Bonnie Prince Charlie (1948)

In 1744, Prince Charles Stuart (David Niven) returns to Scotland to lead the Scottish armies in a fight to gain independence from Britain. But King George II (Martin Miller) is determined to crush the rebellion and sends the ruthless Duke Of Cumberland (Elwyn Brook Jones) to stop him and his band of Scottish patriots. Directed by Anthony Kimmins (THE CAPTAIN'S PARADISE). A turgid piece of historical film drama albeit highly fictionalized. The Jacobite Rebellion of 1745 is a fact but the film makers elected to add an unsubstantiated romance (Margaret Leighton is the lass) to provide some female pulchritude to the movie. Names such as Leslie Howard and Michael Powell expressed interest in making a film about Prince Charles but by 1948, Alexander Korda borrowed Niven (sans moustache) from Samuel Goldwyn for the project. Niven seems miscast and ill at ease and according to him, he knew it was a turkey from the beginning. With Jack Hawkins, Finlay Currie, Torin Thatcher and Judy Campbell.

Un Singe En Hiver (aka A Monkey In Winter) (1961)

Set in a coastal town in France, two men from different generations meet up. One (Jean Gabin) is an innkeeper frustrated with the monotonous normality of his life and the other (Jean Paul Belmondo) is an advertising executive who has fantasies of being a Spanish bullfighter. Based on the novel by Antoine Blondin and directed by Henri Verneuil (THE SICILIAN CLAN). This is a rather poignant look at two men whose lives didn't turn out the way they wanted it to. It's no coincidence that one (Gabin) is an ex-alcoholic and the other (Belmondo) is a drunk. Alcohol lets them live out their fantasies. I don't find drunks amusing and a lengthy segment with Gabin and Belmondo on a drinking binge was near intolerable for me. Other than that, I found the film well acted and engrossing. Strikingly shot in wide screen B&W, the film might have benefited from color especially during the fireworks sequence. The lovely score is by Michel Magne. With Suzanne Flon and Paul Frankeur.

Liza: A Truly Terrific Absolutely True Story (2025)

A documentary on the complex rise to stardom and life of Liza Minnelli. It doesn't dwell on her childhood years much but rather begins with the death of her mother, the legendary Judy Garland and follows her career and personal path to the present. Directed by Bruce David Klein  (MEAT LOAF). If you're not a Liza Minnelli fan, there might not be much here to interest you. But this excellent documentary portrait is no puff piece but a sincere look at one of the most exciting performers (she sings! she dances! she acts!) of her day. In declining health, Minnelli sits and recounts the mentors, friends and lovers that influenced and shaped her career including Bob Fosse, Charles Aznavour, Kay Thompson and Fred Kander. There are also candid and insightful interviews with friends and colleagues including Mia Farrow, Chita Rivera, George Hamilton, Ben Vereen, Joel Grey, Michael Feinstein, Lorna Luft, Marisa Berenson and Michele Lee. A fascinating portrait of a complicated woman born in the shadow of iconic parents making her own path into the world of show biz, not always avoiding the traps along the way.

Get Shorty (1995)

A loan shark and film buff (John Travolta) in Miami is bored with the business. When he arrives in L.A. to collect a debt from a down and out film maker (Gene Hackman), he catches the movie fever and pitches a script idea which the director loves. But he still has to deal with some drug smugglers and an angry mobster (Dennis Farina). Will he survive to make his movie deal? Based on the novel by Elmore Leonard (3:10 TO YUMA) and directed by Barry Sonnenfeld (THE ADDAMS FAMILY). A thoroughly enjoyable satire of mobsters and the movie business buoyed by the performances of a top notch cast. Both funny and thrilling, Sonnenfeld drives the narrative forward with assurance and wit. The movie reminds us what a strong screen presence Travolta used to be, here he's the essence of cool and Hackman shows his versatility playing an imbecilic movie producer whose ambition is bigger than his brains. With Danny DeVito, Bette Midler, Rene Russo, James Gandolfini, Harvey Keitel, Delroy Lindo and Penny Marshall.

Bride Of Vengeance (1949)

Set in the early 16th century, a loveless marriage is arranged between Lucretia Borgia (Paulette Goddard) and the Duke of Ferrara (John Lund) for an acquisition of property. But she struggles with her burning desire for vengeance against the Duke, who she believes is responsible for her husband's (John Sutton) death and her growing love for the Duke. Directed by Mitchell Leisen (EASY LIVING). Mitchell Leisen began his career as a costume designer at Paramount before graduating to film directing. His output was very good including films like MIDNIGHT, REMEMBER THE NIGHT, HOLD BACK THE DAWN and TO EACH HIS OWN. But by the end of the decade, his career was waning and this historical (and highly inaccurate) epic is pure hokum. Goddard brings a movie star's presence to the film but the film's leading man John Lund is non descript! The best performance in the film comes from Macdonald Carey as Cesare Borgia, normally a bland an actor as Lund but villainy suits him nicely. With Albert Dekker, Raymond Burr, Rose Hobart and Anthony Caruso.

