put the mobster behind bars. Directed by Fred F. Sears (ROCK AROUND THE CLOCK). What can one say about a movie like this? It's an efficient B programmer that accomplishes what it set out to do. We're never in doubt that the mobster will be exposed and all will end happily. Our only concern is who will get hurt along the way. Certainly not essential cinema but a diverting piece of noir-ish tinged crime drama if one is in the mood for it. With Abbe Lane, Allison Hayes, Xavier Cugat and Chris Alcaide.

The Substance (2024)

An aging actress (Demi Moore) finds her career in peril as she's being replaced on her TV show by a younger woman. But she discovers a mysterious drug called The Substance which will make "her" young again if only temporarily as she and her younger self (Margaret Qualley) switch every seven days. But her younger self isn't satisfied with the arrangement and wants more time. Disaster follows. Written and directed by Coralie Fargeat (REVENGE). Although laced with satirical humor, it remains a disturbing body horror movie emphasizing societal attitudes toward aging (specifically women) and its obsession with youth. At its center is a killer performance by Demi Moore. Fargeat's direction is near perfect. The film walks a thin line between a good film and a disastrous one but Fargeat balances it like a masterful tightrope walker, pushing it to the edge but never crossing that line that could have upended the film. My only qualm is Dennis Quaid's over the top performance (the shrimp eating scene is ridiculous) which seems like it belongs in another movie. With Edward Hamilton Clark and Oscar Lesage. 

Une Femme Est Une Femme (aka A Woman Is A Woman) (1961)

A performer (Anna Karina) in a striptease cabaret wants a baby from her lover (Jean Claude Brialy) but he's not interested. So she toys with the idea of having a baby with another man (Jean Paul Belmondo) even though she's not in love with him. Written and directed by Jean Luc Godard. Godard is in a playful mood here with cinematic in jokes in this homage to glossy movie romcoms. I've heard the film referred to as a musical but except for a song sung by Karina in the nightclub, there's no singing although everyone seems on the verge of breaking out into song. Hardly a musical but Michel Legrand composed a lush film score and I wouldn't have minded if Jacques Demy swept in and did turn it into a musical. It moves quickly (it runs under 90 minutes) and it's colorful and charming but there's not much substance to it. With Jeanne Moreau, Marie Dubois and Henri Attal.

One Little Indian (1973)

On the run from the U.S. Cavalry where he faces a hangman's noose, a soldier (James Garner) is saddled with a ten year old runaway (Clay O'Brien) and an ill tempered camel named Rosie. Directed by Bernard McEveety (NAPOLEON AND SAMANTHA). This family friendly Disney movie has a little more bite than their usual live action offerings. By 1973, Disney's star in residence Fred MacMurray was getting a little too old for shenanigans like this so James Garner stepped in. One of the most likable of actors, Garner brings his boyish charm to the forefront along with his sincerity. The film touches on subjects like the massacre of Native Americans by the U.S. Cavalry so this isn't your usual Disney family movie. Still, the overuse of unnecessary comic touches only serves to detract from the more dramatic aspects of the film. The film's most touching moment is the death of a camel, not its human elements. The lackluster score is by Jerry Goldsmith. With Vera Miles, Jodie Foster, Pat Hingle, Andrew Prine, Jay Silverheels and Jim Davis.

Barfly (1987)

Set in the poorer parts of Los Angeles, an alcoholic writer (Mickey Rourke) ekes out a living by doing the occasional job but his primary vocation is drinking. He hooks up with another alcoholic (Faye Dunaway) and they spend their time getting drunk. When the posh editor (Alice Krige) of a literary magazine buys one of his stories, she also attempts to make him her lover. Written by Charles Bukowski and directed by Barbet Schroeder (REVERSAL OF FORTUNE). While the movie is well acted, I was slightly put off by the romanticism of alcoholism. While Rourke's alcoholic (based on Bukowski) considers himself a rebel and perceives his alcoholism as a badge of non conformism, I found the tawdriness of his life sad, maybe even pathetic. Rourke is good but there's a certain phoniness in his performance and his line readings often sound like he's channeling Mae West! On the other hand, Dunaway brings a nice pathos to her drunk. I felt sorry for Alice Krige because her part was so contrived that it's unplayable. With Frank Stallone, Jack Nance, Gloria Leroy and Fritz Feld.

Silver Lode (1954)

On his wedding day, a rancher (John Payne) is about to be married to the daughter (Lizabeth Scott) of one of the town's prominent citizens when a U.S. Marshal (Dan Duryea) and his deputies ride into town to arrest him for murder. Directed by Allan Dwan (SLIGHTLY SCARLET). A ripoff of HIGH NOON, this contrived western overplays its hand. At the beginning of the movie, the townspeople are Payne's friends but by the end, they've almost all turned against him! Like Gary Cooper in HIGH NOON, at the film's end Payne leaves the town in disgust. The film has its fans (like Martin Scorsese) and similarly like HIGH NOON, many see the movie's theme as anti McCarthyism. Lizabeth Scott is known for playing femme fatales but here she's wasted as the "good" girl which leaves Dolores Moran as the "bad" girl to hold our interest. It's watchable but not much more than that. With Stuart Whitman, John Hudson, Morris Ankrum and Harry Carey Jr.

