Bones And All (2022)

A young teenage cannibal (Taylor Russell) is abandoned by her non cannibal father (Andre Holland) when she turns 18. She goes on the road heading for Minnesota where she hopes to reunite with her mother (Chloe Sevigny) who abandoned her when she was a little girl. While on the road, she connects with another cannibal (Timothee Chalamet), a drifter and they fall in love. Based on the novel by Camille DeAngelis and directed by Luca Guadagnino (CALL ME BY YOUR NAME). Although its subject matter is gross and disturbing, director Guadagnino puts the emphasis on the relationship between Russell and Chalamet, two misfits on the fringe of society struggling to maintain a semblance of normality when they are anything but. They are what they are, it was not a choice (the film suggests its genetic) and like ROMEO AND JULIET, it's a romance that is doomed through no fault of their own. The supporting cast is excellent including Mark Rylance (genuinely creepy), Jessica Harper, Michael Stuhlbarg and Jake Horowitz.

Serie Noire (1979)

A door to door salesman (Patrick Dewaere) working on commission is struggling to make a living. He drinks excessively, suffers from mood swings and is stuck in an unhappy marriage. When he encounters an underage prostitute (Marie Trintignant) who appears to be mentally challenged, he is smitten. Alas, this encounter will lead to robbery and murder. Based on the novel A HELL OF A WOMAN by Jim Thompson (THE GRIFTERS) and directed by Alain Corneau (POLICE PYTHON 357). Dewaere's character is one of those born losers and you just know that it isn't going to end well for him. As his character's mental state begins to erode and he becomes increasingly unstable and spirals out of control, it becomes unpleasant to sit through. As the film's protagonist, you watch him from a distance, never investing yourself in his breakdown. While I can appreciate Dewaere's commitment to his character, I found him too over the top. So psychotic that you wonder why people don't cut themselves off from him. With Myriam Boyer, Bernard Blier, Andreas Katsulas and Jeanne Herviale.

The Assessment (2025)

Set in a dystopian society in the near future where parenthood is strictly controlled, a married couple (Elizabeth Olsen, Himesh Patel) applying for a child must go through a seven day personal assessment from a government agent (Alicia Vikander). Directed by Fleur Fortune in her feature film directorial debut. A thinking man's piece of science fiction, there's no special effects or aliens from outer space but a sharp observance of a society under the government's thumb and a psychological game the parental applicants must pass, even as it demeans and humiliates them. At the beginning, I had a difficult time with the absurd extremes that the couple were put through by the assessor. Extremes that most couples would rebel against (like the assessor watching them have sex). But it all makes some kind of sense when the movie is over. The film belongs to its two female leads, who are excellent. Patel's character isn't as interesting but I'm not sure if it's the actor or the character as written. Filmed in the Canary Islands. With Minnie Driver (the only other actor who stands out), Indira Varma and Nicholas Pinnock.

Little Women (1949)

Set in Massachusetts during the American Civil War. The March sisters: Jo (June Allyson), Amy (Elizabeth Taylor), Meg (Janet Leigh) and Beth (Margaret O'Brien) live in genteel poverty with their mother (Mary Astor) while their father (Leon Ames) is away in the war. Based on the novel by Louisa May Alcott and directed by Mervyn LeRoy (LITTLE CAESAR). This is the first film version of LITTLE WOMEN that I saw, you might say I grew up with it, first on B&W TV, then in color. It was much later when I caught up with the acclaimed 1933 George Cukor version and even later, more film and TV versions, all good and sometimes much more than that. But this will always be my LITTLE WOMEN. Shot in Technicolor, the film has the look of an old fashioned pastel Victorian candy box (its art direction won an Oscar). Changes have been made from the book but it still remains faithful to Alcott. Unfairly compared to Katharine Hepburn's 1933 Jo, I liked Allyson's feisty hard headed Jo and Elizabeth Taylor's vain Amy is charmingly narcissistic. Lovely Janet Leigh does what she can with Meg (the most colorless of the sisters) and Margaret O'Brien brings a quiet strength to Beth. With Peter Lawford, Rossano Brazzi, C. Aubrey Smith (in his final film role), Lucile Watson, Elizabeth Patterson, Richard Stapley and Connie Gilchrist.

Interlude (1968)

A temperamental and arrogant conductor (Oskar Werner) puts everything second to his musical career including his wife (Virginia Maskell) and children. When an attractive journalist (Barbara Ferris) approaches him for an interview, she draws more out of him than he expects and they begin a tentative affair. Directed by Kevin Billington (LIGHT AT THE EDGE OF THE WORLD). Films about married symphony conductors/composers/pianists having affairs with pretty young things seemed to be a movie staple for awhile. The most famous example being both the Swedish (1936) and Hollywood (1939) versions of INTERMEZZO with Ingrid Bergman, WHEN TOMORROW COMES (1939) with Irene Dunne and Charles Boyer, INTERLUDE (1957) with June Allyson and Rossano Brazzi and this 1968 film, not a remake of the 1957 movie despite the title. The film is rather tiresome with Ferris whining about Werner not giving the relationship the attention it needs. What did she expect? He's a married man with two kids and a heavy duty career! Werner's egoist is giving both women only half of himself and what he can spare after his career and they both deserve better. The constant soft focus montages with Werner and Ferris wandering around accompanied by Georges Delerue's underscore are tedious. Maskell as the wife is very good but alas, she died at age 31 before the film's release. With Donald Sutherland, John Cleese, Derek Jacobi, Alan Webb and Nora Swinburne.