Sweethearts (1938)

A popular Broadway married couple (Jeanette MacDonald, Nelson Eddy) are still passionately in love after six years of marriage and 2,946 performances of the Victor Herbert operetta SWEETHEARTS. But when they decide to accept an offer from Hollywood to go into motion pictures, the show's producer (Frank Morgan) and his associates concoct a plan to prevent them from doing so. Directed by W.S. Van Dyke (THE THIN MAN). I'm not a fan of the MacDonald and Eddy movies but this is their best film. This is due to the witty script courtesy of Dorothy Parker and Alan Campbell (1937's A STAR IS BORN) as well as the amusing supporting cast. This is not a film version of the 1913 Victor Herbert operetta but an entirely new story with its protagonists starring in a production of the Herbert musical. It was also MGM's first film in the three strip Technicolor process and MacDonald and Eddy's first "contemporary" film which allows MacDonald to wear an array of glamorous frocks courtesy of Adrian. Fortunately, MacDonald knows her way around a witty line (after all, she made four movies with Ernest Lubitsch) and even Eddy manages to get it right. Alas, we still have to put up with her trilling and his bellowing but in this case, the screenplay is good enough to compensate for that. With Ray Bolger, Frank Morgan, Mischa Auer, Lucile Watson, Allyn Joslyn, Florence Rice and Reginald Gardiner.

Mask Of The Dragon (1951)

An American soldier (Richard Emory) agrees to deliver a jade dragon to a curio shop in Los Angeles. Soon after his return to the states, he is murdered. A private detective (Richard Travis) who was his best friend investigates. Directed by Sam Newfield (OUTLAW WOMEN). A poverty row (and I do mean poverty) potboiler that's barely an hour long! Cheaply made and it looks it, badly acted and with annoying comedy relief that seems out of place. That's courtesy of Sid Melton as a thug involved in contraband. His wisecracks seem more appropriate to a TV sitcom than a mystery thriller. As the gumshoe, Richard Travis has to be the most inept private detective ever put on screen. He makes Inspector Clouseau look like Sherlock Holmes! No suspense, no mystery, no style. With Sheila Ryan, Lyle Talbot and Michael Whalen.

College Confidential (1960)

When a sociology professor (Steve Allen) at a small town college conducts a survey about the mores and lifestyle of its students, some of the townspeople are disturbed to learn that it contains questions about sex! When an anonymous letter accusing the professor of corrupting the students is sent to her, a local reporter (Jayne Meadows) investigates and it gets ugly. Directed by Albert Zugsmith. Known mainly as a producer, Zugsmith was a curiosity. He usually produced exploitation B movies like HIGH SCHOOL CONFIDENTIAL, SEX KITTENS GO TO COLLEGE and CONFESSIONS OF AN OPIUM EATER. But he also produced some genuine classics like Welles' TOUCH OF EVIL and Sirk's WRITTEN ON THE WIND. Go figure! This effort tries to have it both ways. It wants to titillate us with a Kinsey like report but at the end of the film, Allen has a long heavy handed speech attacking the repressive small town mentality of American society. Mamie Van Doren who played the aunt of a high school student in HIGH SCHOOL CONFIDENTIAL two years earlier plays a college student here. When she goes to take the stand at a court hearing, someone refers to her as "a Mamie Van Doren type". With Herbert Marshall, Ziva Rodann, Mickey Shaughnessy, Conway Twitty, Pamela Mason (Mrs. James), Walter Winchell, Sheila Graham and Elisha Cook Jr.

The Todd Killings (1971)

A shiftless psychopath (Robert F. Lyons) lives off his enabling mother (Barbara Bel Geddes). He is also popular with the high school set who think he's cool ..... so what if he's a serial killer. Directed by Barry Shear (WILD IN THE STREETS). A nasty piece of exploitation cinema all the more revolting because it's based on a true story (names have been changed for the movie), that of serial killer Charles Schmid. Joyce Carol Oates used the Schmid case as the basis for her short story WHERE ARE YOU GOING, WHERE HAVE YOU BEEN? which was turned into the movie, SMOOTH TALK (1985). With the exception of Fay Spain as the first victim's mother, there isn't a single likable character in the movie and the film's portrayal of its female characters borders on misogyny. As the serial killer, Lyons isn't charismatic enough to make us understand how he became the "Pied Piper" of the high school set. He just comes across as creepy. I don't think the film's aim was to make a suspenseful thriller but rather a portrait of a psychopath but it's a lousy movie anyway you look at it. With Gloria Grahame, Richard Thomas, Ed Asner, James Broderick, Belinda Montgomery and Holly Near.

Old Heidelberg (1915)

While studying at the Heidelberg University, Prince Karl (Wallace Reid) of Saxony falls in love with the local innkeeper's daughter (Dorothy Gish). Soon, he will be forced to make a decision ..... duty to his country or the woman he loves. Based on the play by Wilhelm Meyer Forster and directed by John Emerson (MYSTERY OF THE LEAPING FISH). The play was popular enough to be filmed several times including the Ernest Lubitsch 1926 film version and it was the basis of Sigmund Romberg's 1924 operetta THE STUDENT PRINCE, filmed in 1954 by MGM. I found this version monotonous and creaky. Although eclipsed by her sister Lillian, in the 1920s Dorothy Gish was a star in her own right although this vehicle doesn't show her to her best advantage. Wallace Reid soon became one of silent cinema's major stars but sadly died at the age of 31 in 1923. The film does feature Erich von Stroheim in a supporting role as Reid's guardian and he soon would become a major director in Hollywood. With so much talent involved, it's a pity that the movie's a dull dud. But then, I've never much cared for any of the film versions of the play. With Karl Formes and Raymond Wells.

