An Iowa pharmacist (Don Ameche) becomes embittered when his son's (Richard Crane) life is cut short during WWII. The spirit of his grandfather (Harry Carey) guides him on a journey of discovery and reconciliation so he make peace with his son's death. Based on the novel by MacKinlay Kantor and directed by Irving Pichel (DESTINATION MOON). Crikey, is this WWII home front drama drenched in a thick dose of treacle. I can understand why movies like this were important for wartime audiences but they don't hold up well at all today. It's just too obvious and awash in sentimentality for an America that probably never existed outside of books and movies. It makes one appreciate a well done home front WWII drama like MRS. MINIVER all the more. With Frances Dee, Ann Rutherford, Cara Williams, Harry Morgan and Mary Wickes.
The adopted daughter (Vilma Banky) of a rancher (Charles Willis Lane) who dreams of turning their desert town into a farmland is pursued by two men: the son (Ronald Colman) of a devious land developer (E.J. Ratcliffe) and a shy cowboy (Gary Cooper). Based on the novel by Harold Bell Wright and directed by Henry King (LOVE IS A MANY SPLENDORED THING). A slightly creaky mixture of western romance and action movie. Ronald Colman seems an odd choice for a western but this is a silent movie so his clipped English accent isn't heard. Colman is the star and Cooper is the young newcomer so there's never any doubt who the heroine will end up with. The highlight of the movie is the massive flood finale and it's handled beautifully. Unfortunately, the transfer I saw had one of those godawful solo organ scores instead of a full orchestra. With Paul McAllister and Clyde Cook.
A young priest (Timothy Bottoms) brought in by an archbishop (William Prince) to look for signs of embezzlement in the archdiocese is found stabbed in his hotel room. A young nun (Michele Greene) is accused of the murder. The archbishop asks his old friend Perry Mason (Raymond Burr) to defend her. Directed by Ron Satlof (PERRY MASON RETURNS). The second of the thirty Perry Mason movies made in the 1980s long after the television series ended in 1966. It's a decent murder mystery hampered by the unsympathetic nun suspect being exceedingly irritating, a fact that is acknowledged in the telefilm. The movie seems somewhat padded out. The original PERRY MASON episodes were an hour in length and by expanding it to 90 minutes, some of the scenes seem superfluous. With Arthur Hill, Barbara Parkins, Tom Bosley, Barbara Hale, William Katt, Jon Cypher and Gerald S. O'Laughlin.
Two tavern workers (Bud Abbott, Lou Costello) accidentally mix up the treasure map of the notorious Captain Kidd (Charles Laughton) with a love letter from a young woman (Fran Warren) to her beloved (Bill Shirley). Directed by Charles Lamont (I WAS A SHOPLIFTER). A low point in the careers of Abbott & Costello and Charles Laughton. I'm a huge Abbott & Costello fan but this effort ranks very close to the bottom of their filmography. Laughton had previously played Captain Kidd in 1945. But in 1952, his Hollywood career wasn't going too well, so not only does he parody his 1945 performance, he gets below the title "co-starring" billing! Maybe if the film were actually funny, all that wouldn't have mattered much but as it is, it's embarrassing to see one of cinema's great actors doing slapstick when he has no talent for it. The film's only interest is that it's one of only two A&C movies made in color. With Hillary Brooke and Leif Erickson.
An ex gangster (Lino Ventura) who became a hero of the French resistance has now settled down to a quiet life. He operates a small restaurant and has a wife (Nadine Alari) and two children. But the French Secret Service need him for one more mission and when he refuses, they frame him and set him up to escape from the police. Directed by Maurice Labro (CODE NAME: JAGUAR). A terrific noir thriller that should be better known. Co-written by Claude Sautet (LES CHOSES DE LA VIE), who was also the assistant director on the film. It's compelling and intense as Ventura's protagonist is pushed by both sides into a murderous rage and who could blame him? If you're into film noir, especially French noir, you have to check this one out. With Estella Blain, Paul Frankeur, Francois Chaumette and Eugene Deckers.