Henry V (1944)

Henry V (Laurence Olivier) decides to invade France as he feels through his ancestry that he is the rightful heir to the throne of France. Based on the THE LIFE OF HENRY THE FIFTH by William Shakespeare and directed by Laurence Olivier (RICHARD III) in his film directorial debut. I'll be upfront and admit that HENRY V is not one of my favorite Shakespeare plays. Olivier's film was made during WWII and intended to boost the morale of Great Britain (it was partly funded by the British government). As such, it's a perfectly decent propaganda piece. But it's more than that. It's a colorful film epic with first rate Technicolor cinematography by Robert Krasker (THE THIRD MAN), art direction by Paul Sheriff (Huston's MOULIN ROUGE), costumes by Roger Furse and score by William Walton. All of which make the film a visual treat which compensates for my lack of enthusiasm for the work itself. For his first time behind the camera, Olivier shows an adept ability for cinema. With Robert Newton, Leo Genn, Max Adrian, Renee Asherson, Felix Aylmer, Robert Helpmann, Freda Jackson and Niall MacGinnis.

Crucible Of Terror (1971)

A reclusive artist (Mike Raven) living in a secluded area of Cornwall in England has a bizarre "habit" of killing beautiful young women by encasing them in plaster and pouring molten bronze through an opening thus turning them into a sculpture. Directed by Ted Hooker, a film editor in apparently his only film directorial credit. A rather sleazy variant of HOUSE OF WAX, the movie trudges along with several nasty killings but outside of the film's "twist" of a finale which I didn't see coming, it's a pretty routine horror movie. A British film, it flopped in England but it's developed a small cult following. I don't think it even had a U.S. release. As the demented sculptor, Raven looks eerily like Christopher Lee who might have brought a bit more gravitas to the proceedings as well as some decent acting. With Ronald Lacey, Mary Maude, Melissa Stribling, Judy Matheson, James Bolam and Me Me Lai.

Love On The Run (1936)

Set in pre WWII Europe. When an American heiress (Joan Crawford) jilts her bridegroom (Ivan Lebedeff) at the altar, a reporter (Clark Gable) attaches himself to her in order to scoop all the other newspapers. Meanwhile, the reporter's helpless rival (Franchot Tone) tries to get in on the scoop. Based on the short story BEAUTY AND THE BEAT by Alan Green and Julian Brodie and directed by W. S. Van Dyke (THE THIN MAN). A derivative screwball comedy that starts off promisingly but soon fizzles out before it can get going. Crawford and Gable are at their most appealing but they can't do much with the silly screenplay. As if the romantic lovers on the run wasn't enough for the plot, the script has a mindless subplot about two spies (Reginald Owen, Mona Barrie) after a map that Crawford and Gable accidentally discover. Still, audiences lapped it up and it was a hit. With William Demarest and Donald Meek.

Jake's Women (1996)

A writer (Alan Alda) is suffering from psychosis. He mentally projects the women in his life, both living and dead, into his real life and talks to them. He can't help himself. This causes problems when dealing with the real women in his life particularly his estranged wife (Anne Archer). Based on the play by Neil Simon and directed by Glenn Jordan (ONLY WHEN I LAUGH). Neil Simon hitting rock bottom! It ran on Broadway for just 245 performances in 1992 which isn't great for a Neil Simon play which usually ran for a year or more. It wasn't even made into a theatrical film as was the norm for Simon's plays, it was made for television. The play and film's protagonist has serious psychological problems but rather than being disturbed, Simon wants us to find him witty as he tosses off his Simon punchlines. Unfortunately, the one liners are a paltry lot and worse, Alan Alda gives a tiresome performance, a retread of most of his film comedy performances from THE FOUR SEASONS to SAME TIME NEXT YEAR. Only Julie Kavner as his sister manages to squeeze a laugh or two out of the mediocre material. With Mira Sorvino, Joyce Van Patten, Lolita Davidovich and Kimberly Williams.

Pharaoh's Curse (1957)

Set in 1902 Egypt, a small group of British soldiers led by Captain Storm (Mark Dana) set out to retrieve a group of archeologists who are seeking a lost tomb. On their journey, they run into a mysterious girl (Ziva Rodann) who insists on accompanying them. Directed by Lee Sholem (TARZAN'S MAGIC FOUNTAIN). Movies about archeologists invading Egyptian tombs and mummy's getting revenge are pretty formulaic. Films like this need imagination and style to work and this programmer fails on that count. The characters behave stupidly. For example, if there's a killer mummy on the loose and you're all alone in a tomb and a mysterious door partially opens, do you get out of there quick or at least go get help or do you walk through the door all alone? Yep, they walk thru the door! The mummy makeup is excellent though. With Diane Brewster, George Neise and Terence De Marney.