Black Bag (2025)

Two British intelligence agents are happily married to each other. When his wife (Cate Blanchett) is suspected of betraying her country, the husband (Michael Fassbender) faces the ultimate test ..... loyalty to his marriage or his country. Directed by Steven Soderbergh (ERIN BROCKOVICH). An absolute crackerjack spy thriller! In an era of excessively long movies and directors self indulging themselves and putting audiences to the test, Soderbergh's movie is a lean 90 minutes without an ounce of fat or padding. It's a clever piece of cerebral suspense, the film emphasizes dialogue rather than action and it's mesmerizing. As the chilly pair of married lovers, Blanchett and Fassbender are like a diabolical Nick and Nora Charles (that's THE THIN MAN if you're clueless) and the supporting cast are also top notch. This should have been a box office hit. I don't know what's wrong with audiences these days! There's a terrific score by David Holmes. With two alum of the James Bond films, Pierce Brosnan (Bond) and Naomie Harris (Moneypenny). Also Marisa Abela, Tom Burke and Rege Jean Page.

The Boxer (1997)

Set in Ireland, a boxer (Daniel Day Lewis) and former Irish Republican Army member is released from prison after serving 14 years. Sick of all the violence the conflict between the Catholics and Protestants as well as the British have brought to his country, he attempts go straight. With this in mind, he opens a boxing club for boys in an old gym with the help of his former trainer (Ken Stott). Directed by Jim Sheridan (MY LEFT FOOT). A potent look at at two people (Emily Watson as the married woman Day Lewis loves) struggling to find normalcy and love amid the hate and chaos of a civil war. I don't pretend to understand all the complexities of "The Troubles" between the Irish Catholics and Protestants for 30 years but enough to appreciate Sheridan's handling of the tricky situation his two protagonists find themselves in. He never lets the turbulent political madness detract from the emotional connection of the two people at the center of the story. The excellent underscore is by Gavin Friday and Maurice Seezer. With Brian Cox and Gerard McSorley.

Easy Rider (1969)

Two drug dealers (Peter Fonda, Dennis Hopper) score a large sum of money by selling cocaine. They then precede to travel from Los Angeles to New Orleans through the American Southwest and the South. Produced by Peter Fonda and directed by Dennis Hopper (THE LAST MOVIE), who also co-wrote the screenplay with Terry Southern. A time capsule of a movie, very much of its era that revolutionized Hollywood during the 1970s and ushered in a new wave of film makers like Francis Ford Coppola, Martin Scorsese, Bob Rafelson, Brian De Palma to name but a few. With a budget of $400,000, it grossed 60 million! It perfectly captures America at a certain point in time with the drug counterculture, "hippies", the American youth's frustration of the status quo. Does it hold up today? As an artifact of the 60s, yes but as cinema, I'm not so sure. It's a landmark film in Hollywood's history but I wonder what a 20something watching it for the first time would think of its characters. The whole sequence of the hippie commune plays weirdly ("Are those people for real?") to someone who wasn't there when it was all happening. Still, an important film that should be seen at least once to anyone interested in the history of cinema. With Jack Nicholson in his breakthrough role, Karen Black, Luana Anders, Toni Basil, Luke Askew, Carmen Phillips, Phil Spector and Robert Walker Jr.

Remember To Live (1954)

Returning home after the Korean war, an ex-prisoner of war (Dane Clark) is broken and bitter. Not only the years in a Korean prison camp but the woman he loved didn't wait for him and married someone else. A young orphan girl (Judy Nugent) is determined to help him find his way. Directed by James Neilson (NIGHT PASSAGE). Originally shot for television, this sentimental slice of sop goes nowhere or rather goes exactly where we know it will go. The orphan is supposed to be adorable and gain our sympathy but I found her an annoying brat causing trouble. The POW gets involved with two women, the good girl (Barbara Hale) and the femme fatale (Cleo Moore) but, of course, we know who he'll end up with. With Dick Wessel and Paul Brinegar.

Submarine Command (1951)

A WWII Lieutenant Commander (William Holden) orders his submarine to crash dive in order to evade a Japanese aerial attack. While the maneuver saves the submarine, it consequently kills the Captain and another crewman. This event haunts him even after the war is over. Directed by John Farrow (HONDO). Coming off SUNSET BOULEVARD where they both received Oscar nominations, Paramount reteams William Holden and Nancy Olson as his wife in this war film that was among the first to deal with post traumatic stress disorder. That's the most interesting aspect of the movie and the film's first hour is compelling as it deals with Holden's PTSD and how it effects his marriage and career. Alas, it jumps the shark in the film's last half hour when it becomes a routine war action movie with the usual heroics and bang ... he's suddenly cured of his PTSD! With William Bendix, Don Taylor, Arthur Franz, Darryl Hickman, Peggy Webber, Benson Fong and Noel Neill.

They Met In Argentina (1941)

An ambitious Texas oilman (James Ellison) fails in his bid to secure a desired parcel of land in Argentina for his oil baron employer (Robert Middlemass). Instead, he concocts a plan to buy a prize racehorse. Complications arise when the racehorse owner's (Robert Barrat) daughter (Maureen O'Hara) falls in love with the Texan. Directed by Leslie Goodwins (THE MUMMY'S CURSE) and Jack Hively (FOUR JACKS AND A JILL). A dog of a musical! The critics disliked it and audiences stayed away. The songs are by Richard Rodgers and Lorenz Hart but they're the dregs (the songs, not the songwriters). They wrote 12 songs for the movie but only 7 made it into the film and not a memorable one in the bunch! Ironically, Maureen O'Hara who has a lovely singing voice doesn't get to sing though she dances briefly. The highlight is a Latin dance number choreographed by Frank Veloz. It's a bleak musical without a moment of joy. Luckily for O'Hara, her next film was the classic HOW GREEN WAS MY VALLEY. With the creepy Buddy Ebsen, Joseph Buloff, Fortunio Bonanova and Diosa Costello.