At a wedding, the groom's nephew (Ted Danson) and the bride's daughter (Isabella Rossellini) find their spouses missing. When his wife (Sean Young) and her husband (William Petersen) return late, it's clear they had sex. Thus begins, at first, a platonic friendship between the nephew and the daughter. Based on the French film COUSINN COUSINE (1975) and directed by Joel Schumacher (THE LOST BOYS). I wasn't COUSIN COUSINE's biggest fan and this remake follows the 1975 film's narrative closely except it's more sentimental and its ending, less harsh and more "romantic". The film's leads, Danson and Rossellini, are immensely likable so manage to keep the movie on track for most of its running time. But ultimately, it's not a very good film. With Lloyd Bridges, Norma Aleandro, Gina DeAngeles and Keith Coogan in an annoying performance as Danson's son.
A "typical" American family has their home invaded by police looking for drugs. When the ambitious cop (Peter Mark Richman) in charge of the drug bust discovers he's at the wrong house, instead of admitting his mistake, he plants drugs in the home and arrests the father (Jim Hutton), mother (Emmaline Henry) and daughter (Linda Curtis). Directed by Lela Swift (TV's DARK SHADOWS). Based on an actual case, this telefilm suffers from being shot on videotape rather than film but other than that, it's extremely well done and director Swift speeds it along with an immediacy that keeps one glued to the screen. With the exception of Richman whose performance is a bit over the top, the acting is solid. This is something that could use a big screen remake with a larger budget. With Mariette Hartley, John Karlen, Walter Brooke, Don Dubbins and Richard Stahl.
Believing her workaholic lawyer husband (Walter Pidgeon) is seeing another woman (Rita Johnson), a wife (Virginia Bruce) is consoled by a married gigolo (Lee Bowman). When she attempts to break off the relationship, he blackmails her. Based on the novel EVELYN PRENTICE by W.E. Woodward and directed by Leslie Fenton (WHISPERING SMITH). Woodward's novel had previously been filmed in 1934 under the book's original title. This version is a solid remake and if Walter Pidgeon (not yet the star he would become in a few years) and Virginia Bruce lack the chemistry of the 1934 movie leads (William Powell, Myrna Loy), they still account themselves well in this courtroom melodrama. The movie was a modest hit for MGM. With Ann Dvorak, Ilka Chase and Richard Lane.
A secretary (Diana Lynn) with plans to marry her wealthy boss (Don DeFore) is roommates with a ditzy blonde airhead (Marie Wilson). Her plans to marry a rich man hits a snag when she meets a good looking singer (Dean Martin). Based on the radio show of the same name and directed by George Marshall (THE BLUE DAHLIA). The movie debut of the comedy team, Dean Martin and Jerry Lewis, who would go on to make 16 films together from 1949 to 1956. It's not particularly an auspicious film debut (they would go on to make better comedies) but they provide some zany comedy bits that alleviates the tedium of this so-so venture. The public liked it enough to make it a hit and a sequel (MY FRIEND IRMA GOES WEST) turned up the following year. With John Lund, Kathryn Givney, Hans Conreid and Margaret Field.
A frustrated misogynist (Eli Wallach) realizes the only way he could get a woman is to kidnap her. When he tries to abduct a beautiful young woman, he accidentally kidnaps a suburban housewife (Anne Jackson) instead. Based on the play THE TIGER by Murray Schisgal (who adapted his play for the screen) and directed by Arthur Hiller (THE OUT OF TOWNERS). Schisgal's THE TIGER is a one act play with only two characters. It was probably a mistake to open it up and fill it with dozens of other characters. The entire play took place in a seedy basement apartment with the two characters. The film opens up so we meet the female protagonist's unhappy husband, her best friend and the male protagonist's neighbors and landlord as well as other various characters. It just doesn't work. I enjoyed seeing the talented Anne Jackson (ill used by the movies) in a leading role but the material is thin and while the comedy pitch is hysterical, it's not hysterically funny. The huge supporting cast includes Dustin Hoffman (in his film debut), Charles Nelson Reilly, Elizabeth Wilson, Frances Sternhagen, Bob Dishy, Bibi Osterwald, Ruth White, David Doyle, John P. Ryan and Rae Allen.
