A salesgirl (Betsy Drake) in a major department store sets her marital sights on a prominent pediatrician (Cary Grant). Unfortunately, he's not interested in marriage or her. But she's determined to land him by whatever trick or subterfuge necessary. Based on the short story by Eleanor Harris and directed by Don Hartman (HOLIDAY AFFAIR). An unpleasant romantic comedy. There's something rather pathetic about a woman so desperate to get married that she'll humiliate herself, tell lies and manipulate people to get what she wants. She is, in fact, what today we call a stalker. Yet we're meant to think this psychotic is adorable! It might have helped if Betsy Drake had a bit more charm or charisma but she doesn't. Perhaps if the charming Diana Lynn had played the role instead of the bland role of the heroine's best friend it might have been more tolerable. With Franchot Tone, Eddie Albert, Alan Mowbray and Elisabeth Risdon.
A theatrical agent (Sarah Jessica Parker) tries to reunite her uncle (Peter Falk) and his old partner (Woody Allen), who were once a famous comedy act, for a movie. There's a problem though ..... they can't stand each other. Based on the play by Neil Simon (previously filmed in 1975) and directed by John Erman (AN EARLY FROST). I'm not a fan of Simon's play and didn't care at all for the Oscar winning 1975 film adaptation. Still, I thought I'd give this remake a chance and it still didn't work for me. This time around, I liked Allen's character who seemed a more sensible character than Falk's irritating stubborn curmudgeon. But it's just not very funny. Simon has updated this adaptation, the comedy team are no longer ex-vaudevillians but stars from the golden age of television. With Whoopi Goldberg, Liev Schreiber, Edie Falco and Michael McKean.
Set in the 16th century in what is now known as Ukraine, an ambitious soldier (Jean Claudio), who wants to be appointed the commander of his country's army, is seduced by an evil queen (Yvonne Furneaux) into betraying his people and pits him against his noble brother (Mel Ferrer), who is also a soldier. Directed by Giacomo Gentilomo (YOUNG CARUSO). The same year as the more extravagant TARAS BULBA set during the same time period and same country pitted father against son, this Italian attempt at a swashbuckler pits brother against brother. I'd call it a peplum except that it's not set in ancient Rome, Greece or biblical times. The movie's epic battle near the tail end of the film is decent enough but overall it's on the dull side. I have a soft spot for evil queens so for me, the movie perked up whenever Yvonne Furneaux was on screen. With Leticia Roman and Lorella De Luca.
Set in 1912 Boston, a member (Ronald Colman) of Boston's upper class finds it difficult to adjust to a changing world when his daughter (Peggy Cummins) and son (Richard Ney) both fall in love with people outside their "class". Based on the novel by John P. Marquand (H.M. PULHAM ESQ.) by way of a Broadway adaptation and directed by Joseph L Mankiewicz (ALL ABOUT EVE). Perhaps the most literate of Hollywood film makers, Mankiewicz' dialog driven film is on the dry side. A movie about a pompous stuffed shirt who believes people should stick to their own kind (or class if you prefer) and attempts to control his adult children's lives can set your teeth on edge. Colman is the perfect actor for the part (not necessarily a compliment) but his beginning to "see the light" at the film's end seems rushed rather than organic. With Vanessa Brown, Richard Haydn, Edna Best, Mildred Natwick and Charles Russell.
The head (Madeleine Carroll) of a major department store is totally focused on her career and marriage isn't in the cards. Her resolve is tested when a visitor (Fred MacMurray) from Bali tries to sweep her off her feet. Based on the short stories OUR MISS KEANE by Grace Sartwell Mason and FREE WOMAN by Katharine Brush and directed by Edward H. Griffith (THE SKY'S THE LIMIT). Sigh! Yet another 1930s/40s romantic comedy about a career woman who is considered incomplete without a husband and children! So, of course, we know how the movie will end. Perhaps it would have been more tolerable if it were actually romantic and funny but no dice. It's all rather charmless. They even throw in an "adorable" moppet (Carolyn Lee) who has no parents to tug at our heartstrings. Not the fault of the actors. Both Madeleine Carroll and Fred MacMurray are appealing but they can't turn straw into silk. With Akim Tamiroff, Helen Broderick, Osa Massen and Monty Woolley.