Ramona (1928)

Set in early Southern California in the mid 19th century, a young girl (Dolores Del Rio) is adopted by a Mexican family. After she falls in love with a Native American (Warner Baxter), she finds out that her mother was also Native American which makes her bi-racial. She flees the tyrannical household and marries the Native American. Based on the novel by Helen Hunt Jackson and directed by Edwin Carewe (EVANGELINE). While Hollywood likes to think how inclusive it is today, in 1928 this film was directed by a Native American! Carewe was member of the Chickasaw tribe. That probably explains its empathetic attitude toward Native Americans in this film. Shot in Utah, it's a handsome looking movie courtesy of Robert Kurrie (1928's SADIE THOMPSON). Alas, the film's authenticity is compromised by a hokey Hollywood ending that's not from the book. Still, what we get is good and a more authentic than the usual Hollywood portrayal of Native Americans that followed. Unfortunately, the transfer I saw had a dreadful organ accompaniment when it deserves a full orchestral score. Remade in 1936. With Roland Drew and Vera Lewis.

The Gay Bride (1934)

A gold digging showgirl (Carole Lombard) is determined to marry a rich man regardless of the consequences. She sets her eyes on a bootlegger (Nat Pendleton) whose bodyguard (Chester Morris) is onto her larcenous ways. Based on the short story REPEAL by Charles Francis Coe and directed by Jack Conway (LIBELED LADY). Surprisingly enjoyable second tier screwball comedy that involves multiple gangland murders and a heroine ready to sell herself to the highest bidder no matter how repugnant. Lombard (in her only film for MGM) is charming but she needed a stronger leading man than Chester Morris (there's a reason he never became a Star) whose lowkey acting doesn't give her much to play off. The movie was critically dismissed, a box office flop and even Lombard and Morris disliked it but I suspect it plays better today than it did in 1934. With Zasu Pitts, Leo Carrillo, Gene Lockhart and Sam Hardy.

Divorce Wars (1982)

A successful but self centered divorce attorney (Tom Selleck) finds himself in the same boat as his clients when his long suffering wife (Jane Curtin) sues him for divorce. Hurt and angered, he begins to understand the pain and endless process that divorce often has caused. Written, produced and directed by Donald Wrye (ICE CASTLES). What should have been a devastating portrait of a divorce that turns horribly nasty, along the lines of KRAMER VS. KRAMER (though to be honest, I disliked that film), is severely compromised by a sappy ending but more deadly, an offensive comedic subplot about an unhinged husband (Charles Haid) terrorizing his ex-wife (Candace Azzara). At least, this film is more understanding of the wife's need to get out of a marriage that's suffocating her than KRAMER's misogynistic viewpoint. In a rare dramatic role, Jane Curtin is impressive as the wife who's been pushed into the background as her husband climbs the ladder of social and financial success. With Joan Bennett, Mimi Rogers, Viveca Lindfors, Joe Regalbuto and Philip Sterling.

Pay Or Die (1960)

Set in New York's Little Italy in the early 1900s. Citizens cower in fear as organized crime (aka The Black Hand) demands payment for "protection" or retaliation in the form of destroyed businesses and even death. But an Italian police lieutenant (Ernest Borgnine) is determined to end the reign of terror. Directed by Richard Wilson (THREE IN THE ATTIC). Based on the true story of Joseph Petrosino and his Italian Squad's fight against the extortions of the "Black Hand". While not without interest, it's no better than an above average episode of TV's THE UNTOUCHABLES. You pretty well know where it's going although I wasn't prepared for the (partially) downer ending. The mafioso aspect of the film's narrative is padded out with a romance, that of the police lieutenant and an Italian immigrant (Zohra Lampert). If you're into gangster movies, you might enjoy a little bit better than I did but it's no SCARFACE. With Alan Austin, Robert F. Simon, Renata Vanni, John Marley, Vito Scotti and Robert Ellenstein.

Slaughterhouse Five (1972)

An optometrist and WWII veteran (Michael Sacks) has mysteriously become unstuck in time. Which means he goes on uncontrollable trips back and forth in his life as a husband and father in New York to life on a distant planet called Tralfamadore to his WWII experience in Dresden, Germany. Based on the novel by Kurt Vonnegut Jr. and directed by George Roy Hill (THE STING). I haven't read Vonnegut's novel but the film version did nothing for me although reputedly Vonnegut was very happy with the result. It's a minority opinion however as the film won the Jury prize at the Cannes film festival and the movie has a strong fan base. The character of Billy Pilgrim, at least as Michael Sacks plays him comes across as a backward child. HE isn't very interesting but he's surrounded with interesting characters which helped get me through the movie. I just found it a turgid sit through. With Valerie Perrine, Ron Leibman, Sharon Gans, John Wood, Eugene Roche, Perry King, Sorrell Booke, John Dehner, Holly Near and Lucille Benson.

Misterios De Ultratumba (aka The Black Pit Of Dr. M) (1959)

As a doctor (Antonio Raxel) is dying, a fellow doctor (Rafael Bertrand) reminds him of a pact they made. The first one to die will return from the dead to tell the other how to enter the afterlife and return alive. The promise is kept ..... but at a horrible price. Directed by Fernando Mendez (EL SUAVECITO). I'm not a big fan of Mexican horror movies but I liked this one. Rich in atmosphere with moody cinematography by Victor Herrera, its style overcomes the preposterousness of the story. The acting isn't very good but the often overly dramatic performances fit right in with the peculiarity of it all. It should please the less discriminating horror fans. With Gaston Santos, Mapita Cortes and Carlos Ancira.