When the renowned detective Charlie Chan (Warner Oland) sets out to locate the missing beneficiary (Jerry Miley) to an immense fortune, he finds himself in the middle of a family feud. The missing heir turns up alive ..... just in time to be murdered. Based on the character created by Earl Derr Biggers and directed by Gordon Wiles (THE GANGSTER). The tenth entry in the 20th Century Fox Charlie Chan franchise is one of the best in the series. Seances, secret passageways and a gaggle of suspicious suspects all help in holding our attention till Chan gathers all the suspects in the drawing room to reveal the murderer! Even the usually annoying comic relief (here provided by Herbert Mundin as the scaredy cat butler) is amusing. With Henrietta Crosman, Rosina Lawrence, Charles Quigley, Astrid Allwyn and Edward Trevor.
Set in New York in 1952, a shoe salesman (Timothee Chalamet) has ambitions to become the table tennis champion at the British Open (a table tennis tournament last staged in 2011). To get the money to get to England, he robs his place of employment. Inspired by the autobiography THE MONEY PLAYER by Marty Reisman and directed by Josh Safdie (UNCUT GEMS). Timothee Chalamet has delivered some impressive performances since his film debut 12 years ago in movies like CALL ME BY YOUR NAME and A COMPLETE UNKNOWN but nothing compared to his dynamite performance here. With the intensity of a young Pacino or De Niro, Chalamet's Marty seems ready to jump out of his skin at any moment. At two and a half hours, the film is a rollercoaster ride of emotions and ferocity. But I absolutely hated the phony sell out ending! For over two hours, Chalamet's Marty is a total narcissistic prick and suddenly after a tournament in Japan, he switches to Mr. Sweetheart cooing at his baby? I could buy his redemption if it was gradual but it's immediate and not believable. Not quite enough to ruin the movie it still compromises the film to the point that I had to downgrade it a few notches. The excellent supporting cast include Gwyneth Paltrow, Kevin O'Leary, Abel Ferrera, Fran Drescher, Odessa A'zion, Tyler Okonma and Sandra Bernhard.
Set in 1924 Boston, a starstruck girl (Anne Baxter) has a crush on a musical comedy hoofer (Dan Dailey). They fall in love and marry when he gets an offer from Hollywood for a screen test. The studio passes on him but they like his wife and she soon becomes one of the studio's biggest stars. Directed by Walter Lang (CALL ME MADAM). Yet another nostalgic musical from 20th Century Fox that's connected by the numbers. This kind of hokum has been done so many times that the audience is always one step ahead of the plot. While it's always nice to see the underrated (as a dancer) Dan Dailey dancing, his blackface finale is cringe inducing. Fortunately there's Anne Revere as Baxter's tart tongued aunt to keep the sentimentality from completely taking over. With Buster Keaton, Alan Mowbray and Selena Royle.
A gun toting preacher (Glenn Ford) comes to a small town to open up the town's first church. Meanwhile, a range war rages between the local cattlemen and sheepherders. Directed by Lee H. Katzin (WHAT EVER HAPPENED TO AUNT ALICE?). A gritty little western that starts off well but loses its way on its journey. It contains the usual western cliches but it also has a strong backbone that holds the movie together until the preachy finale. As the ex-gunfighter turned parson, Glenn Ford brings a believable conflict to his preacher as he tries to contain his violent nature. Ford's character is also uncomfortably wooed by two different specimens of the female sex: the aging madam (Carolyn Jones) of the local brothel and a teenage Indian girl (Barbara Hershey). With David Carradine, J.D. Cannon, Harry Townes, Virginia Gregg, John Anderson, James Griffith, Barbara Babcock and Roger Perry.