The powerful CEO (Emma Stone) of a pharmaceutical company is kidnapped by a conspiracy theorist (Jesse Plemons) and his dim witted cousin (Aidan Delbis, who just about steals the movie). They are convinced she is part of an invasive alien species bent on the destruction of the human race. Based on the 2003 South Korean film SAVE THE GREEN PLANET and directed by Yorgos Lanthimos (POOR THINGS). A fantastical black comedy with a grim view of mankind. It fits in with my cynical world view so naturally I loved it! The three main actors are fully committed to their extreme characters making them both absurdly amusing and frightening at the same time. It's the kind of movie best going in with knowing as little as possible. Funny, thrilling, grisly, and suspenseful. Bonkers but with one foot firmly planted in reality. What more do you need? With Alicia Silverstone and Stavros Halkias.
A Satanic priest (Ernest Borgnine) is hell bent on recovering a valuable book listing the names of those who sold their souls to Satan, a book that resides with the Preston family. When the Preston eldest son (William Shatner) goes missing, his younger brother (Tom Skerritt) goes to search for him. Directed by Robert Fuest (THE ABOMINABLE DR. PHIBES). I don't have the words in my vocabulary to describe how awful this cheesy (not a word I care to use often but very apt here) and inept horror movie is. Not only is there not a scare in the entire movie, it has no atmosphere, no sense of dread or trepidation. The film's finale with the "devil's rain" destroying the cult is endlessly dull and seems to go on forever. One can only wonder how such respectable actors like Borgnine and Shatner as well as Ida Lupino, Eddie Albert and Keenan Wynn got roped into this sludge. It's not even bad enough to be "camp", it's just bad. With Joan Prather and in his film debut, John Travolta.
When all but one child (Cary Christopher) from the same class mysteriously vanish on the same night at the same time (2:17 AM), a community is left questioning who or what is behind their disappearance with their suspicions falling on the classroom teacher (Julia Garner). Written and directed by Zach Gregger (BARBARIAN). A doozy of an intense horror movie with a supernatural coating that nabs you from the beginning and never lets go. An ensemble film told in a non linear fashion (if Paul Thomas Anderson did a horror movie, it might look something like this) with a disparate group of characters whose stories are eventually connected, it's a grisly slice of smartly fashioned horror for discerning horror fans who want more than slash and dice. I thought I had it all figured out around the 40 minute mark but I was wrong. With Josh Brolin, Alden Ehrenreich, Benedict Wong, Austin Abrams and corker of a performance by Amy Madigan!
A wounded Korean War veteran (Don Taylor) falls in love with the Japanese nurse (Shirley Yamaguchi) nursing him at the hospital. They marry and he brings her to his family home in a small ranch community in California. Neither are prepared for the racism they encounter. Directed by King Vidor (DUEL IN THE SUN). After his three picture contract with Warner Brothers (THE FOUNTAINHEAD, BEYOND THE FOREST, LIGHTNING STRIKES TWICE) was over, Vidor did this well intentioned low budget potboiler. I wish it were a better movie and while some Vidor auteurists try to make more of the film than it is, it's just not very good. It's awkward and obvious in its storytelling. The acting is adequate but the picture is stolen by Marie Windsor's over the top evil sister in law. There's no subtlety in her performance but at least she's fun to watch. With Cameron Mitchell, James Bell and Philip Ahn.
