The Jackpot (1950)

A father and husband (James Stewart) employed in a midwestern department store wins big on a radio quiz program. He is ecstatic until he realizes he will have to sell most of the prizes so he will be able to afford the taxes on them. That's only the beginning of the disasters that will follow. Based on a New Yorker article by John McNulty and directed by Walter Lang (STATE FAIR). What should have been an amusing comedy becomes instead a laborious exercise in ineptitude. This is James "aw, shucks" Stewart at his worst with every tic and mannerism in full force, everything I dislike about him as an actor. I'll be upfront about it. Outside of his work with Hitchcock and Anthony Mann, I'm not much of an admirer of the man. Still, audiences of the day lapped it up and it showed up in 20th Century Fox's profit column. With Barbara Hale, Natalie Wood, Fred Clark, Patricia Medina, Alan Mowbray and Tommy Rettig.

Over The Moon (1939)

A young woman (Merle Oberon) struggling to maintain a household becomes engaged to a country doctor (Rex Harrison). But when she suddenly inherits $18 million dollars, she goes wild running off to Monte Carlo, buying clothes and jewelry and taking up with gigolos. Directed by Thornton Freeland (FLYING DOWN TO RIO). This Technicolor romantic comedy is a mixed bag. For one thing, lovely as she is, Merle Oberon isn't much of a comedienne. As the love interest, Rex Harrison's character is a bit of a stuffed shirt and I couldn't help thinking that Oberon is better matched with the charming disgruntled millionaire played by Robert Douglas. Still, it's a attractive looking movie and Oberon looks smashing in her Rene Hubert gowns. With Ursula Jeans, Wilfrid Hyde White, Elisabeth Welch, Ethel Griffies and Evelyn Ankers.

The Screaming Skull (1973)

A failed scientist (David McCallum) survives by living off his wealthy wife (Carrie Nye), who hates him. When she demands he move out, he kills her. But it doesn't end there as she terrorizes him from beyond the grave. Directed by Gloria Monty. Originally shot on videotape for late night television, this neo Gothic horror film manages to stir up some ghostly atmosphere but its narrative is deja vu. We know right from the beginning where this is headed and sure enough, it goes straight there. McCallum does okay as the murderous scientist and Carrie Nye provides an appropriate bitterness as his unhappy wife but as McCallum's brother, Vincent Gardenia is just too obvious. He doesn't belong in this Gothic atmosphere. If you're fond of those Amicus portmanteau horror movies like TALES FROM THE CRYPT and VAULT OF HORROR, you might enjoy this one. With Sarah Cunningham and Leon B. Stevens.

Phantom Raiders (1940)

While vacationing in Panama, a detective (Walter Pidgeon) is approached by an international insurance firm to investigate the possible sabotage of merchant ships after a Scotland Yard agent (John Burton) is murdered. Directed by Jacques Tourneur (OUT OF THE PAST). The second of MGM's three film Nick Carter series is a benign spy movie that moves quickly at a 70 minute running time but one can barely remember it minutes after it's over which isn't necessarily a bad thing, after all it's served its purpose. Once again, Donald Meek provides some unneeded comic relief as Pidgeon's bee keeping sidekick but at least he's a little less annoying here than in the first movie. Audiences liked it well enough so that MGM turned a modest profit. With Joseph Schildkraut as the film's villain, Florence Rice, John Carroll, Cecil Kellaway, Nat Pendleton, Dwight Frye and Steffi Duna.

Megalopolis (2024)

Set in an alternate universe called New Rome, an architect and Nobel Prize winner (Adam Driver) has developed a revolutionary building material which he plans on using to build a Utopian community. Written, produced and directed by Francis Ford Coppola (THE GODFATHER). An ambitious science fiction epic (it's no coincidence that the film's title echoes Lang's sci-fi epic METROPOLIS) that uses the fall of the Roman Empire as a parallel to contemporary America. Visually, it's amazing. As cinema, it's an incoherent mess! It's never boring but in the end, it's still a beautifully wrapped empty package. It's a failure but the kind of crazy fiasco that only a major talent can create. The acting is all over the place ranging from bad (Shia LaBeouf, Jon Voight) to adequate (Nathalie Emmanuel, Laurence Fishburne) and while I can admire Adam Driver taking risks, it's one of his lesser performances. With Dustin Hoffman, Aubrey Plaza, Giancarlo Esposito, Talia Shire, Jason Schwartzman, Kathryn Hunter, Grace VanderWaal, Chloe Fineman and James Remar.

The Bad Seed (1956)

A mother (Nancy Kelly) seemingly has the perfect little girl (Patty McCormack). She's well mannered, smart and loving. But slowly, the mother discovers to her horror that her daughter is a cold blooded psychotic murderess! Based on the play by Maxwell Anderson (by way of the novel by William March) and directed by Mervyn LeRoy (RANDOM HARVEST). The film was highly acclaimed and a big hit as was the Broadway play. Alas, it has not aged well. The film uses almost all of the original play's cast and with one exception, the performances are crude and play to the balcony. She may have won the Tony award for best actress and received an Oscar nomination for the movie but as the mother, Nancy Kelly is just awful with not a shred of sincerity or believability in her performance. The only actor who resembles an actual human being is Eileen Heckart as a grieving alcoholic mother, her pain and desperation very much in evidence. To appease the still active Production Code, the play's ending was changed so the evil are punished. With Henry Jones, Evelyn Varden, Paul Fix and William Hopper.