The Great Lillian Hall (2024)

A legendary theatre actress (Jessica Lange) is opening on Broadway in a production of Chekhov's THE CHERRY ORCHARD. But she has problems remembering her lines and her memory is faltering. Directed by playwright Michael Cristofer (THE SHADOW BOX). Anchored by a towering performance by Jessica Lange, this is a moving account of a life in the theatre. Where the stage is a life and everything else (including motherhood) is secondary. When Lange's Lillian Hall is diagnosed with early stages of dementia, she is robbed of her identity. What happens to a life lived on stage when that is taken from them? Lange is spectacular here but she's not alone. As her loyal live in companion, Kathy Bates gives a fierce performance. For theatre buffs, this is a real treat. The film is inspired by the Tony award winning actress Marian Seldes, the screenplay was written by her niece Elisabeth Seldes Annacone. With Pierce Brosnan, Lily Rabe, Jesse Williams, Cindy Hogan and Keith Arthur Bolden.

Samar (1962)

Set in the Philippines in 1870 when it was still under the control of Spain. Spain used the island of Samar as a penal colony for unwanted political prisoners. An American doctor (George Montgomery) is sent to the island as punishment for participating in a duel. The island's commandant (Gilbert Roland) plots to take the island's small population on a dangerous trek to freedom deep in the jungle's recesses. Directed by George Montgomery, who also had a hand with the script. It's an agreeable adventure film if not very fresh or original but it was shot on location in the Philippines which gives it some authenticity. The film suffers from the monotonous coverage of the trek from various angles throughout the movie. The people and the animals march and march and march at a funereal pace and the camera lingers over them. Yawn! With Joan O'Brien, Ziva Rodann and Nico Minardos.

Even Cowgirls Get The Blues (1994)

A young woman (Uma Thurman) is born with a mutation, enormously large thumbs. Instinctively, she uses her thumbs to hitchhike across the country. After gaining a minimal amount of fame as a model, she goes to a beauty ranch that has been taken over by cowgirls and her life is changed. Based on the cult novel by Tom Robbins and directed by Gus Van Sant (TO DIE FOR). Attempts to make Robbins' 1976 novel into a movie had been tried for many years without much success and by the time they did, almost 20 years had passed and the book was hopelessly dated. The movie is a mess and its absurdities and eccentricities seem ridiculous rather than unconventional. Nothing works in this movie. The cast is impressive but the acting ranges from good (Angie Dickinson as the spa's manager) to awful (Rain Phoenix as the leader of the cowgirls). With Keanu Reeves, John Hurt, Lorraine Bracco, Pat Morita, Carol Kane, Sean Young, Heather Graham, Buck Henry, Grace Zabriskie, Crispin Glover, Roseanne Barr and Ed Begley Jr.

Gun Crazy (aka Deadly Is The Female) (1950)

Obsessed with guns, a gun fancier (John Dall) falls in love with an amoral carnival sharpshooter (Peggy Cummins). As he says, they go together like "guns and ammunition" and they get married living off his savings. When the money is gone, she makes it clear she wants to live the "good" life and they go on a spree of robberies but her trigger finger causes her to make them more than robbers ..... murderers! Based on a short story by MacKinlay Kantor (who co-wrote the screenplay with blacklisted screenwriter Dalton Trumbo, writing under a pseudonym) and directed by Joseph H. Lewis (MY NAME IS JULIA ROSS). A marvelous crime film noir, it's one of those B movies whose reputation keeps growing through the ensuing decades until its current classic status. Peggy Cummins and John Dall have never been better but it's Lewis's expert direction that propels the movie forward. The sense of doom that permeates the film is there right from the beginning and director Lewis feeds that throughout the movie until the inevitable finale. It's clear from the moment they meet that guns are an aphrodisiac to them. With Russ Tamblyn, Morris Carnovsky, Barry Kroeger and Anabel Shaw.

The Deadly Visitor (1973)

Set in 1901, a struggling writer (Perry King) rents a room in a boarding house where a brutal murder occurred many years ago. The older landlady (Gwen Verdon) is lonely and fancies him and although he begins a relationship with her, a mysterious and deadly presence in the household obsesses him. Is it the girl he once cared for or is it the house's murder victim bent on vengeance? Based on a short story by the Irish writer Fitz James O'Brien and directed by Lela Swift (DARK SHADOWS). Originally done for television (it was shot on videotape), this is a very well done ghost story which never tries to explain everything away. When the tale is over, we still don't know who or what the  "presence" is or was. While obviously shot on a modest budget, the art direction by Alan Kimmel and the costumes of Mary McKinley are first rate. With James Keach, Stephen Macht and Ann Miles.