Set in pre WWI England, when a 13 year old cadet (Neil North) at a naval college is accused of stealing a postal order, he is expelled. His father (Cedric Hardwicke) is furious and sets out to prove the boys innocence at any cost, even as it causes the family notoriety and financial hardship. Based on the play by Terence Rattigan (SEPARATE TABLES) and directed by Anthony Asquith (THE VIPS). Inspired by an actual event that set a legal precedent, Rattigan's drama about a family's refusal to backdown in the face of injustice when that might have been the easiest thing to do is hampered because the end result is never in doubt. We know where the journey will end but is the journey engrossing enough to hold our interest? My response is ..... kind of. Although top billed, Robert Donat, who plays the barrister who takes on the case, doesn't come in until 45 minutes into the movie. British audiences turned up in droves at the box office. Remade in 1999. Decently acted. With Margaret Leighton, Basil Radford, Kathleen Harrison, Francis L. Sullivan, Marie Lohr, Stanley Holloway, Cyril Ritchard, Mona Washbourne and Wilfrid Hyde White.
A young woman (Marjorie Weaver) arrives at her family home to tell her father (Paul Harvey) that she's married. But during the night, a "ghost" takes a shot at her but he misses. She's not believed so she pays a detective (Lloyd Nolan) to pretend to be her husband while he investigates the attempted murder. Based on the novel NO COFFIN FOR THE CORPSE by Clayton Rawson and directed by Herbert I. Leeds (MR. MOTO IN DANGER ISLAND). The fifth entry in the seven movie Michael Shayne franchise is very good and I'd call it the best of the series I'd seen except for one thing. Instead of playing it straight, the movie is laced with some lame comedy that's just plain annoying which renders Lloyd Nolan's Michael Shayne irritating. That aside, I was entertained and I suspect most mystery fans will be too. With Helene Reynolds, Richard Derr and Henry Wilcoxon.
A disgraced scientist (Lon Chaney) robbed of his research and publicly humiliated by an evil Baron (Marc McDermott), has spent the last five years as a circus clown known as He. When a pretty circus rider (Norma Shearer) joins the show, he finds himself attracted to her even though she is in love with another man (John Gilbert). Based on the play by Leonid Andreyev and directed by Victor Sjostrom (THE WIND). A striking operatic tragedy with a stellar performance by Lon Chaney (it might be his career best) in the title role. My only nitpicking is that Sjostrom unnecessarily stretches out the narrative (particularly the ending) which weakens what should have been an emotionally devastating end. I'm not a fan of clowns, I find them genuinely creepy, but I found Chaney's circus jester poignant, a genuine tragic figure. As the female lead, Norma Shearer is lovely and appealing before she became the "great lady" of MGM. With Tully Marshall and Ruth King.
A nurse (Carole Lombard) arrives at an understaffed and underfunded hospital. While dealing with an epidemic, bus accidents and other challenges, her eagerness to serve takes precedence. If she has one flaw, it's pushing her younger sister (Anne Shirley) into the nursing profession, a profession the sister doesn't want and has no passion for. Based on the novel by A.J. Cronin (THE CITADEL) and directed by George Stevens (A PLACE IN THE SUN). Personally, although he's a much revered director, I'm not much of a fan of his. One rarely (if ever) sees this movie discussed when talking about his filmography and one can see why. It's a paean to the nursing profession and while noble, it's a pretty heavy handed piece of melodrama. Lombard does well enough going all virtuous (wasn't Irene Dunne available?) but she seems uncomfortable in the part. With Brian Aherne, Robert Coote, Ethel Griffies, Doris Lloyd and Julien Mitchell.
On her 13th birthday, a young girl (Kimberly J. Brown) discovers that her grandmother (Debbie Reynolds) and mother (Judith Hoag) are witches. Her mother wants her to live a "normal" life but her grandmother wants her to be trained and continue the family tradition of witches and warlocks. Directed by Duwayne Dunham (HOMEWARD BOUND: THE INCREDIBLE JOURNEY). This is a family friendly Disney movie so it isn't scary, no gore, no "jump" moments and only the mildest of violence. Its demographic is the 12 and under audience. All that being said, it's a sweet little predictable Halloween movie and it should satisfy its intended audience. Debbie Reynolds brings a bit of star power which stands out amongst the generic acting of the rest of the cast. The telefilm was successful enough to spawn three sequels. With Robin Thomas, Emily Roeske and Joey Zimmerman.