A scientist (Robert Foxworth) is determined to prove to his skeptical colleagues that it is possible to sustain life after death. However, he is not prepared for the consequences of his "creation". Based on the novel by Mary Shelley and directed by Glenn Jordan (ONLY WHEN I LAUGH). A decent adaptation of the classic Shelley novel that is hampered by its small budget and being filmed on videotape rather than film. It was filmed entirely on the MGM soundstages which hinders a more expansive production. The production design and art direction are superior which helps give the film some atmosphere. The film portrays Frankenstein's creature (Bo Svenson) as both a victim and a revenge seeking monster so it manages to create some sympathy for him while still portraying him as a monster unable to control his emotions. With Susan Strasberg, John Karlen, Heidi Vaughn and Willie Aames.
The sadistic son (Christopher Lee) of a wealthy Count (Gustavo De Nardo) returns to the family castle much to the dismay of his family, the servants and the beautiful woman (Daliah Lavi), now married to his brother (Tony Kendall). Directed by Mario Bava (LISA AND THE DEVIL). Quite controversial when first released because of its sadomasochistic elements (Lavi's character gets her kicks being beaten with a whip), the film was cut by ten minutes. The transfer I saw had the ten minutes restored. The gothic tale has the feel of those Roger Corman AIP Poe adaptations but none of the artistry. While I didn't dislike it, the movie just had a deja vu quality to it and without its kinky S&M element, it would be pretty routine. Its initial reviews weren't especially good but in the ensuing years, the film has grown into a cult film with its share of admirers. With Ida Galli and Harriet Medin.
An international secret formula, microfilmed and hidden on the massive skeleton of a museum dinosaur spawns a race between London based Chinese intelligence agents and a battalion of British nannies. Based on the novel THE GREAT DINOSAUR ROBBERY by David Forrest and directed by Robert Stevenson (MARY POPPINS). With Caucasian actors Peter Ustinov and Clive Revill playing Chinese villains in "yellowface", the film is embarrassing in 2026. I think the Disney organization knows this hence the film is unavailable (to the best of my knowledge) on streaming or physical media in the U.S. For some reason, all the actors including Helen Hayes as the leader of the nannies play their roles in annoying high pitched voices. The novel was aimed at adults but Disney has "disneyfied" it for the family market. The humor is silly (and not in a good way). With Derek Nimmo, Joss Ackland, Natasha Pyne, Jane Lapotaire, Roy Kinnear and Kathleen Byron.
Fired from his job as a carnival barker by his jealous female boss (Florelle), the barker (Charles Boyer) moves in with a young girl (Madeleine Ozeray). They're penniless and he's abusive to her. Based on the play by Ferenc Molnar (THE SWAN) and directed by Fritz Lang (METROPOLIS). The play was previously filmed by Frank Borzage in 1930 and Rodgers & Hammerstein used Molnar's play as the basis for their 1945 musical, CAROUSEL. Frankly, I've never warmed to LILIOM in any of its incarnations though if I had to choose a favorite, it would be CAROUSEL because of the wonderful Rodgers & Hammerstein songs. The movie's romanticization of domestic violence doesn't sit well to 21st century sensibilities. The movie's ace is Charles Boyer, who's excellent. With Pierre Alcover and Antonin Artaud.