Wonder Bar (1934)

A disparate group of people gather together at the Wonder Bar, the hottest see and be seen nightspot in Paris. In addition to the bar's owner (Al Jolson), there's a gigolo (Ricardo Cortez) who has two desperate women in love with him, a married woman (Kay Francis) and his dance partner (Dolores Del Rio), the singing band leader (Dick Powell), four married American tourists (Ruth Donnelly, Guy Kibbee, Louise Fazenda, Hugh Herbert) with cheating on their spouses on their mind, a suicidal German (Robert Barrat) among them. Based on a play by Geza Herczeg and Karl Farkas and directed by Lloyd Bacon (MARKED WOMAN). Considering this is not a pre code film, it's amazing what this racy movie gets away with. Gigolos, prostitutes, homosexuals and a murder that is covered up and the murderer gets off scot-free! For a 1930s Busby Berkeley musical, it's pretty dark. This is the movie where when two men dance together, Al Jolson quips, "Boys will be boys. Woo!". Alas, the film's big musical finale is Jolson in blackface in a musical number where he and his donkey go to heaven! There are no words to describe how awful and racially offensive it is to modern sensibilities. The movie was a big hit. With Fifi D'Orsay and Hal Le Roy.

Wait Till The Sun Shines, Nellie (1952)

Told in flashback, a young barber (David Wayne) and his bride (Jean Peters) settle in a small town in Illinois. She is disappointed as she thought they would live in Chicago as small town life is not for her. Based on the novel I HEARD THEM SING by Ferdinand Reyher and directed by Henry King (SONG OF BERNADETTE). What seems to be intended as a nostalgic look at small town America (1890s to the 1920s) and the heartaches endured by a small town barber was looked at as something else by me. It showed the status of women in this period when their lives were controlled by their chauvinist husbands. Husbands kept things from wives as if they were to be "protected" from such things as mortgages, property ownership, where to live, major decisions that should have been talked about and decided equally were the realm of the husband. When Jean Peters as the wife runs off to Chicago with a married man (Hugh Marlowe) and is killed off early in the movie, I thought, "Good. At least she doesn't have to rot in a hick town the rest of her life tied to the dull David Wayne!". With Albert Dekker, Helene Stanley, Warren Stevens, Joyce MacKenzie and William Walker.

Dick Tracy's Dilemma (1947)

Detective Dick Tracy (Ralph Byrd) investigates a murder and robbery at a furs warehouse. A brute of a killer known as The Claw (Jack Lambert) is behind the murder and robbery but he's not the brains behind it. Directed by John Rawlins (ARABIAN NIGHTS). This is the third of the four RKO Dick Tracy movies (1945-1947) and the return of Ralph Byrd to the role that made him famous in the Dick Tracy serials (1937-1941) and he even went on to do a Dick Tracy TV series in 1950. It's one of the better entries in the series, adhering closely to the style of the iconic Chester Gould comic strip and a more grim and violent bad guy in the form of Lambert's The Claw. With Kay Christopher as Tess Trueheart, Lyle Latell, Ian Keith, Jimmy Conlin and taking over the movie in her brief screentime, Bernadene Hayes as Longshot Lillie.

Merchant Ivory (2023)

A documentary of the film making partnership, both professional and personal, of director James Ivory and producer Ismail Merchant from their meeting in 1961 through the forty films they made together, Merchant's death in 2005 and Ivory's post Merchant career. Directed by Stephen Soucy, this is a fascinating account of behind the scenes film making and the legacy of two very different men who somehow managed to make some of the best films of their era. It's also a story of two gay men who discreetly kept their sexual identity and their relationship private publicly in an era where being "out" was controversial although those close to them and their colleagues knew. The contributions of and their relationship with screenwriter Ruth Prawer Jhabvala and composer Richard Robbins, both personal and professional, are strongly noted. The stories about the making of their films is manna for film buffs and the movie is rich with forthright interviews of those worked in Merchant Ivory films. Among them: Vanessa Redgrave, Emma Thompson, Helena Bonham Carter, Hugh Grant, Sam Waterston, James Fox, Rupert Graves, Greta Scacchi, Simon Callow and Natascha McElhone. Essential viewing for film buffs.

Scotland Yard Hunts Dr. Mabuse (1963)

A British police inspector (Peter Van Eyck) works with a German policeman (Werner Peters) to track down a mysterious mind control device developed by a scientist (Walter Rilla) who is possessed by the "ghost" of the master criminal Dr. Mabuse (Wolfgang Preiss). Based on the story THE DEVICE by Bryan Edgar Wallace and directed by Joe May (FREDDY AND THE MILLIONAIRE). The second to last entry in the popular (in Germany anyway) Dr. Mabuse franchise from 1960 to 1964 (six movies in all). James Bond had just made his cinematic debut the year before with DR. NO and its influence is strongly felt here. It's all rather silly with comedy relief in the form of Agnes Windeck as Van Eyck's zany mother and cheaply made (or at least looks cheaply made) and lots of running around in a frenzy. Van Eyck looks rather worn out for a spy hero. The film takes place in England but the Brits are played by Germans and the dialogue is in German which gives the movie an unreal setting. Definitely the weakest of the Mabuse movies I've seen. With Klaus Kinski, Sabine Bethmann and Ruth Wilbert.