Logan Lucky (2017)

Hoping to reverse a "curse" that's hung over his family for generations, a man (Channing Tatum) hatches a plan to rob a speedway during NASCAR's biggest race of the year. Directed by Steven Soderbergh (ERIN BROCKOVICH). Soderbergh returns to the heist genre but instead of an OCEAN'S ELEVEN, he gives us a red neck variation that could be dubbed OCEAN'S SEVEN ELEVEN! I found it modestly entertaining but I have little patience for movies with stupid people at the core of the narrative. Is this film so different than SMOKEY AND THE BANDIT, WHITE LIGHTNING or other "hicksploitation" movies of the 1970s? I don't want to be too hard on it because as I said I was entertained by it despite my distaste for the genre. There's a lot of talented people involved and I was most impressed by Daniel Craig, showing some comic flair, as a tatted safe cracker serving time in prison. The film has a higher dose of sentimentality than the usual Soderbergh film. With Adam Driver, Hilary Swank, Katie Holmes, Seth MacFarlane, Riley Keough, Dwight Yoakam, Sebastian Stan, Katherine Waterston and LeAnn Rimes.

The Power And The Glory (1961)

Set in Mexico in the 1930s, when Mexico was trying to suppress the Catholic church. An outlawed alcoholic priest (Laurence Olivier) is a fugitive sought after by the government for continuing to conduct the Catholic Mass. Based on the novel by Graham Greene (THE THIRD MAN) and directed by Marc Daniels (JANE EYRE). Shot for American television but released theatrically overseas. Greene's acclaimed novel has never received anywhere near a definitive adaptation in spite of numerous stage and TV productions and John Ford's 1947 version entitled THE FUGITIVE. But this one has a dream cast and a fine performance by Olivier. It's a complex role and the priest is a hot mess: he's a drunk, he has an "illegitimate" daughter from an affair and he exploits the faithful for money. Olivier never attempts to make this man a hero as his priest struggles to maintain a semblance of duty while unrepentant in his earthly pleasures. The impressive cast includes George C. Scott, Julie Harris, Roddy McDowall, Patty Duke, Mildred Dunnock, Keenan Wynn, Fritz Weaver, Martin Gabel, Cyril Cusack, Rose Gregorio and Lou Antonio.

Todo Sobre Mi Madre (aka All About My Mother) (1999)

After her son (Eloy Azorin) is killed in a car accident, a woman (Cecilia Roth) goes on a mission to seek out her son's father (Davis Lopes) but her life takes an unexpected turn when she encounters an HIV pregnant nun (Penelope Cruz). Written and directed by Pedro Almodovar (VOLVER). An international success and the recipient of an Oscar and BAFTA award as well as best director award at the Cannes film festival. The film is a homage to Tennessee Williams and John Cassavetes' OPENING NIGHT as well as to directors Douglas Sirk and George Cukor. In what could have been in lesser hands a tearjerker of a soap opera, Almodovar provides a sensitivity and empathy for its eccentric characters that belies their screwball lives. Touching on motherhood, gender identity and homosexuality among other things, Almodovar has made what many consider his best film. With Marisa Paredes, Candela Pena, Antonia San Juan and Rosa Maria Sarda.

The Statue (1971)

A Nobel Prize winner (David Niven) has had a statue commissioned by the U.S. ambassador (Robert Vaughn) to be displayed in London's Grosvenor Square. The statue is created by the Nobel winner's wife (Virna Lisi), a noted sculptress. However, he is shocked when he sees the 18 foot nude statue especially since the genitals depicted aren't his. He becomes convinced his wife has a lover. Based on the play CHIP CHIP CHIP by Alec Coppel (Hitchcock's VERTIGO) and directed by Rod Amateau (THE GARBAGE PAIL KIDS MOVIE). Oy! A one joke comedy that pushes its one joke way past its expiration date! 90 minutes of David Niven attempting to look at penises in an attempt to discover his wife's alleged lover. There was another penis movie in 1971 called PERCY. What was in the British drinking water? There was only one remotely amusing scene in the whole movie when Niven goes into a photo booth to photograph his penis. But that's just 30 seconds in a 90 minute movie. With John Cleese, Ann Bell and Derek Francis.

Her Jungle Love (1938)

When their plane crash lands on a jungle island, an aviator (Ray Milland) and his mechanic (Lynne Overman) are shocked to discover an exotic girl (Dorothy Lamour) living there with only animals to keep her company. Directed by George Archainbaud (THIRTEEN WOMEN). Hokey adventure but not much fun. Dorothy Lamour had found fame wearing a sarong in THE JUNGLE PRINCESS (1936), solidified that image with John Ford's THE HURRICANE (1937) and with this movie, made her Technicolor sarong debut. Except for the explosive volcano finale which is impressive, the movie moves along at a snail's pace, stopping for a couple of songs sung by Lamour. Normally, I'm a sucker for kitsch like this but I just grew impatient after awhile. With J. Carrol Naish, Virginia Vale and an annoying chimpanzee played by Jiggs.