Working as a tutor to pay his family's debt, William Shakespeare (Paul Mescal) is bewitched by a young woman (Jessie Buckley), who is rumored to be the daughter of a witch. They marry and he goes off to London to work in theatre while she stays at home to take care of the children. Based on the novel by Maggie O'Farrell (who co-wrote the screenplay) and directed by Chloe Zhao (NOMADLAND). Anchored by a remarkable performance by Jessie Buckley, HAMNET is about grief and how Art has the ability to heal. Buckley's performance is so powerful that it relegates Mescal's Shakespeare to a supporting character. Buckley inhabits her Agnes (aka Anne) Hathaway while Mescal just skids on the surface of his William Shakespeare. There's another performance that must be mentioned: 11 year old Jacobi Jupe as their son. It's rare to see a child performance this textured and completely believable. With Emily Watson and Joe Alwyn.
A once great stage actor (John Barrymore), now an alcoholic womanizing ham actor, finds his career in tatters. But when a pretty young girl (Anne Baxter) brings him a play written for him, he attempts a comeback. Directed by Walter Lang (THE DESK SET). Nicknamed The Great Profile for his aristocratic side profile, John Barrymore appears to be having great fun satirizing his image or at least his perceived image. A wacky comedy that hits too close to home for Barrymore. But he's not the whole show. The film is almost stolen by Gregory Ratoff (ALL ABOUT EVE) as Barrymore's gambling Russian manager. It's all done at a frantic pace but the running time is brief so the movie doesn't exhaust you. I had a good time with it. With John Payne, Mary Beth Hughes, Lionel Atwill and Marc Lawrence.
When a trio of bandits (Tom Santschi, J. Farrell MacDonald, Frank Campeau) discover a young woman (Olive Borden) whose father was murdered by a ruthless gang, they go from being outlaws to comrades in chivalry. Based on the novel OVER THE BORDER and directed by John Ford (STAGECOACH). An amiable good natured western that many consider one of Ford's best silent films. The three outlaws aren't saints, they're wanted by the law in several states and they intend to kill Borden and steal her horses when they think she's a man and only spare her because she's a girl. But the film's theme is their redemption as they go from hard drinking bandits to surrogate fathers protecting the girl. The film is free of some of the faults of Ford's later westerns (Victor MacLaglen, barroom brawls, overdoing the Irishness) and I quite enjoyed it. The transfer I saw I a nice newly composed score by Dana Kaproff. With the likable George O'Brien as Borden's romantic interest, Lou Tellegen and Priscilla Bonner.
Set in Cuba, a croupier (Errol Flynn) in a Havana casino is falsely accused of counterfeiting pesos. As self protection, he is forced to uncover a racket involving highly respected banking officials. Based on the novel by Robert Sylvester and directed by Richard Wilson (INVITATION TO A GUNFIGHTER). An often confusing noir-ish thriller without much excitement or tension. It doesn't help that its star is lethargic and looks dissipated. Flynn just seems tired and during some of the action scenes, his stunt double is obvious. It worked in some of his later movies like THE SUN ALSO RISES and THE ROOTS OF HEAVEN because those characters were tired but BOODLE needed a younger and more energetic leading man though to be fair, I doubt it would have made the movie any better. However, it would make the matter less of a distraction. With Gia Scala, Pedro Armendariz, Rossana Rory, Carlos Rivas and Jacques Aubuchon.
Set in 1943, lyricist Lorenz Hart (Ethan Hawke) sits in Sardi's bar during the opening night of OKLAHOMA!, a groundbreaking musical with music by his longtime collaborator Richard Rodgers. Directed by Richard Linklater (BOYHOOD). Although based on an original screenplay Robert Kaplow, the film plays out like a stage play. There's just one set (the Sardi bar) and although there are other characters, it's essentially a one man show with a bravura performance by Ethan Hawke meandering about the "stage" baring his soul. It's not cinematic in the least but the knockout performance by Hawke justifies its existence as a movie. Not a film I'd recommend to the casual moviegoer. With Margaret Qualley, Bobby Cannavale and Andrew Scott, excellent as Richard Rodgers.