La Belle Noiseuse (1991)

A reclusive painter (Michel Piccoli) lives in the French countryside with his wife (Jane Birkin). Their lives are radically upended with the arrival of a younger artist (David Bursztein) and his girlfriend (Emmanuelle Beart), who becomes the older painter's muse. Inspired by the short story LE CHEF -D'OEUVRE INCONNU by Honore De Balzac and directed by Jacques Rivette (CELINE AND JULIE GO BOATING). Winner of the Grand Prix at the Cannes film festival, this four hour (plus intermission) drama is a rumination on creating Art, truth in Art as well as the relationship between an artist and his model. This could have been a very dry and stuffy film but Rivette slowly unfurls a spellbinding web that draws us in and keeps us speculating on where this journey is going and how it will end. There are long takes of just the artist's hands (those of Bernard Dufour) as he takes a blank canvas and slowly creates his vision and it's fascinating. A film about creating Art that is worthy of its subject. With Marianne Denicourt and Gilles Arbona.

The Underwater City (1962)

The head of the Institute Of Oceanography (Carl Benton Reid) hires an ex-Navy Commander (William Lundigan) to supervise the construction of an underwater city. Once built, a hand picked group of settlers will move in and see how viable the idea is. Directed by Frank McDonald (TREASURE OF THE RUBY HILLS). Shot in color but released to theatres in black and white. The entire movie feels cheaply made with cardboard characters and cliched situations. I doubt even the most die hard science fiction fan could drum up any enthusiasm for it. The big destruction of the underwater city at the end looks fake and even the underwater cinematography is murky. It makes VOYAGE TO THE BOTTOM OF THE SEA look like high art. With Julie Adams, Roy Roberts, Kathie Browne and Edward Mallory.

Road To Paradise (1930)

A young woman (Loretta Young), who has been raised by two thieves (George Barraud, Raymond Hatton) is coerced by them into helping them rob a wealthy society woman (Loretta Young), who looks like her. She reluctantly agrees but during the robbery attempt, everything goes wrong! Based on the play CORNERED by Dodson Mitchell and Zelda Sears and directed by William Beaudine (LITTLE ANNIE ROONEY). The far fetched plot is made tedious by its sluggish pacing and the one hour and 14 minutes running time seems twice that. Being a pre code early sound film, the camera doesn't move much. It just sits there photographing the actors going through their paces as if we're watching a stage play. Young is lovely and exudes charm in both her roles but the rest of the cast aren't so lucky. The contrived ending is telegraphed early on so there's no surprises. With Jack Mulhall and Fred Kelsey.

Haywire (1980)

Brooke Hayward (Deborah Raffin) recalls her glamorous but troubled upbringing as the daughter of actress Margaret Sullavan (Lee Remick) and producer/agent Leland Hayward (Jason Robards). Based on the autobiographical book by Brooke Hayward and directed by Michael Tuchner (FEAR IS THE KEY). I've not read Hayward's memoir but surely it must have been more coherent than this three hour adaptation done for television. I'm normally quite fond of non linear films but this one jumps all over four decades (1940s through the 1970s) and is so fragmented that we get little sense of what motivates (and what destroys) these characters. I like Lee Remick, she's a good actress but she doesn't embody any of the unique qualities that made Margaret Sullavan such a distinct screen presence. We're not as familiar with Leland Hayward so Jason Robards comes off better. After it's over, we still don't get a sense of what made the family implode: Sullavan died of an overdose, sister Bridget (Dianne Hull) committed suicide and brother Bill (Hart Bochner), who produced this, eventually killed himself. With Dean Jagger, Richard Johnson, Linda Gray and Christopher Guest.

Sinners (2025)

Set in 1932 Mississippi, two brothers (both played by Michael B. Jordan) return to their Southern roots after living in Chicago for several years. They purchase a sawmill with the intention of turning it into a juke joint for the local black community. But opening night of the juke joint literally turns into a blood bath. Written and directed by Ryan Coogler (CREED). I liked Coogler's breakthrough film FRUITVALE STATION but I was indifferent toward BLACK PANTHER and skipped CREED. Though not without its flaws, I think this is Coogler's best work to date. A daring visionary horror film (some might call it a musical horror movie), Coogler ventures into Jordan Peele territory here. With the exception of the film's ridiculous RAMBO style massacre near the end, the movie draws us in immediately and never loosens its hold. Though it can't help but evoke earlier horror films like NEAR DARK and FROM DUSK TILL DAWN, the movie doesn't seem derivative. The film's two major musical sequences are sensational. The underscore by Ludwig Goransson is first rate. With Hailee Steinfeld, Jack O'Connell, Miles Caton, Delroy Lindo and Wunmi Mosaku.

The Saga Of Hemp Brown (1958)

A U.S. cavalry officer (Rory Calhoun) is court martialed after the party he is bringing to the fort is ambushed and people are killed and a payroll is stolen. This sets him on a path of revenge as he seeks out the man (John Larch) who lead the gang who attacked and stole the money. Directed by actor turned director Richard Carlson (CREATURE FROM THE BLACK LAGOON). A standard western enhanced somewhat by its handsome CinemaScope lensing courtesy of Philip H. Lathrop (THE AMERICANIZATION OF EMILY). There's not much can say about a movie like this. Certainly not something to seek out but good enough to hold your attention. But I'm a big fan of westerns so I might be more tolerant than others. It's not the kind of movie where the acting matters much but the cast does well enough. With Beverly Garland, Russell Johnson, Fortunio Bonanova and Yvette Vickers.