We Joined The Navy (1962)

An officer (Kenneth More) in the British Navy has a problem. He has the habit of of speaking the truth at the most inopportune times. This leads him to be transferred from ship to shore and then to instruct at the Royal Navy College. Based on the novel by John Winton and directed by Wendy Toye (THE TECKMAN MYSTERY). I'm not big on military comedies but even taking that into account, this is a banal film. Actually, it starts off promisingly with some irreverence for the Navy and for awhile I thought it might be fun but it jumps the shark at the halfway mark and never finds its way back. It looks nice with cinematographer Otto Heller (PEEPING TOM) using the CinemaScope frame pleasingly (especially in the South of France). With Dirk Bogarde briefly reprising his Simon Sparrow role from the DOCTOR franchise, Lloyd Nolan, Joan O'Brien, Mischa Auer, Laurence Naismith and Sid James.

Our Miss Brooks (1956)

A new school teacher (Eve Arden) arrives in a small midwestern town to teach English at a high school. She's immediately attracted to the school's biology professor (Robert Rockwell) and while he's attracted to her, he's in no hurry to propose marriage. Directed by writer turned director Al Lewis (MA AND PA KETTLE). Occasionally, a popular TV series crosses over to the big screen with the original cast. DRAGNET, a popular TV show, crossed over to the big screen in 1954 and was a hit and in the 1960s, THE MUNSTERS did the same thing. Originally a radio show debuting in 1948, it crossed over to TV screens in 1952 with Eve Arden and eventually this movie in 1956. While the film has higher production values and more adult situations than the TV series would allow, it plays out like what it is, an extended episode of a TV sitcom. If you liked the sitcom, you should find the film enjoyable. If you didn't or don't know the show, there's nothing for you here. With Richard Crenna, Nick Adams, Don Porter, Gale Gordon and June Blair.

I Love Trouble (1948)

A politician (Tom Powers) hires a private detective (Franchot Tone) to investigate his wife's (Lynn Merrick) past. But what seemed a simple case at first spirals down the rabbit hole as the wife's identity and her past becomes more mysterious and elusive and results in a couple of murders. Based on the novel THE DOUBLE TAKE by Roy Huggins and directed by S. Sylvan Simon (THE FULLER BRUSH MAN). An entertaining if convoluted film noir that should be better known among noir fans. It's got everything a noir fan could ask for: a wise cracking gumshoe (who gets beaten up regularly by thugs), a gaggle of femme fatales and a twisting trail of deceit, corruption and murder. One doesn't think of Franchot Tone as a tough guy but he does very well here and as two of the film's femme fatales, Janet Blair (we're never quite sure if she's to be trusted) and Janis Carter (we know better than to trust her) do very nicely. With John Ireland, Raymond Burr, Glenda Farrell, Steven Geray, Adele Jergens and Eduardo Ciannelli.

Le Comte De Monte Cristo (aka The Count Of Monte Cristo) (2024)

In 1815, a young sailor (Pierre Niney) rescues a young woman (Adele Simphal) from drowning. This heroic act is just the beginning of a nightmare of his imprisonment for 14 years before he makes a daring escape and sets in motion his plan for revenge. Based on the classic novel by Alexandre Dumas and directed by Matthieu Delaporte and Alexandre De La Patelliere. Sensational! Although the film takes some minor liberties with the Dumas source material (what version hasn't?) by adding  and deleting characters and changing motivations, this is by far the best version of the Dumas novel I've seen. At three hours with no intermission, it's a long film but so riveting that you're not conscious of its length. The acting is excellent by the entire cast and it's beautifully shot in wide screen by Nicolas Bolduc (WAR WITCH). In the title role, Pierre Niney gives a terrific performance going from a naive 22 year old sailor to a 36 to 40ish man whose only emotion is the hate that propels him on his journey of vengeance. Highly recommended. The superb cast includes Anais Demoustier, Bastien Bouillon, Annamaria Vartolomei, Laurent Lafitte, Patrick Mille, Julien De Saint Jean and Vassili Schneider.

Malice (1993)

Set in Massachusetts, a recently married couple (Nicole Kidman, Bill Pullman) are in need of money so they rent a room in their Victorian house to a hot shot doctor (Alec Baldwin) newly arrived in their college town. There's also a serial rapist terrorizing the town. Co-written by Aaron Sorkin (A FEW GOOD MEN) and directed by Harold Becker (THE ONION FIELD). An enjoyable thriller with a few twists and turns although the serial rapist subplot turns out to be a red herring to distract us. The "twists" keep on coming and coming until till you almost need a score card to keep up. All three lead actors get to display very different aspects of their characters and all three do it convincingly. Well, as convincingly as a potboiler (even one as good as this one) will allow them. I certainly don't want to mislead anyone by overpraising it but if you're a fan of thrillers, you should find much to enjoy here. With Anne Bancroft, George C. Scott, Gwyneth Paltrow, Peter Gallagher, Bebe Neuwirth and Josef Sommer.