Recovering from a broken leg in the desert, alcoholic screenwriter Herman J. Mankiewicz (Gary Oldman) writes the screenplay for CITIZEN KANE to be directed by wunderkind Orson Welles (Tom Burke). Directed by David Fincher (ZODIAC). I have no idea how much of the film is accurate. There's been much disagreement about how much of KANE's screenplay is Mankiewicz and how much is Welles with Pauline Kael suggesting that Mankiewicz is the primary author and Peter Bogdanovich debunking that as false. But when it comes to MANK, that's irrelevant. I quite liked it. Handsomely shot in B&W by Erik Messschmidt (FERRARI), who won the Oscar for his splendid work here, it's a fascinating look at the behind the scenes machinations of Hollywood film making in the 1930s and 40s. Poignant yet great fun. With Amanda Seyfried (in an Oscar nominated performance as Marion Davies), Charles Dance, Lily Collins, Arliss Howard, Tuppence Middleton and Tom Pelphrey.
In the 1940s, a brash playboy (Laszlo Szilassy) travels back 200 years with a mad scientist (Elemer Balo) to the mid 18th century royal court world of wigs and pompadours. It is there that he falls in love with an Italian opera singer (Katalin Karady). Based on the novel by Ferenc Herczeg and directed by Dezso Akos Hamza (WHO KILLED ANABELA?). An unusual science fiction time travel romantic fantasy which predates SOMEWHERE IN TIME (1980) and BACK TO THE FUTURE (1985) and from Hungary of all places. It's a pleasant diversion that I think I might have enjoyed more if I was more familiar with Hungarian history since the movie incorporates actual historical Hungarian figures. A genuine oddity but Klara B. Kokas' production design is impressive and Katalin Karady as the penniless opera singer is charming (she's better known outside Hungary for rescuing Hungarian Jews from the Nazis). With Geza Berczy and Jeno Bodnar.
A wealthy manufacturing executive (Walter Connolly) is ignored by his self centered family. When he brings home a girl (Ginger Rogers) he met in the park and provides her with a job and lodging, it's not long before they all fall under the spell of this working class young lady. Directed by Gregory La Cava (STAGE DOOR). A modest but perfectly charming "screwball" comedy and a reminder what a delightful comedienne Ginger Rogers was (I'm not a big fan of her dramatic work, she always seems to be working too hard). The original version had a bleak ending but that was reshot with a more conventional happy ending. The movie was a hit! The entire cast attack their parts with relish. The film pokes fun at the rich as well as wannabe communists. Not a major entry in the screwball comedy sweepstakes but a lot of fun. With Tim Holt, Verree Teasdale, James Ellison, Louis Calhern, Franklin Pangborn and Jack Carson.
The spirit of a deceased car crash victim (Sally Kemp) is reincarnated into the body of another patient (Meredith Baxter). Will she be able to discover and expose who her murderer is by using the other other woman's body? Directed by actor turned director Burt Brinckerhoff. Very well done supernatural thriller is hampered by its low budget and poor production values. Also, it was shot on videotape rather than film so it doesn't look all that great. Something that could easily be updated and remade. Playing two roles in one body, Meredith Baxter gives a strong performance that helps anchor the far fetched narrative. With Charles Aidman, Christopher Connelly and John Karlen.
A teenage girl (Lina Basquette) leads an atheist group at her high school. A pious schoolmate (Tom Keene) who heads a Christian group invades the atheist group along with his pals. The ensuing furor ends in tragedy when a young girl (Mary Jane Irving) falls to her death and the two are sent to a brutal reform school on manslaughter charges. Directed by Cecil B. DeMille (THE TEN COMMANDMENTS) in his final silent film. This slice of inspirational hokum is more entertaining than it has any right to be. Of course, this being the sanctimonious DeMille, you know Basquette will find religion and God before the end of the movie. The film was a box office flop and sound and some dialogue was added to the movie and rereleased but still tanked. The restored transfer I saw had an excellent score by Carl Davis (THE FRENCH LIEUTENANT'S WOMAN). With Marie Prevost, Eddie Quillan and Noah Beery.