The Old Dark House (1963)

An American car salesman (Tom Poston) in London is traveling to Dartmoor to visit his flat mate (Peter Bull) and his family. But when he arrives, his flat mate is dead and a storm forces him to spend the night. But when family members begin getting killed off one by one, will he survive the night? Based on the novel BENIGHTED by J.B. Priestley (previously filmed in 1932) and directed by William Castle (HOUSE ON HAUNTED HILL). The 1932 OLD DARK HOUSE was a horror comedy of sorts. I love the mixture of horror and comedy in movies like THE CAT AND THE CANARY and THE GHOST BREAKERS, two Bob Hope vehicles. Alas, there's no real horror here and the laughs are non existent and Tom Poston, a television character actor, is no Bob Hope! Outside of the film's title, there's very little resemblance between the 1932 movie and this one. The film's opening credits were drawn by Charles Addams. With Robert Morley, Janette Scott, Joyce Grenfell, Fenella Fielding and Mervyn Johns.

Slave Girl (1947)

With a trunk full of gold to bargain for the lives of captured American sailors, an American playboy (George Brent) is sent to Tripoli on a diplomatic mission. However, he falls under the spell of a beautiful dancing girl (Yvonne De Carlo), who steals his trunk of gold to give to her lover (Carl Esmond). Directed by Charles Lamont (MA AND PA KETTLE). In the 1940s and early 1950s, Universal studios ground out these Arabian nights fantasies like sausages. Usually, they starred Maria Montez who was the Queen of the genre but Maria couldn't do them all so there was Yvonne De Carlo to pick up the slack. This was a weak effort and early previews were negative so Universal added a talking camel (voiced by Buddy Hackett) to narrate the movie and provide wisecracks and one liners. I found the talking camel bit inane and unamusing but I guess it worked because the picture turned out to be a hit. The emphasis on humor (lame though it is) detracts from the adventurous aspects of the film. With Broderick Crawford, Albert Dekker, Andy Devine, Lois Collier and Arthur Treacher.

Mother, Couch (2024)

The members of a dysfunctional family find themselves trapped in an antiquated furniture store when their elderly matriarch (Ellen Burstyn) suddenly refuses to get up from one of the display couches. Reluctantly assembled, her three adult children (Ewan McGregor,, Rhys Ifans, Lara Flynn Boyle) must figure out how to escape this bizarre predicament. Based on the novel MAMMA I SOFFA by Jerker Virdborg and directed by Niclas Larsson in his feature film debut. A bizarre film that unsuccessfully treads the line between realism and surrealism. After setting us up for a incisive look at a fragile and fragmented family, the movie cops out and takes us for a surrealistic journey that's nonsensical, leaving us scratching our heads. With one exception, the actors can't seem to get a grasp on what they're supposed to be doing. The one exception is Ellen Burstyn who brings a chilly tartness to her unloving mother, who never wanted her three kids (all with different fathers) in the first place! It's a frustrating film with an interesting premise that somehow lost its way. But at least it's trying something different instead of giving us the same old. With F. Murray Abraham, Lake Bell and Taylor Russell.

Scarface (1983)

An ex-convict Cuban refugee (Al Pacino) arrives in Miami as part of the 1980 Mariel boatlift. After assassinating one of Castro's former henchmen, the drug lord (Robert Loggia) that hired them offers them positions which they accept. Not content to be someone else's henchman, the refugee has bigger plans for himself and that includes the drug lord's mistress (Michelle Pfeiffer). Based on the novel by Armitage Trail by way of the 1932 Howard Hawks film and directed by Brian De Palma (DRESSED TO KILL). Dismissed by critics upon its release, audiences made it a big hit and today, it's a cult favorite and its reputation has grown. It's an over the top gangster epic (it runs just under three hours) devoid of subtlety and if you can accept it's excesses, it's a pretty good gangster flick. My feelings toward Pacino's performance shift. I can't decide if it's brilliant performance or a godawful piece of overacting. No, it's not THE GODFATHER but I'll take it over GOODFELLAS. With Mary Elizabeth Mastrantonio, Steven Bauer, F. Murray Abraham, Harris Yulin, Paul Shenar, Miriam Colon and Gregg Henry.

Cool Hand Luke (1967)

Set in 1950s Florida, a WWII vet (Paul Newman) is sentenced to two years on a chain gang for destroying several parking meters when drunk. A loner and a cynic and a rebel, he eventually wins the respect of his fellow inmates but he proves troublesome to the camp's "bosses". Based on the novel by Donn Pearce and directed by Stuart Rosenberg (THE AMITYVILLE HORROR). The 1960s were Paul Newman's decade. He delivered a series of superb performances in films like THE HUSTLER, HUD, SWEET BIRD OF YOUTH, HARPER, HOMBRE and this one, perhaps his best performance in the bunch. The film plays to his strengths and it also provided George Kennedy (in an Oscar winning performance) with a breakthrough role which gave him a wider range of characters to play instead of just villains. The movie itself is not without some pretensions such as the Christ parallels attributed to Newman's Luke. Lalo Schifrin's Oscar nominated score is one of his very best. With Jo Van Fleet (just one scene but it's a beauty), Dennis Hopper, Wayne Rogers, Strother Martin, J.D. Cannon, Richard Davalos, Harry Dean Stanton, Joy Harmon and Joe Don Baker.