Out Of Sight (1998)

A bank robber (George Clooney) busts out of prison and kidnaps a Federal Marshal (Jennifer Lopez). An unlikely cat and mouse romance develops. Based on the novel by Elmore Leonard (GET SHORTY) and directed by Steven Soderbergh (ERIN BROCKOVICH). Grandly entertaining and slick as a shiny new dime. Casting is the key here and when you have a career bank robber played by George Clooney, you know you can't help but like him even if he is a criminal. The film is also a reminder what a good little actress Jennifer Lopez was before she decided she wanted to be a plastic pop star instead. Like OCEAN'S ELEVEN, Soderbergh imbues the film with cleverness and style and Scott Frank's Oscar nominated screenplay is sharp witted and the dialogue is rich. Far from a great film but more than good enough to rate your attention. The supporting cast is amazing: Albert Brooks, Ving Rhames, Viola Davis, Don Cheadle, Catherine Keener, Michael Keaton, Samuel L. Jackson, Nancy Allen, Dennis Farina, Luis Guzman and Steve Zahn.

The Damned (2025)

Set in a remote and desolate 19th century fishing village in Iceland during a very severe winter. A widow (Odessa Young) who is the head of the village must make an agonizing decision when a shipwreck happens near their shores. They barely have enough supplies for them to make it through the winter. If they rescue the sailors, there won't be enough supplies for all of them to survive. She makes her decision but it unleashes a horror that threatens to destroy them all. Directed by Thordur Palsson, an Icelandic director in his feature film debut. An effective and disturbing of piece of psychological horror that achieves its horror not from jumps and boos but mood and atmosphere. The bleak and barren atmosphere (stunningly shot by Eli Arenson) contributes to the uneasiness of the mise en scene. One of the characters remarks that the living are much more dangerous than the dead and indeed, the psychological deterioration of the villagers does more to destroy themselves than the "dead". With Joe Cole, Rory McCann and Siobhan Finneran.

Blow Up (1966)

A popular photographer (David Hemmings) in the swinging London scene of the 1960s takes some photos in a park in the early morning hours. A young woman (Vanessa Redgrave) seen in the distance in these photos furiously objects to being photographed without her permission. She tracks him down to his studio and attempts to negotiate the return of the film and negatives. Loosely based on the short story LAS BABAS DEL DIABLO by Julio Cortazar and directed by Michelangelo Antonioni (L'AVVENTURA). Winner of the Palme d'Or at the Cannes film festival, this was Antonioni's first film in the English language. A critical darling and art house sensation in 1966, it was an influential film (its progeny include Coppola's THE CONVERSATION and DePalma's BLOW OUT) and many consider it a masterpiece. I disliked it intensely when I first saw in its original release but in the ensuing years, I've warmed up to it more but it's still not one of my favorite Antonioni films. Like L'AVVENTURA where the mystery of a girl's disappearance is never solved, the facts of a probable murder (if it did in fact take place) are never resolved. Here, Antonioni is playing with illusion vs. reality and Hemmings' protagonist ability to straddle the fine line between both. The film is open to numerous interpretations. With Sarah Miles, Jane Birkin, John Castle, Peter Bowles and Tsai Chin.

Nightmare (1956)

Set in New Orleans, a jazz clarinetist (Kevin McCarthy) has a nightmare in which he sees himself killing a man in a mirrored room. He awakens to find blood on himself, bruises on his neck and a key from the dream in his hand. Based on the novel AND SO TO DEATH by Cornell Woolrich (previously filmed in 1947 as FEAR IN THE NIGHT) and directed by Maxwell Shane, who had directed the previous 1947 film version. A rather far fetched film noir crime film that is eminently watchable but the hysterical absurdities of its plot eventually renders it on the minus side. The movie captures a little bit of the flavor of the New Orleans jazz scene with composer/arranger Billy May's band playing themselves and the singer Connie Russell (who plays McCarthy's girlfriend) singing a couple of jazz songs. One would be advised to avoid looking at the film's original poster as it blatantly gives away the movie's "twist". With Edward G. Robinson, Virginia Christine, Marian Carr and Rhys Williams.

Il Mattatore (1960)

A struggling actor (Vittorio Gassman) is lured into participating in a scam by an experienced con man (Mario Carotenuto) but it turns out the con man just wanted him as the fall guy. After several months in prison, he's back on the streets but this time, he's nobody's fool. Directed by Dino Risi (IL SORPASSO). Movies about con artists scamming people are a mixed bag for me. This one is a comedy. Are we to have any empathy for a fool and his money that are soon parted? Are we supposed to take pleasure in the owner of a jewelry store getting ripped off? Well, it's not happening to us so I suppose we're allowed to admire the clever way criminals commit their crimes. After all, they're not killing people, they're just thieves! I won't be a hypocrite, I've enjoyed a good heist movie or two (or 3 or 4) but I didn't find much fun here. When the film's hero exploits even those who love him, the film loses me. Entertaining but I wanted a shower when the movie was over. With Dorian Gray, Anna Maria Ferrero and Peppino De Filippo.