Las Vegas Hillbillys (1966)

A struggling country singer (Ferlin Husky) in the backwoods of Tennessee receives word that he has inherited a casino in Las Vegas when his uncle dies. When he arrives in Las Vegas to receive his inheritance, he finds he's inherited a debt ridden dive. Directed by Arthur C. Pierce (WOMEN OF THE PREHISTORIC PLANET). The TV show THE BEVERLY HILLBILLIES debuted in 1962 and ran for 8 years. Its success didn't go unnoticed by Hollywood, thus we got LAS VEGAS HILLBILLYS! It's a 90 minute movie that would run an hour if all the musical numbers were cut. Its cliche ridden screenplay has the audience always a few steps ahead of what's happening (or going to happen) on the screen. What can one say other than it's every bit as inane as its title suggests. The two female leads are the 1950s sex bombshells Jayne Mansfield and Mamie Van Doren. That they're even in this movie lets you know where there careers ended up by the mid 1960s. With Richard Kiel, Don Bowman, Billie Bird, Bill Anderson, Wilma Burgess, Connie Smith and Louis Quinn.

Sweeney Todd: The Demon Barber Of Fleet Street (2001)

Returning to Victorian London after an exile of 15 years, an unhinged barber (George Hearn) seeks a violent revenge on the unscrupulous judge (Timothy Nolen) who separated him from his family, freedom and sanity. Teaming with a smitten pie making shop owner (Patti Lupone), he plots to lure the judge into his recently opened tonsorial parlor. Based on the musical (some refer to it an an opera) by Stephen Sondheim and directed by Lonny Price (COMPANY). This is a true concert production done in San Francisco with the San Francisco symphony orchestra. No sets, almost no props or costumes with almost all the action "suggested". So it's left to Sondheim's iconic score and the glorious voices of its cast to carry the production. It all plays out beautifully and this is a satisfying production of what some consider the greatest musical of the 20th century. With Neil Patrick Harris, Victoria Clark, Davis Gaines, Lisa Vroman and John Aler.

Les Quatre Cents Coups (aka The 400 Blows) (1959)

A young boy (Jean Pierre Leaud) growing up in Paris is misunderstood by his detached parents (Claire Maurier, Albert Remy) and dictatorial teachers. Directed by Francois Truffaut (JULES AND JIM) in his feature film directorial debut. Is there a greater movie about adolescence than Truffaut's insightful semi autobiographical film? It must have seemed a startling revelation to U.S.. audiences raised with cute Margaret O'Brien MGM movies and Walt Disney moppets. In one of the very best child performances captured on screen, the subtly expressive Leaud seems authentic in a way that the artificiality of most Hollywood child performers doesn't. There's no "plot" to speak of, just a glance at the difficulty of growing up in a regimented world that doesn't allow for a child's individuality. My favorite moment in the film might be the brief respite when the boy and his parents go to the movies and he gets his first taste of strawberry ice cream. Everyone seems happy before the discouragement sets in again. The film's final freeze frame always tears me up. With Jeanne Moreau, Jean Claude Brialy, Patrick Auffay and Guy Decomble.

A Matter Of Wife And Death (1975)

After seeing his former associate (Tom Drake) being blown up in his car, a part time private eye and pool hustler (Rod Taylor) is determined to find out who is responsible for his death. His investigation leads him right into the middle of a major gambling ring. Directed by Marvin Chomsky (EVEL KNIEVEL). In the 1970s, it was fairly common for networks to air telefilms intended as a pilot for a prospective television series. This telefilm was a sequel to the 1973 movie SHAMUS with Burt Reynolds with Taylor in Reynolds' role. SHAMUS was only a modest success as a movie and this telefilm wasn't picked up by NBC. It's a pretty pedestrian and generic tough guy private eye caper, indistinguishable from a dozen other TV detective shows though the "twist" ending caught me by surprise. With Anne Archer, Anita Gillette, Cesare Danova, John Colicos, Lynda Carter, Joe Santos and a scene stealing cat called Freddy.

Sparrows Can't Sing (1963)

After two years at sea, a Cockney sailor (James Booth) comes home to East London only to find his home demolished and his wife (Barbara Windsor) missing. He begins his search to track her down, not knowing she's shacking up with a bus driver (George Sewell) and has a baby which may or not be his. Based on the play by Stephen Lewis and directed by pioneering theater director Joan Littlewood in her only foray into film. There's not much of a plot. What's there is there merely to give us an authentic if comedic look at a bunch of working class blokes and birds (their "accents" so thick that when the movie opened in New York, it had subtitles) going on with their day to day lives. Littlewood's inexperience with cinema brought a refreshing and unconventional (for the time) energy that still stands out today. Critics of the day weren't always kind, calling Littlewood's direction half hazard and her attitude toward its characters condescending. With Roy Kinnear, Barbara Ferris, Murray Melvin, Yootha Joyce and Victor Spinetti.

Undercover Maisie (1947)

A showgirl (Ann Sothern) is coerced into joining the Los Angeles police force by a police Lieutenant (Barry Nelson) who is impressed with her observation skills. While she passes her entrance exams, she finds herself caught up in the rivalry of the Lieutenant and another cop (Mark Daniels) for their romantic attention towards her. Directed by Harry Beaumont (WHEN LADIES MEET) The tenth and final entry in MGM's MAISIE franchise goes out on a high note as this is one of the best entries in the series. Sothern is at her Maisie best here and there's a nice chemistry between her and Nelson. The principal plotline (busting a scamming ring) is well thought out and we even get a chance to see the blonde Sothern going undercover as a brunette! You don't have to be a fan of the series to enjoy this one! With Leon Ames, Gloria Holden, Clinton Sundberg and Douglas Fowley.