The King's Pirate (1967)

An American naval officer (Doug McClure) working for the British goes undercover as a spy to infiltrate a pirate base that threatens British shipping interests off the coast of Madagascar. In between his mission duties, he romances a lady pirate (Jill St. John) and an Indian princess (Mary Ann Mobley). Directed by Don Weis (LOOKING FOR LOVE). This is a remake of the 1952 swashbuckler AGAINST ALL FLAGS (1952). FLAGS wasn't all that great a movie but it had star power with its three leads (Errol Flynn, Maureen O'Hara, Anthony Quinn). Although a theatrical film, this one looks like a TV movie filmed on the Universal backlot (which it was) and its second tier cast is no match for the 1952 version. While the 1952 film had some humor, it took itself more seriously whereas the emphasis here is on humor, weak though it is. Ten years later, Universal would try again (without much success) to revive the pirate swashbuckler genre with the aptly named SWASHBUCKLER (1977). With Guy Stockwell, Kurt Kasznar, Torin Thatcher and Diana Chesney.

Dancing Co-Ed (1939)

A professional dancer (Lana Turner) is planted in a Midwest college to win a rigged Hollywood contest. The prize is a starring role in a big movie musical. But complications arise when she falls in love with a crusading college journalist (Richard Carlson). Based on a short story by Albert Treynor and directed by S. Sylvan Simon (THE FULLER BRUSH MAN). An enjoyable piece of college hijinks fluff if you don't ask too much. Lana Turner is still in her perky redheaded ingenue phase and she's delightful here showing an aptitude for comedy that she never played on during her Star years. It's a second tier programmer but it turned a tidy little profit for MGM and solidified Turner as one of the studio's upcoming stars although it would take a couple of years before her breakthrough in ZIEGFELD GIRL. With Monty Woolley, Lee Bowman, Ann Rutherford, Leon Errol (who comes close to stealing the movie), Mary Beth Hughes, June Preisser, Roscoe Karns, Mary Field and Artie Shaw (who Turner would marry the following year) and his band.

Un Beau Monstre (aka Love Me Strangely) (1971)

A bisexual sadist (Helmut Berger) abuses women, both physically and psychologically. After he drives his wife (Edith Scob) to suicide, he sets his eyes on his beautiful neighbor (Virna Lisi), marries her and then proceeds to drive her crazy. Based on the novel by Dominique Fabre and directed by Sergio Gobbi (ASPHALT WARRIORS). When it works, it's good but when it doesn't (which is most of the time), it's just silly. It's one sick puppy of a movie! First off, I've never understood what attraction Berger is supposed to have (to straight women, anyway), he's just inherently creepy. Yet Virna Lisi goes ape for him and as soon as he starts abusing her, does she go out the door? No, she takes it! The film's ending leaves us with questions: Accident? Suicide? Murder? The only decent character in the movie is the police detective (Charles Aznavour), who tries to warn Lisi to no avail. Overlong (it runs over two hours), the film wastes too much time on montages and an overdose of pop songs accompanying the images. Someone should have taken shears to it. With Francoise Brion and Alain Noury.

Dick Tracy Vs. Cueball (1946)

An ex-convict (Dick Wessel) just out of prison kills a jewelry dealer (Trevor Bardette) and robs him of diamonds valued at $300,000. Police detective Dick Tracy (Morgan Conway) is on the case! Based on the comic strip character created by Chester Gould and directed by Gordon Douglas (TONY ROME). This is the second entry in the four movie Dick Tracy franchise made at RKO. I quite liked this one and found it superior to the first entry from the year before. Cueball makes for a fine villain and director Douglas pushes the pace so that we're not bored for a minute. The supporting cast consisting of characters like Dirty Flora (Esther Howard), Vitamin Flintheart (Ian Keith) and Percival Priceless (Douglas Walton) are well played. With Anne Jeffreys, Rita Corday, Byron Foulger and Lyle Latell.

A Ciascuno Il Suo (aka We Still Kill The Old Way) (1967)

Set in Sicily, a womanizing pharmacist (Luigi Pistilli) receives death threats but he and his group of friends don't take them seriously. But when the pharmacist and a friend (Franco Tranchina) are killed, a mild mannered professor (Gian Maria Volonte) decides to do his own investigation. What he uncovers is so disturbing that he becomes paranoid. Based on the novel TO EACH HIS OWN by Leonardo Sciascia and directed by Elio Petri (THE 10TH VICTIM). Winner of the best screenplay at the Cannes film festival, this is an exceptional political thriller. What seems like a crime of passion is just a veneer to hide something much more vile. A corruption that has poisoned an entire town so that our protagonist doesn't know who to trust. Volonte's character is an unusual choice for a "hero". Sexually backward, he still lives at home with his mother and grandmother! His innocence doesn't prepare him for the enormity of the corruption he finds. With Irene Papas, Gabriele Ferzetti, Salvo Randone and Leopoldo Trieste.