Roseland (1977)

A trio of bittersweet romances set in New York's famous Roseland ballroom: 1) a widow (Teresa Wright) returns to the ballroom where she and her late husband had the happiest moments of their lives. 2) a gigolo (Christopher Walken) lives off a rich widow (Joan Copeland) while involved with two other women (Geraldine Chaplin, Helen Gallagher) but won't commit to any of them. 3) an older woman (Lilia Skala) commits to winning a dance contest even though it might be injurious to her health. Directed by James Ivory (HOWARDS END). A very well done but very depressing movie that looks at the dreams people hold on to even if they're unlikely to ever happen. With the exception of Christopher Walken's gigolo and Geraldine Chaplin's divorcee, the characters  are all past their prime and there's a sad desperation about their illusions. Only Gallagher's cynical dance instructor seems to have a foot grounded in reality. With Lou Jacobi, Conrad Janis and David Thomas.

Miracles For Sale (1939)

An inactive magician (Robert Young) devotes his time to exposing fraudulent psychics and magicians who prey on the unsuspecting public. When a demonologist (Frederick Worlock) is mysteriously murdered, he assists the police in solving the murder. Based on the novel DEATH FROM A TOP HAT by Clayton Rawson and directed by Tod Browning (FREAKS) in his final film. I love a good locked room murder mystery and this one has a variety of interesting suspects. While no where near the quality of his classic films (DRACULA, FREAKS, his Lon Chaney collaborations), this is a respectable swan song for director Browning. A mixture of murder mystery and screwball comedy, the movie fits perfectly in Browning's oeuvre as it deals in trickery and illusions. The movie moves quickly so one needs to pay attention or you'll get lost in the who's who and who did what of it all. With Florence Rice, Frank Craven, Henry Hull, Lee Bowman, William Demarest, Gloria Holden, Astrid Allwyn and Cliff Clark.

Knock On Any Door (1949)

An attorney (Humphrey Bogart) in a prestigious law firm takes on the case of a hoodlum (John Derek) charged with the murder of a policeman. Because he came from the slums himself, the lawyer feels the boy's background is pertinent to his crime. Based on the novel by Willard Motley and directed by Nicholas Ray (BIGGER THAN LIFE). Notable for being the second novel (the first was Frank Yerby's THE FOXES OF HARROW) by an African American writer to be filmed by a major Hollywood studio. Rich in noir-ish atmosphere, Ray's film is an early example of the juvenile delinquent problem movies that proliferated in the 1950s though the genre actually goes back to the 1930s and films like ANGELS WITH DIRTY FACES. The screenplay doesn't whitewash Derek's hoodlum yet still manages to whip up some empathy for him as a victim of a society that ignores the root of the problem that breeds criminals. There's a good score by George Antheil. With George Macready, Cara Williams, Barry Kelley, Dewey Martin, Allene Roberts and Candy Toxton.

Paint Me A Murder (1985)

A wealthy painter (Cesar Romero) lives with his young wife (Cristina Raines) on his lush estate on a Mediterranean island. For his upcoming birthday, he has invited an exclusive group of friends to help celebrate: a famous mystery writer (Angela Lansbury), an art dealer (Stewart Granger), his ex-wife (Capucine), a playwright (Robert Goulet), a police detective (Ron Moody) and a philanthropist (Judy Geeson) ..... and murder is on the menu! Directed by John Llewellyn Moxey (CITY OF THE DEAD). Originally shown on the first season of MURDER SHE WROTE, this is an excellent example of why the whodunit series was so popular for nine years. High production values, glamour, clever scripts, lots of stars and Lansbury anchoring the whole thing with her sly down to earth charm. Like most murder mystery fans, I was addicted to the show. With Fernando Allende and Steven Keats.

Rocketship X-M (1950)

Mankind's first expedition to the moon has four men and a woman aboard: a pilot (Lloyd Bridges), a navigator (Hugh O'Brian), a physicist (John Emery), a flight engineer (Noah Beery Jr.) and a chemist (Osa Massen). But through unforeseen events, they find their spaceship headed toward the red planet, Mars. Directed by Kurt Neumann (THE FLY). The first outer space adventure of the post WWII era. Reputedly shot in just 18 days on a $95,000 budget, this low budget (and it shows) movie was rushed into theatres so it could beat the more ambitious, bigger budgeted George Pal production of DESTINATION MOON which opened a month later. No one watches a B sci-fi movie like this for scientific accuracy and I was very impressed with the movie the first time I saw it on TV at the age of ten. As an adult, I still have a nostalgic affection for it. Scientific inaccuracies aside, the film's biggest problem is its outdated sexist attitude. Lloyd Bridges' pilot chastises Massen's chemist for being an overachiever when being a wife and mother should be enough for a woman! I kid you not! Still, for fans of B sci-fi movies from the 1950s, it's entertaining enough. With Morris Ankrum and Sherry Moreland.