Clive Of India (1935)

In 1748 England, a clerk (Ronald Colman) is bored with his job and joins the army and goes to India. It is there that he finds his destiny. Based on the play by R.J. Minney and directed by Richard Boleslawski (GARDEN OF ALLAH). Yet another stodgy glamourization of colonialism, in this case the British Raj where Colman's Robert Clive is portrayed as the white savior of India! I don't know how much accuracy fits into the picture (this being 1935 Hollywood, I doubt very much) but I found him an appalling man. His young son is dying and with this knowledge, he and his wife (Loretta Young) still dash off to India and leave him to die alone. WTF? Colman broods and broods instead of giving a performance while Young wrings her hands at how he runs off to India given the remotest excuse. I could forgive all the nonsense if there were any entertainment value to the film but it takes itself so seriously. With Colin Clive, C. Aubrey Smith, Francis Lister, Cesar Romero, Leo G. Carroll, Mischa Auer and Eily Malyon.

On The Threshold Of Space (1956)

During the dawn of the space program, a medical doctor (Guy Madison) in the Air force elects to proceed with military experiments for the space program. Although she stands by his side, this is stressful for his wife (Virginia Leith). Directed by Robert D. Webb (BENEATH THE 12 MILE REEF). Although the movie depicts actual historical tests made for the space race which is nice for accuracy, the screenwriters forget the human element and give us a mass of cliches instead. This isn't a documentary so the writers give us the silently suffering wife (Leith) wringing her hands and the cautious by the book Major (John Hodiak) who challenges the doctor's methods in order to give the movie some conflict. It hasn't aged well. This was John Hodiak's final film as he died during filming. With Dean Jagger, Martin Milner, Warren Stevens and Barry Coe.

La Bete (aka The Beast) (2024)

Set in the year 2044 where AI  reigns and human emotions are a liability. A young woman (Lea Seydoux) is urged to undergo a process to purify her DNA which will purge her emotions and make her a better candidate for employment. The process, however, takes her back to her past lives in 1910 Paris and 2014 Hollywood. Loosely based on the 1903 novella THE BEAST IN THE JUNGLE by Henry James and directed by Bertrand Bonello (THE PORNOGRAPHER). A disturbing but haunting film about a society drifting away from human contact. A life without pain, sadness, anger, fear and cruelty would be so much nicer, of course. But it's unnatural. We're meant to feel these emotions. Bonello's complex narrative dashes through time (and aspect ratios utilizing 1.37, 1.85 and 2.35) which allows Seydoux and George MacKay (channeling Christopher Walken) to play different characters or rather different aspects of their characters. Bonello's ambitious film is often cumbersome and perhaps overlong (it pushes the 2 1/2 mark) but it's a movie that resonates after you've watched it. In order to push his point about dehumanization, there are no end credits for the film, you have to scan a QR  code to get them instead! With Dasha Nekrasova and Elina Lowensohn.

Climb An Angry Mountain (1972)

A New York City detective (Barry Nelson) travels to a rural California town in Northern California to track down an escaped Native American prisoner (Joe Kapp). He immediately locks horns with the local sheriff (Fess Parker) whose ways clash with the city detective. Directed by Leonard Horn (MAGIC GARDEN OF STANLEY SWEETHEART). A cliched telefilm that is partially buoyed by its location (California's Mt. Shasta) and a very good underscore by George Duning (PICNIC). But that only serves to show how ratty the rest of the movie is. Kapp (a football player turned "actor") comes across as mentally challenged. Whether it's the actor's inability or the script's intention is never clear as the film itself never addresses it. The movie's last act with an endless trek up a snow covered mountain with a storm brewing is a crashing bore. With Stella Stevens, Marj Dusay, Clay O'Brien and Arthur Hunnicutt.

One Mysterious Night (1944)

An ex-jewel thief (Chester Morris) turns into an emissary for those in need of help. When a priceless diamond is stolen, a police chief (Richard Lane) seeks his aid in finding the real culprit. Based on the Boston Blackie character created by Jack Boyle and directed by Budd Boetticher (THE TALL T) in his directorial film debut. The seventh film in the fourteen movie Boston Blackie franchise is a quick moving crime caper but it is seriously hampered by its lame attempts at comedy. In particular, its portrayal of the police as bungling incompetents just isn't funny. Sure, show them as unable to grasp the obvious but they're played as cartoonish clowns. But audiences seemed to enjoy these B detective comedies and Chester Morris played Boston Blackie from 1941 to 1949. With Dorothy Malone, Janis Carter, Mark Roberts and George E. Stone.

First Monday In October (1981)

After a death causes a vacancy on the Supreme Court, the President's appointee is a staunch conservative (Jill Clayburgh) from California who becomes the first female supreme court justice. She immediately clashes with the cantankerous liberal judge (Walter Matthau) who has been on the court for many years. Based on the play by Jerome Lawrence and Robert E. Lee (INHERIT THE WIND) and directed by Ronald Neame (THE POSEIDON ADVENTURE). The play was first performed in 1975 with Jean Arthur and Melvyn Douglas and three years later on Broadway with Henry Fonda and Jane Alexander. The play closed after just 80 performances. Ronald Reagan's nomination of Sandra Day O'Connor who became the first woman on the Supreme Court in 1981 made the film timely and topical. As a movie, it's a bore! By 1981, Matthau's cantankerous old man act was getting tiresome and while Clayburgh is appealing, she comes across as too young for the role. They bicker, they chat, they quarrel, they bandy words about while we keep waiting for something to happen that never does. With Jan Sterling, Barnard Hughes, Martha Scott, James Stephens and Ann Doran.