The Last Best Year (1990)

After falling ill during a business trip to London, a woman (Bernadette Peters) must confront her own mortality when she's diagnosed with a terminal illness. Through her doctor (Brian Bedford), she's introduced to a psychologist (Mary Tyler Moore) who'll help her face the emotional fall out of her illness. Directed by John Erman (AN EARLY FROST). What seems like another TV "terminal illness" movie of the week surprises by its strong non sentimental screenplay until its last half hour when it becomes exactly what you feared it would be ..... a sentimental tear jerking TV "terminal illness" movie of the week! A real pity since Bernadette Peters and Mary Tyler Moore, two exceptionally talented ladies, give some nuance and shading to their characters. With Dorothy McGuire (who has one good scene as Moore's mother), Kate Reid, Carmen Mathews, Michael Hogan and Erika Alexander.

Lawrence Of Arabia (1962)

The story of the enigmatic T.E. Lawrence (Peter O'Toole) and his experiences during WWI and his participation in liberating Arabic tribes from Turkish domination among other things. Based on the non fiction book SEVEN PILLARS OF WISDOM by T.E. Lawrence and directed by David Lean (THE BRIDGE OVER THE RIVER KWAI). Widely regarded as one of the greatest films ever made and winner of seven Oscars including best picture and director. Once every decade or so, I revisit Lean's 1962 epic in an attempt to grasp its greatness but I continue to be dismayed. Visually, Freddie A. Young's cinematography (shot in 70 millimeter) is awesome and on that level, it's a masterpiece, one of the most stunning films ever made and worthy of its praise. But on the whole, I find it a chore to sit through its often tedious and repetitive narrative. Peter O'Toole in his star making role is superb and the acting is generally excellent (well, maybe not Jose Ferrer's lecherous Turk). The film's historical accuracy and its portrayal of Lawrence is open to debate but Robert Bolt's screenplay is literate and doesn't insult our intelligence. I also found Maurice Jarre's score rather tacky. With Alec Guinness, Anthony Quinn, Jack Hawkins, Claude Rains, Omar Sharif, Anthony Quayle, Arthur Kennedy, Donald Wolfit, Michel Ray and I.S. Johar.

The Life And Adventures Of Nicholas Nickleby (1947)

After his father dies, a young man (Derek Bond) turns to his rich but cold hearted Uncle (Cedric Hardwicke) for assistance in supporting his sister (Sally Ann Howes) and mother (Mary Merrall). The uncle agrees to aid the women but arranges for a position as a tutor at a school for his nephew. But the school turns out to be nothing more than a brutal prison like atmosphere where the boys are abused. Based on the massive classic novel by Charles Dickens (previously filmed in 1903 and 1912 and again in 2002) and directed by Alberto Cavalcanti (DEAD OF NIGHT). Dickens' novel is almost a thousand pages long and the movie is only one hour and 48 minutes so much of the book has been jettisoned or rearranged. While Dickens purists may be upset, I found it a decent telling of the book although somewhat lacking in atmosphere and over exaggerated in its more dramatic moments. Unfortunately because of the editing of the novel, many characters aren't fleshed out. With Stanley Holloway, Bernard Miles, Sybil Thorndike, Athene Seyler, Fay Compton, Alfred Drayton and Cathleen Nesbitt.

Mystery House (1938)

After a banker's (Eric Stanley) death is ruled a suicide, his daughter (Anne Nagel) hires a private detective (Dick Purcell) to investigate as she believes he was murdered. To this end, the daughter invites all the possible suspects for a weekend at a hunting lodge. Based on the novel THE MYSTERY OF HUNTING'S END by Mignon G. Eberhart and directed by Noel M. Smith (TOOTSIES AND TAMALES). Moderately (very moderately) enjoyable B murder mystery movie. At barely an hour long, it moves along quickly leaving very little time to worry about plot holes and the weak writing. As written, Purcell's detective isn't the brightest bulb on the marquee and how he comes to solve the case seems contrived. With Ann Sheridan, William Hopper, Elspeth Dudgeon, Trevor Bardette and Sheila Bromley.

Monkey Business (1952)

An absent minded research chemist (Cary Grant) is working on a formula that will make people younger but he's not having any luck. One day a chimpanzee being used for research breaks free and accidentally completes the youth formula. Chaos ensues! Directed by Howard Hawks (RED RIVER). Hawks directed three of the greatest screwball comedies ever made, BRINGING UP BABY, HIS GIRL FRIDAY and BALL OF FIRE. Alas by 1952, he seemed to have lost his touch. He would go on to make only two more comedies: GENTLEMEN PREFER BLONDES (a success but it was a musical comedy, not a screwball) and MAN'S FAVORITE SPORT (a pale imitation of his best work but better than MONKEY BUSINESS). To be fair, this movie has its fans but I'm not one of them. I've never been a fan of movies about adults retrogressing into childhood (like Tom Hanks in BIG among others). Watching Grant and Ginger Rogers (as his wife) acting like bratty 7 year olds isn't funny, it's embarrassing! I only laughed once when Rogers thinks her husband has regressed into an infant but that was only for a few minutes. A wearisome effort. With Marilyn Monroe (the movie's only bright spot), Charles Coburn, Hugh Marlowe, Harry Keating and Olive Carey.