Ainda Estou Aqui (aka I'm Still Here) (2024)

Set in 1970 Brazil, a former congressman (Selton Mello) lives peacefully with his wife (Fernanda Torres in an Oscar nominated performance) and five children near the beach. A raid takes place at his home by the government's military dictatorship resulting in his arrest and disappearance. Based on the memoir by Marcelo Rubens Paiva and directed by Walter Salles (CENTRAL STATION). Anchored by a sensational performance by Fernanda Torres, Salles' film (winner of the International film 2024 Oscar) documents the turbulence of a country under dictatorship and its effect on one family for generations. Unlike similarly themed movies like Costa Gavras' Z or MISSING, Salles doesn't go the political thriller route but takes his time to let the day to day horror of living under a right wing regime slowly unfurl and its effect is powerful. A riveting and deeply affecting piece of political biographical cinema. With Fernanda Montenegro, Antonio Saboia, Valentina Herszage and Luiza Kosovski.

The Adventures Of Gerard (1970)

Set during the Napoleonic wars, a vain and egotistical French brigadier (Peter McEnery) thinks highly of himself. He is hopelessly devoted to his emperor Napoleon (Eli Wallach) who thinks the brigadier is a fool and uses him as a decoy to be caught by the British. Based on THE EXPLOITS OF BRIGADIER GERARD by Sir Arthur Conan Doyle and directed by Jerzy Skolimowski (THE SHOUT). Comedic swashbucklers can fun but they need wit and style and this movie sorely lacks both. Richard Lester's THE THREE MUSKETEERS (1973) is probably the benchmark for this sort of thing and this incoherent travesty is a shambles. The actors try their best but to no avail and director Skolimowski who excels in quirky offbeat films like THE SHOUT and DEEP END seems like the wrong choice for something like this. You can see where the laughs are supposed to be but the whole thing is just too obvious. With Claudia Cardinale, Jack Hawkins, Mark Burns, Veronique Vendell and John Neville.

Top Banana (1954)

A comedian (Phil Silvers) is the star of a successful weekly variety show. He hires a model (Judy Lynn) to appear in his show because he is attracted to her. What he doesn't know is that she's in love with the show's tenor (Danny Scholl). Based on the Broadway musical (songs by Johnny Mercer) of the same name and directed by Alfred E. Green (THE JOLSON STORY). The show ran for a year in 1951 with Phil Silvers winning a Tony award for his performance. After taking the show on tour, the production was filmed. This is perhaps the earliest example of literally filming a play as opposed to adapting the play for the screen. The director basically put his camera out front and filmed the play in a studio with random inserted shots of an audience. No concessions were made for cinema, there are no close ups whatsoever, just the actors moving back and forth across the stage. The acting is broad and they all play it to the balcony. If you have an affinity for burlesque or vaudeville, you might get some enjoyment out of it. I just found it dull. Shot in five days, the whole thing just looks cheap. With Rose Marie, Jack Albertson and Joey Faye.

Fade In (1973)

While on location for a film shoot in Utah, an assistant film editor (Barbara Loden) finds herself attracted to a rancher (Burt Reynolds) who is working as a driver for the film production. A romance develops but their lifestyles are so different that it's an impediment to their relationship. Directed by Jud Taylor, although the movie is credited to Allan Smithee, a pseudonym used by the DGA when a director wants his name removed from the finished film. Filmed concurrently with BLUE (1968) which FADE IN uses the filming of that movie as the background for this tale of an on set romance. The film's previews were disastrous so the film was shelved and didn't make its debut until five years later on television. Is it that bad? No but it's not very good either. Some parts of the movie have a European feel to it but despite an intriguing premise, the film isn't able to build on it and we're stuck with romantic montages, soft focus shots and freeze frames. The film was written by Mart Crowley (THE BOYS IN THE BAND) but he had his name taken off it. The best thing about the film is Barbara Loden. She doesn't have an extensive filmography so it's always a pleasure to see her. With Terence Stamp, Joanna Pettet, Ricardo Montalban, Patricia Casey and James Hampton.

空気人形 (aka Air Doll) (2009)

A life size air doll (Bae Doona) lives in a shabby apartment in Tokyo with her owner (Itsuji Itao), who uses her for sex. One day without any explanation, she comes to life and must deal with this fascinating new world and what it means to be human. Based on the graphic novel KUUKI NINGYO BY Yoshiie Goda and directed by Kore-Eda Hirokazu (SHOPLIFTERS). While I can appreciate Kore-Eda's tender examination of urban loneliness and what it means to be human, damn this is one sluggish movie that moves at a snail's pace. What should have been a 90 minute movie is pushed toward a joyless two hour mark. It's a pity because there's a lovely 100% committed performance by Bae Doona that should be seen. Its funereal pacing allows your mind to wander and you begin asking questions that you shouldn't like where does she get the money to buy clothes, how did she learn to read and write, doesn't her master wonder where she is when she's out, etc. Things like that. With Arata and Joe Odagiri.