A country squire (Ralph Richardson) is on the verge of bankruptcy because of the many years of having his mentally ill wife (Ann Todd) in an expensive sanitarium. He crosses paths with a crusading school teacher (Edna Best) and corrupt developers that will determine his future. Based on the novel by Winifred Holtby and directed by Victor Saville (GREEN DOLPHIN STREET). A rather absorbing look at local politics in pre WWII rural England. There's also a romance but it never takes center stage thus allowing the behind the scenes scheming and corruption to remain at the forefront. Above average acting and a smart script make it easy to digest. The B&W cinematography is by Harry Stradling (JOHNNY GUITAR). With Glynis Johns (in her film debut) Edmund Gwenn, Marie Lohr, Joan Ellum and John Clements.
As the universe comes to an end, billboards and advertisements pop up everywhere displaying a picture of an accountant named Chuck (Tom Hiddleston) thanking him for 39 great years. Who is Chuck? In reverse chronological order, the life of Chuck is told. Based on a short story by Stephen King (CARRIE) and adapted for the screen and directed by Mike Flanagan (DOCTOR SLEEP). An imaginative and unique fantasy that leaves us with a reflective perception of one's own mortality. The reverse structure might seem like a gimmick but it allows the film to end optimistically rather than on a downer note. Still, as much as I admired the movie, the film's first act (which is the last part of the movie) can't sustain the distinctive creativity of the second and third act (which is the beginning of the film). With Mark Hamill, Jacob Tremblay, Chiwetel Ejiofor, Mia Sara, Carl Lumbly, Matthew Lillard, Heather Langenkamp, Karen Gillan and Trinity Bliss.
In a futuristic totalitarian society, a member (Edmond O'Brien) of the semi elite outer party commits the punishable crime of falling in love. He and his lover (Jan Sterling) attempt to keep their romance under cover but that's hard to do when Big Brother is watching! Based on the novel by George Orwell and directed by Michael Anderson (AROUND THE WORLD IN 80 DAYS). Sadly, Orwell's 1949 novel is as relevant today as it was over 70 years ago. As the U.S. slowly inches its way to a repressive dictatorship, the film still resonates strongly. It's a bleak and reflective movie and while effective, I wish it had been directed with more flair. As it is, it often feels like I'm being lectured to. Edmond O'Brien gives a rather generic performance but he is playing an everyman character. With Michael Redgrave, Donald Pleasence, David Kossoff and Mervyn Johns.
A frontiersman (Stewart Granger) and an Apache (Pierre Brice) work together to uncover the activities of a murderous gang after settlers are found dead and blame has been leveled at a local tribe of Shoshone. Based on the novel by Karl May and directed by Alfred Vohrer (DEAD EYES OF LONDON). In the 1960s, Italy may have invigorated the western with their "spaghetti" westerns but they weren't the only European country making westerns. The German western, often referred to as sauerkraut westerns (usually filmed in what was then Yugoslavia) were very popular. This solid western is a good example of the subgenre. It has a strong storyline, moves at a nice pace and is entertaining to boot. It has all the requisite trimmings that should appeal to western buffs. With Elke Sommer, Gotz George and Terence Hill.
The neglected long suffering wife (Myrna Loy) of a workaholic attorney (Roger Livesey) is having an affair with his young law partner (Richard Greene). When the husband falls ill, she breaks off the affair to take care of him. But when he receives an anonymous letter accusing his wife and his partner of adultery, it sets forth a series of events that can only lead to disaster. Based on the play AUTUMN by Margaret Kennedy and Ilya Surguchev and directed by Gregory Ratoff (INTERMEZZO). An overwrought melodrama where lies and deceit lead to calamitous results. It's pretty hoary stuff and the talented cast can't overcome the creaky and often handwringing dialogue they're required to recite. While it's interesting to see Myrna Loy straying from her "perfect wife" image, she can't do much with her character as written. With Peggy Cummins (returning to England after her Hollywood sojourn), Elizabeth Allan, Wilfrid Hyde White, Barry Jones and Margaret Withers.