La Polizia Chiede Aiuto (aka What Have They Done To Your Daughters) (1974)

A teenage girl is found hanging in a privately rented attic, pregnant and violated. The police inspector (Claudio Cassinelli) and the assistant District Attorney (Giovanna Ralli) assigned to the case slowly discover what they thought was a suicide escalates into a horrifying case of a pedophile ring of underage prostitutes that reaches into the highest echelon of Italian society and a political cover up by the Italian government. Directed by Massimo Dallamano (WHAT HAVE YOU DONE TO SOLANGE?). Who would have thought that a 1974 Italian giallo (some may call it a poliziotteschi, a police procedural) would have political ramifications of 2025 America? Graphic in its bloodletting and exploitative in its nudity, nonetheless this is a disturbing but intensely effective genre piece. The highlight of the movie is a relentless but superbly done chase between the police and a serial killer on a motorcycle. If you're fan of gialli, you really should seek this one out. With Farley Granger, Marina Berti, Mario Adorf and Franco Fabrizi.

The Beginning Or The End (1947)

Prior to WWII, American scientists under the guidance of an Italian scientist (Joseph Calleia) win the race to split the atom. Aided by a letter from Albert Einstein (Ludwig Stossel), a physicist (Tom Drake) and his colleagues convince President Roosevelt (Godfrey Tearle) to authorize the construction of a nuclear weapon. A billion dollar undertaking that will culminate in the bombing of Hiroshima and Nagasaki. Directed by Norman Taurog (GIRL CRAZY). A well intentioned faux docudrama that suffers from contrived and sentimental romantic subplots among other things. After a film like Christopher Nolan's OPPENHEIMER (played here by Hume Cronyn), it seems so ineffective. The highlight of the movie, the bombing of Hiroshima pales next to a similar sequence in ABOVE AND BEYOND (1952) done five years later (and a better movie). While the film strives for historical accuracy, too much of it is obviously "dramatic license" or outright fiction. With Robert Walker, Brian Donlevy, Audrey Totter, Hurd Hatfield, Victor Francen, Beverly Tyler, Barry Nelson, Warner Anderson and Jim Davis.

The Phantom Of Crestwood (1932)

A playgirl (Karen Morley) plots to blackmail her rich and powerful ex-paramours at a posh soiree in a secluded mountain ranch. Instead, she is murdered and a gangster (Ricardo Cortez) suspecting the police will accuse him of the crime turns amateur detective to find the killer. Based on a radio serial which ended in a cliffhanger (this movie reveals the murderer) and directed by J. Walter Ruben (RIFFRAFF). A rather clunky murder mystery with only the murder victim interesting enough to hold our attention. She's killed at the thirty minute mark and seen only in flashbacks from then on. The murder suspects are a dull lot and the thug amateur detective is a turn off. I'm an easy mark for this kind of movie but even I found it tedious once the courtesan was bumped off. The acting (except for Karen Morley) is rigid. With Anita Louise, Pauline Frederick, H.B. Warner, Gavin Gordon, Hilda Vaughn and Matty Kemp.

7 Women (1966)

Set in 1935 rural China, the strict head (Margaret Leighton) of a mission rules it with an iron fist. When a much needed doctor (Anne Bancroft) arrives at the mission, they immediately clash over different ideas and lifestyle. Based on the short story CHINESE FINALE by Norah Lofts and directed by John Ford (THE SEARCHERS), his final film in a 53 year career. The movie was poorly treated by MGM which released the film in a limited theatrical run and on double bills rather than as a major film by a four time Oscar winning director. With the exception of Andrew Sarris who championed the film, critics dismissed the film although Cahier Du Cinema named it one of the 10 best films of 1966. In the ensuing years, its reputation has grown and it's gotten more respect. In 2013, Richard Brody gave a glowing re-evaluation in the New Yorker. I think most critics were thrown by its female centric narrative coming from Ford whose movies were mostly testosterone driven. The testosterone is still there, only it's outside the walls, its violence ready to invade and destroy and the heroism in the film comes not from any man but Bancroft's woman doctor. I think it's a perfectly wonderful swan song to Ford's career. With Sue Lyon, Eddie Albert, Betty Field, Mildred Dunnock, Flora Robson, Anna Lee, Mike Mazurki, Woody Strode, Jane Chang and Irene Tsu.

A Kid For Two Farthings (1955)

Joe (Jonathan Ashmore) is a young boy who lives in a poor section of London. He becomes convinced that through the mythical powers of a unicorn, he can grant the wishes of his mother (Celia Johnson) and his friends. He searches endlessly until he finds his unicorn ... which turns out to be a goat with one misshapen horn. Based on the novel by Wolf Mankowitz and directed by Carol Reed (THE THIRD MAN). Reed has proven that he has a knack working with child actors in movies like THE FALLEN IDOL and the Oscar winning OLIVER! and that's on display here, too. While not entirely successful (its initial reviews were mixed), posterity has been kind to this charming fantasy. I felt the portrayal of the child protagonist made him too innocent, too naive. Raised in a working class section of London, one would think he would be more street savvy. But I'm nitpicking. There's a genuine mystical quality about the film. With Diana Dors (surprisingly good), Brenda De Banzie, Lou Jacobi, David Kossoff, Joe Robinson and Sid James.