A cold blooded guide (Bryant Haliday) to novice big game hunters has to clean up the mess of one of his clients, shooting a lion but couldn't kill. But a curse is put upon him by a local tribe who worship lions as their deity. Directed by Lindsay Shonteff (THE MILLION EYES OF SUMURU). This low budget horror flick is more silly than frightening. Though partially set in Africa, it was filmed entirely in England with stock footage for the African locations. As the leading actor, Haliday has all the screen presence of an overcooked noodle. The not so subtle racism weaved into the movie makes it an unpleasant watch. With its "ooga booga" natives it has the distasteful flavor of those movies set in colonial countries where the Brits look down at the indigenous people whose country they have invaded. Haliday would later redeem himself by co-founding Janus Films. With Dennis Price, Lisa Daniely, Ronald Leigh Hunt, Mary Kerridge, Dennis Alba Peters and Beryl Cunningham.
Set in Texas, a land baron (Ray Teal) is evicting "squatters" from his turf but it's just a ruse to rustle their cattle herds. Sent by the governor to keep the peace, a sharpshooter (Dennis Morgan) quickly sides with the victimized cattlemen. Directed by Noel M. Smith (DANCING DYNAMITE). A B western programmer that was never intended to be anything other than what is is ..... a seat filler. Actually, it's not bad if predictable but what spoils the movie is that Morgan's character is a singing cowboy! If they'd cut out Morgan's singing, the picture would be 20 minutes shorter. The songs diffuse the drama and the action. For western fans only. With Rita Moreno (in one of her spitfire roles), Philip Carey, Amanda Blake and Paul Picerni.
Set in 1920s Paris, an entertainer (Suzy Delair) is struggling to make a success as a singer in the music halls of Paris. After securing a song from a popular composer (Henri Guisol), she becomes a sensation as Lady Paname. Directed by screenwriter (FANFAN LA TULIPE) and journalist Henri Jeanson in his only directorial credit. An amiable comedy with musical numbers (though I wouldn't call it a musical) that is a bit overlong for something so lightweight. The movie grasps the music hall atmosphere of the 1920s nicely and Delair is quite charming. Certainly not mandatory cinema but if you happen to stumble across it, you might want to give it a look. With Louis Jouvet, Henri Cremieux, Raymond Souplex and Jane Marken.
A young girl (Dinah Manoff recreating her Tony award winning stage role) travels from New York to Los Angeles to meet the father (Walter Matthau) who abandoned his family 16 years ago. She wants his help in becoming an actress. Based on the play by Neil Simon and directed by Herbert Ross (THE TURNING POINT). In the 1960s and 1970s, a Neil Simon play was gold and a sure thing to be turned into a hit movie. But somewhere around the early 1980s, even though the films were based on hit plays, the movie versions floundered. This dud is one of the stinkers. The banter and the one liners aren't up to Simon's best work and when he gets "serious", he's heavy handed and trite instead of insightful. With Ann-Margret (the best thing about the movie) and Lance Guest.
An ambitious actress (Virginia Grey) is not above two timing her unscrupulous lawyer lover (Kent Taylor) in her climb to the top. But she underestimates his rage and his revenge to repay her betrayal. Directed by Charles Barton (BUCK PRIVATES). A remake of A NOTORIOUS GENTLEMAN (1935), this is a nifty minor film noir. With the exception of Jane Adams, who plays Grey's naive younger sister, the rest of the characters are all rather distasteful which makes for an interesting noir. You can't really empathize with the movie's unsavory leads so you just sit back, watch and enjoy the nastiness. Virginia Grey was a talented actress who worked in films from 1927 to 1970 but never played leading roles in A films though she was often the lead in B movies and she's terrific here. Noir fans should eat this one up. With John Litel, Milburn Stone and Theresa Harris.