Music For Millions (1944)

The women of a touring symphonic orchestra are a tightly knit group. They collectively decide to wait until the orchestra's fragile pregnant bassist (June Allyson) has her baby before letting her know her husband is missing in action. Directed by Henry Koster (THE ROBE). Oy! Does this piece of treacle lay the sentimental slop on doubly thick. The film is schizophrenic. Part musical, part comedy, part weepie, part WWII morale booster but all turkey! Normally I like MGM's premier child actress Margaret O'Brien but she's too cloying here and there were times I just wanted to smack her one. The film is padded out with the contributions of Jose Iturbi who plays the orchestra's leader and he serves us generous doses of Debussy, Grieg, Dvorak, Chopin and Handel in between the hoke. WWII audiences lapped it up and it turned a profit but bizarrely, the film's screenplay was nominated for an original screenplay Oscar! Go figure! With Jimmy Durante, Marsha Hunt, Marie Wilson, Madeleine LeBeau, Ethel Griffies, Hugh Herbert and Connie Gilchrist.

The Little American (1917)

Set during WWI but before the U.S. entered the war. A young American girl (Mary Pickford) is in love with a German (Jack Holt). Naively thinking the Germans will leave her alone since she is a neutral American, she leaves for France to visit her aunt but the ship she is sailing on is sunk by a German submarine. It's only the beginning of her realizing the brutality of war. Produced and co-directed by Cecil B. DeMille along with Joseph Levering. A very well done piece of war propaganda and one of Mary Pickford's more adult films. She's no Little Annie Rooney or Pollyanna here and she is the victim of a graphic attempted rape while trying to protect other women from being raped (she's unsuccessful). The main problem I had with the movie is how she easily she overlooks her lover's participation in the German brutalities although the film makes an attempt to redeem him toward the ridiculous finale. The film's visual highpoint is the sinking of the passenger liner which echoes THE POSEIDON ADVENTURE. The transfer I saw had an excellent if perhaps too insistent score by Adam Chavez. With Raymond Hatton and Hobart Bosworth.

Josette (1938)

Two brothers (Don Ameche, Robert Young) attempt to save their father (William Collier Sr.) from a gold digging French chanteuse (Tala Birell). However, they mistake a struggling singer (Simone Simon) working as a wardrobe mistress in a nightclub for the French chanteuse. Based on the play by Paul Frank and Georg Fraser and directed by Allan Dwan (SLIGHTLY SCARLET). A very slight piece of fluff but I'm a bit partial to mistaken identity comedies so I enjoyed it in spite of the predictability and inevitability of the situation. Simone Simon is charming and Robert Young is delightful as a girl chasing cad which leaves the dull Don Ameche, who's okay as his character is supposed to be a bit bland but he has one of the worst drunk scenes I've ever seen. It's so inept that I thought his character was pretending to be drunk only to find out that he was really supposed to be drunk! With Lynn Bari, Joan Davis, Bert Lahr and William Demarest.

The Last Challenge (1967)

After serving five years in prison, a reformed outlaw (Glenn Ford) becomes the respected sheriff of a small town. But his reputation as the fastest gun in the west makes him the target for many a young gunfighter hoping to prove their trigger ability. Based on the novel PISTOLERO'S PROGRESS by John Sherry and directed by Richard Thorpe (IVANHOE). The tale of the young pup arriving in town to take down the older "fastest gun" is a westerns cliche. THE GUNFIGHTER (1950) is probably the best example of this western subgenre. Despite the cliche, this is a decent if slightly tired western, its bittersweet ending eschewing sentimentality. There is one ghastly racial stereotype that nearly topples the movie and that's a sequence of scalping Indians craving whiskey and getting dead drunk and passing out! With Angie Dickinson (better served in POINT BLANK which came out the same year), Chad Everett, Gary Merrill and Jack Elam.

Shadowlands (1985)

An Oxford professor and confirmed bachelor by the name of C.S. Lewis (Joss Ackland) is also a renowned writer of children's stories, most notably the NARNIA books. He strikes up a correspondence with an American poetess (Claire Bloom). When she arrives in England with her two children (Rupert Baderman, Rhys Hopkins), it isn't long before he finds himself falling in love with her. Directed by Norman Stone (FLORENCE NIGHTINGALE). This telefilm was such a success that it was turned into a play which opened in London's West End four years later and then a Broadway production opened the year after that. In 1993, a feature film was made with Anthony Hopkins and Debra Winger in the leading roles. I'm not fond of faith based or so called "Christian" films though I don't think this is what the film makers intended, it just turned out that way (something the 1993 movie backpedaled). This talking heads piece is rather dry which made it ideal for theatrical material but makes for a rather stolid film. The reason for watching this are the excellent performances of Joss Ackland and Claire Bloom (who won a best actress BAFTA for her work here). Their lovely work compensates for the loquacious nature of the film. With David Waller as Ackland's brother.