Teseo Contro Il Minotauro (aka The Minotaur) (1960)

The island of Crete lives in fear of the Minotaur, a dreadful beast trapped inside a labyrinth below the royal palace. Crete's evil princess (Rosanna Schiaffino) discovers she has a twin sister (Rosanna Schiaffino) separated from her at birth. She makes it her mission to find the sister and have her killed so she won't be a threat to her power. Directed by Silvio Amadio (ASSASSINATION IN ROME). Based on the Greek myth of Theseus and his slaying of the Minotaur. As far as sword and sandal peplums go, this one is slightly above average with nice production values and an engaging narrative. As Theseus, Olympic decathlon champion turned "actor" Bob Mathias is bland and physically, he's no Steve Reeves. Luckily, Rosanna Schiaffino seems to be having fun playing the "I'm nice" and "I'm evil" twin sisters. The film's confrontation finale between Theseus and the Minotaur is a letdown, mainly because the Minotaur looks so cheesy. Still, if you're a fan of peplum, this should more than satisfy you. With Rik Battaglia and Alberto Lupo.

The Salt Path (2025)

After being forcibly removed from their home, a husband (Jason Isaacs) and wife (Gillian Anderson) become homeless. They make the desperate decision to walk a 630 mile trek along the beautiful but rugged Cornish, Devon and Dorset coastline in the hope that in nature, they will find solace and a sense of acceptance. Based on the best selling memoir by Raynor Winn and directed by the four time Tony award winning director Marianne Elliott in her directorial film debut. It's a film defined by its two lead performances (Anderson and Isaacs look like they've actually suffered hardships) and the stunning cinematography (shot in two ratios, 1.85 and 2.35) of Helene Louvart (Wim Wenders' PINA). The screenplay itself is rather simplistic and issues aren't addressed that would have shed clarity on certain issues. After the film opened, reports questioned the accuracy of the circumstances which lead to their homelessness as well as the medical diagnosis of Isaacs' character. With Hermione Norris and James Grant.

Trois Couleurs: Rouge (aka Three Colors: Red) (1994)

A student (Irene Jacob) in Switzerland works as a part time model. One evening, she hits a dog with her car and tracks down the dog's owner (Jean Louis Trintignant) who seems indifferent to the situation. But their chance meeting will prove remarkable. Directed by Krzysztof Kieslowski, this was the final installment of his TROIS COULEURS trilogy which was preceded by BLEU and BLANC and also his final film as a director since he would die two years later. Among other things, ROUGE is principally a film about fate and chaste intimacy. An elaborate and expertly perceptive depiction of linked souls, Kieslowski's cinematic journey takes its time to get to its core but it's a journey well worth taking. The recipient of three Oscar nominations (director, screenplay, cinematography), it's considered by many as the best of the trilogy. With Jean Pierre Lorit, Frederique Feder and from the two previous films: Juliette Binoche, Julie Delpy, Benoit Regent and Zbigniew Zamachowski.

Negatives (1968)

When a young couple (Glenda Jackson, Peter McEnery) grow bored with their kinky games (they dress up as an Edwardian murderer and his mistress), they invite an uninhibited German photographer (Diane Cilento) to join them. Based on the novel by Peter Everett and directed by Peter Medak (THE RULING CLASS) in his feature film directorial debut. The film is a psychological muddle enhanced by the playing of its three principles who give strong performances. It's the kind of vague artsy film (one might even call it cryptic) that had a run of popularity in the 1960s (think LAST YEAR AT MARIENBAD or BLOW UP). The game playing of the couple is pushed toward a disastrous confrontation by the enigmatic and mysterious German, who simply walks away after the calamitous finale saying, "There's nothing more for me here". Intriguing but it paints itself into a corner that it can't get out of, leaving us with more questions than answers. With Maurice Denham and Billy Russell.

La Faille (aka Weak Spot) (1975)

Set in Greece (although the country is never specified) and filmed there shortly after the fall of the right wing military government (1974) which took over the democratic government in 1967. In a police state, a man (Ugo Tognazzi) is nabbed by the country's secret service and accused of a crime he has no knowledge of. Protesting his innocence, he is escorted on a day's journey by two agents (Michel Piccoli, Mario Adorf) to "Central", where he will be interrogated. Based on the novel by Antonis Samarakis and directed by Peter Fleischmann (HUNTING SCENES FROM BAVARIA). What at first seems to be a Kafkaesque nightmare of a bewildered citizen accused of something he doesn't know about turns itself upside down halfway into the movie and then ends grimly in another turn of events. One can't help but think of Costa Gavras (Z) while watching this political thriller. The two central performances are excellent but it's Piccoli who has the most ambiguous character and thus the most interesting. The film is timely considering the political situation in the U.S. right now. The score is by Ennio Morricone. With Adriana Asti and Dimos Starenios, who'll make your blood run cold!