The young secretary (Miriam Hopkins) to a newspaper's drama critic (A.E. Matthews) goes to a performance of Shakespeare's OTHELLO and becomes obsessed with the actor (Sebastian Shaw) playing the title role. But the actor is very much married and his wife (Gertrude Lawrence) has befriended the young lady. Directed by Walter Reisch (SONG OF SCHEHERAZADE). Some 11 years before A DOUBLE LIFE (1947), this movie touched on an actor's crossing the line with art and real life. But this strange turn comes out of the blue as we've been watching what appears to be a comedy until then. Frankly, both the wife and the secretary are too good for this narcissistic actor and why either would want him is beyond me. While the star of the film is Hopkins, we have the opportunity to see a solid performance by Gertrude Lawrence whose cinematic output is minimal. There's also a lanky, boyish Rex Harrison role on the edge of stardom in a supporting role. With Sybil Grove and Val Gielgud.
A serial killer (Lee Marvin) plagues the streets of Mexico City. A young boy (Jose Perez) witnesses the murderer's latest killing and when his father (Ricardo Montalban) is accused of the murder, he follows the serial killer to clear his father's name. Based on the short story SEPT PETITES CROIX DANS UN CARNET by Georges Simenon and directed by Harry Horner (BEWARE MY LOVELY). The potential of a gripping thriller is diffused by a poor screenplay, an unconvincing performance by Lee Marvin and an annoying child actor (Perez). This is one movie that could be vastly improved by a remake. Filmed in Mexico City, with the exception of Lee Marvin and Anne Bancroft (as Montalban's romantic interest), the cast is completely comprised of Latino actors. With Rodolfo Acosta and Eva Calvo.
Set in a North Korean POW camp, a newly arrived Corporal (Brian Keith) and a Sergeant (Robert Francis), a converted communist who appears to be the enemy of his fellow soldiers but is actually working for the Allies attempt to flush out a spy in the camp working for the North Koreans. Directed by Lewis Seiler (GUADALCANAL DIARY). An obvious Cold War programmer that that flirts with the "brainwashing" of American POWs, a subject that would be dealt with with more finesse 8 years later in THE MANCHURIAN CANDIDATE. Here it's merely used as a teaser for a routine Cold War drama. Even then, it went over the heads of some paranoid cities that banned it because they found it sympathetic to communism. With Dianne Foster, E.G. Marshall, Jack Kelly, Murray Matheson, Leo Gordon, Richard Loo and Jerome Courtland.
A gambler (Harry Carey) joins the Texas Rangers in the hope of finding out the identity of his brother's (Lee Sage) killers. Directed by William Nigh (STRANGE CASE OF DR. RX). A static western with some wooden acting. The first sound film THE JAZZ SINGER was released in 1927 and by 1932, sound films had been the norm for at least two years. But you'd never know it from this stiff western. The acting is rudimentary and the actors without much presence. Its storyline is basic and although a leading man here, Harry Carey would quickly recede into the ranks of supporting character actors. The film is a low budget B and looks it. Of interest to western buffs only. With Mae Busch, Gibson Gowland and Mary Jane Irving.
Living alone in the Canadian wilderness, a fur trapper (Oliver Reed) buys a mute girl (Rita Tushingham), sold against her wishes, for his "wife". Directed by Sidney Hayers (CIRCUS OF HORRORS). Handsomely shot in the rustic parts of British Columbia, this isn't a particularly fresh story. As expected, the brute of a mountain man softens and becomes more "civilized" because of the girl's influence and the girl toughens up till she's able to hunt and take responsibility for the both of them when the trapper becomes disabled. They've gone overboard in making Reed's crude trapper an absolute pig. During one scene when he's eating, it's as if he's imitating Henry VIII with grease and food caught in his beard and throwing bones on the floor! It's a brutal film including a graphic attack on Reed by some savage wolves. With Barbara Chillcot and Rex Sevenoaks.