Joseph And The Amazing Technicolor Dreamcoat (1999)

Framed by the device of school children at assembly watching a musical production of the biblical story of Joseph (Donny Osmond) and his brethren. The school's staff become characters in the play. Based on the musical by Andrew Lloyd Webber (music) and Tim Rice (lyrics) and directed by David Mallet and Steven Pimlott. Just awful! It's the kind of amateurish musical that a church might have performed in their basement. Although this musical came after Webber and Rice had achieved international success with their "rock opera" JESUS CHRIST SUPERSTAR, it had been on the backburner since the late 1960s. It lacks the edginess of SUPERSTAR and this filmed production goes overboard in being family friendly with shots of angelic school children watching the play rapturously. Most of the acting consists of mugging and playing to the balcony but some of the choreography of Dean McKerras isn't bad. Released in cinemas in Europe but straight to home video in the U.S. With Joan Collins, Richard Attenborough, Maria Friedman and Robert Torti.

Teenage Rebel (1956)

A woman (Ginger Rogers) is reunited with her estranged daughter (Betty Lou Keim recreating her stage role) after eight years. The daughter resents her mother for divorcing her father (John Stephenson) for another man (Michael Rennie), who is now her husband. Based on the play A ROOMFUL OF ROSES by Edith Sommer and directed by Edmund Goulding (THE RAZOR'S EDGE). Not a bad effort, perhaps too simplistic in its execution and psychological analysis but it has a core of authenticity at its center. As the mother, Ginger Rogers is a bit too actress-y (Patricia Neal played the role on Broadway) but the rest of the cast is decent. The movie's title is a misnomer. She's not a rebel at all but just a lonely middle upper class kid who wants to be loved. Keim would marry her co-star Warren Berlinger (playing the neighbor boy) in 1960 and retire from acting. With Mildred Natwick, Diane Jergens, Irene Hervey, Louise Beavvers and a dreadful child actor by the name of Rusty Swope.

悪は存在しない (aka Evil Does Not Exist) (2024)

Set in a small rural Japanese village, a real estate developer purchases land with the intention of turning it into a tourist glamping (a portmanteau of glamour and camping) site. However, the local villagers object to the negative consequences the site will have on the environment. Written and directed by Ryusuke Hamaguchi (DRIVE MY CAR). Hamaguchi's DRIVE MY CAR received critical attention and acclaim and the film earned him two Oscar nominations, best director and best picture. This movie, his follow up film, also earned him some critical acclaim but it slipped under the radar so to speak. It's a deceptively simple film with Hamaguchi taking a leisurely pace throughout till it reaches its shocking conclusion. The ambiguous ending is open to interpretation but it leaves a disturbing taste in one's cinematic mouth. Combining a political concern for environmental protection with a possible sociopath at the core of its storytelling, the film weaves a spellbinding web. With Hitoshi Omika, Ryuji Kosaka, Ayaka Shibutani and Ryo Nishikawa.

Witness For The Prosecution (1957)

While recovering from a heart attack, against the advice of his physician a barrister (Charles Laughton) agrees to defend a man (Tyrone Power) accused of murdering an elderly widow (Norma Varden) for money. The accused man's wife (Marlene Dietrich), however, may prove problematic as she is called as a witness for the prosecution, not the defense. Based on the play by Agatha Christie (MURDER ON THE ORIENT EXPRESS) and directed by Billy Wilder (DOUBLE INDEMNITY). I'm a huge Christie fan and this film adaptation of her courtroom drama is clever and witty. Power is very good here although he hasn't aged very well and his looks were starting to go. This was his last film as he would die from a heart attack at age 44 the next year. Laughton and Elsa Lancaster as his nurse are marvelous and both received Oscar nominations. I did have a problem with the casting of Marlene Dietrich, who isn't bad at all but there's a surprise "twist" at the film's end, only I wasn't surprised. She isn't a good enough actress to disguise her inimitable voice. With John Williams, Henry Daniell, Ruta Lee, Torin Thatcher, Una O'Connor and Ian Wolfe.

Weekend Marriage (1932)

After her husband (Norman Foster) loses his job, a wife (Loretta Young) sets out to become the breadwinner and succeeds. But her successful career might just be too much for her husband's pride. Based on the novel by Faith Baldwin and directed by Thornton Freeland (FLYING DOWN TO RIO). A repugnant archaic artifact of its era. The film is anti "modern" women who have careers instead of staying home and taking care of their husbands. They're treated as freaks! There's even one horrendous scene where a brutish brother (J. Carrol Naish) brutally and physically forces his sister (Sheila Terry) to give up her career and marry a man she doesn't love. Like other movies of its era, the end finds Young giving up her career and putting on an apron and be a good little wife. Since this is a pre code film, I found two scenes interesting. Young and Foster are shown in bed together rather than double beds or one of them having one foot on the ground. The other is more amusing: Foster goes to the store and buys toilet paper! Films of this era almost never acknowledged that people went to the bathroom! With George Brent, Aline MacMahon, Roscoe Karns and Grant Mitchell.

Sbatti Il Mostro In Prima Pagina (1972)

Set in Italy. Days before a general election, a young girl (Silvia Kramar) is raped and murdered. The editor (Gian Maria Volonte) of a right wing newspaper uses the story to help the right wing candidate his paper supports. Directed by Marco Bellocchio (FISTS IN THE POCKET). This project was taken over by Bellocchio when the original director Sergio Donati was fired. Bellocchio, an active communist, changed the screenplay to become more political. But Bellocchio, unlike Elio Petri or Costas Gavras, doesn't have the style to make a first rate political thriller. What we get is very good if slightly overheated and didactic. As cinema, it's certainly relevant today as the U.S. moves toward a fascist state and the right wing's manipulation of (mis)information in the press to further its agenda. With Laura Betti, Fabio Garriba, Corrado Solari and Carla Tato.