Hairspray Live! (2016)

Set in 1962 Baltimore, a teenager (Maddie Baillio) has a dream to dance on a local TV show, The Corny Collins Show. When her dream comes true, the chubby teen becomes a local celebrity but her fame doesn't come without problems. Based on the Broadway musical (in turn based on the 1988 John Waters film) and directed by Kenny Leon (THE WIZ). Although lacking the vigor of the 1988 original film or the polished vitality of the 2007 film version of the stage musical, this live production is more than decent enough. It has a skillful cast of newcomers and veterans and the tuneful songs of Marc Shaiman and Scott Wittman are as catchy as ever and the lively choreography of Jerry Mitchell (KINKY BOOTS) takes center stage. With Harvey Fierstein recreating his stage role as the mother, Martin Short, Ariana Grande, Kristin Chenoweth, Jennifer Hudson, Derek Hough, Dove Cameron, Derek Clayton, Ephraim Sykes, Sean Hayes, Andrea Martin, Rosie O'Donnell, Shahadi Wright Joseph.

Nick Carter, Master Detective (1940)

Someone is sabotaging the creation of an innovative high speed aircraft at Radex Corporation. Posing as an executive at Radex, detective Nick Carter (Walter Pidgeon) attempts to unmask the culprits and save the project. Directed by Jacques Tourneur (I WALKED WITH A ZOMBIE) in his second Hollywood feature. As far as detective mysteries go, this one is a painless sit through at barely an hour long. The film didn't do well at the box office yet MGM did two more sequels before they abandoned the series. The movie has an annoying character for comic relief, Donald Meek as a beekeeper who fancies himself an amateur detective. As a detective, Pidgeon's Nick Carter is no Nick Charles or even a Charlie Chan. I'll catch up on the two sequels later to see if it improves. Pidgeon would move out of these B movies the next year (1941) and onto A list films like Ford's HOW GREEN WAS MY VALLEY and Fritz Lang's MAN HUNT. With Rita Johnson, Henry Hull, Martin Kosleck, Milburn Stone and Frank Faylen.

One Romantic Night (1930)

The matriarch (Marie Dressler) of a dethroned family of minor Germanic royalty hopes to marry her daughter (Lillian Gish) to a crown prince (Rod La Rocque) but when she pushes for her daughter to use her brothers' tutor (Conrad Nagel) to make the prince jealous, things don't go quite as planned. Based on the play THE SWAN by Ferenc Molnar (remade in 1956) and directed by Paul L. Stein (THE LOTTERY BRIDE). Regarded as the greatest actress of the silent era, this was Lillian Gish's first sound film. She's delightful but the movie itself suffers from the stiffness and stagnation that affected many early talkies. It doesn't help that Conrad Nagel as the tutor is charmless, something that was remedied in the 1956 film where Louis Jourdan was much more sympathetic. Of cinematic importance as Gish's first sound film and as such, she made the transition to sound smoothly. With O.P. Heggie and Billie Bennett.

That's My Boy (1951)

The nerdy son (Jerry Lewis) of a famous ex-football player (Eddie Mayehoff) is a disappointment to his father. The son has no athletic ability and wants to be a veterinarian. Directed by Hal Walker (ROAD TO ZANZIBAR). One of the weakest of the Martin and Lewis films. It's Lewis's movie really and Dean Martin as a star football player is relegated to supporting actor. With the exception of Lewis's occasional physical comedy bits which are funny, the rest of the film is trite and predictable and not funny. I found the film distasteful. Mayehoff's father is a loudmouth bully bribing and coercing his son and those around him into manipulating Lewis into a football player against his will. I was waiting for Mayehoff to get his comeuppance but he gets his way and everyone lives happily ever after. Sheesh! I love Jerry Lewis but this one is forgettable. With Polly Bergen, Ruth Hussey, Marion Marshall, John McIntire and Lillian Randolph.

Finis Terrae (1929)

Four men set out on a three month expedition to Bannec, an islet off the coast of Brittany. They intend to harvest seaweed, which will fetch high prices if burned and processed properly. But cabin fever sets in and an argument over a broken bottle of wine escalates the extreme tension. Written and directed by Jean Epstein. The title FINIS TERRAE is Latin for "end of the world". Epstein's silent film is shot in a stark documentary style and uses non professional actors. Visually, the film is stunning with its bleak B&W imagery (four cinematographers are credited). Its psychological dramatization of the isolation and paranoia that sets in and threatens to destroy the camaraderie of the men has been likened to Robert Eggers' THE LIGHTHOUSE. But the movie isn't as dark and if one couldn't call it a "happy" ending, it reconciles the psychosis. With Jean Marie Laot, Ambroise Rouzic, Gibois and Francois Morin.

Castle Of Evil (1966)

On a secluded private island in the Caribbean, a disparate group of six people have been ferried in to see a dying millionaire (William Thourlby). They all have reason to hate him but they're all mentioned in his will. Directed by Francis D. Lyon (CULT OF THE COBRA). If Agatha Christie wrote a horror movie, it might look something like this although it would most likely be much better. It's all rather monotonous in its execution and its convoluted plot doesn't make much sense. The saddest part of the film is seeing actors who had careers in major films reduced to a low budget B horror (with sci-fi trimmings) film. A matronly but still attractive Virginia Mayo brings some sass and spark to her aging tart but it's a far cry from her salad days as leading lady to James Cagney, Gregory Peck and Danny Kaye! With Scott Brady, Hugh Marlowe, David Brian, Lisa Gaye and Shelley Morrison.