Qui? (1970)

After her lover (Gabriele Tinti) is killed when his car goes over a cliff and into the sea, his girlfriend (Romy Schneider) begins an affair with his brother (Maurice Ronet). But the brother suspects that she isn't telling all she knows about his "accident". Directed by Leonard Keigel (UN FEMME UN JOUR). A confusing, often incoherent psychological thriller. Even when the movie is over, we're not quite sure if what happened is real or is it the hallucination of Schneider's guilty conscience. The movie doesn't give us any help in that area either. Keigel's choppy editing style and freeze frames only add to the pretentiousness. Th movie just doesn't make any sense and the lack of suspense or tension only adds to the confusion. Its assets are Jean Bourgoin's (THE LONGEST DAY) cinematography and the score by Claude Bolling (CALIFORNIA SUITE). With Simone Bach.

Skylark (1941)

Frustrated by her insensitive, workaholic husband (Ray Milland), a wife (Claudette Colbert) finally loses her temper and leaves. She soon finds herself in the arms of her handsome divorce lawyer (Brian Aherne). But her husband isn't through with her yet. Based on the novel (and later a play) by Samson Raphaelson and directed by Mark Sandrich (TOP HAT). The first half of this comedy is quite good and I was enjoying it so when it went off the rails in the second half, it was a big disappointment. Milland's husband is a selfish male chauvinist but after she divorces him, his character does a complete turnaround and then you know exactly where this is headed. It's the 1940s and the mere idea of a woman divorcing her husband and living happily ever after with a new man goes against the grain. I much preferred Aherne's charming libertine to Milland's conniving spouse. With Binnie Barnes, Walter Abel, Grant Mitchell and Mona Barrie.

Girls! Girls! Girls! (1962)

Set in Hawaii, a charter boat skipper (Elvis Presley) wants to buy the boat he works on but the owner (Jeremy Slate) is asking a steep $10,000 price for it. He attempts to work off the asking price but meanwhile, he has girl trouble from a nightclub singer (Stella Stevens) and a rich girl (Laurel Goodwin). Directed by Norman Taurog (GIRL CRAZY). A tedious and mindless Elvis musical with the thinnest of plots. Some of the songs (but not all) are pretty good and Presley got one of his biggest hit records from the movie, Return To Sender. Elvis fans made it a box office hit but for the rest of us, it's a slog. Almost all the characters are annoying or unpleasant and I felt sorry for poor Stella Stevens stuck with the bitter and bitchy other woman role. The movie has some uncomfortable Chinese stereotypes, too. You have to be a diehard Presley fan to enjoy this one. With Robert Strauss, Benson Fong and Beulah Quo.

Riders Of The Purple Sage (1996)

Set in a closed religious community, a proud homesteader (Amy Madigan) is being pressured to marry a man (Norbert Weisser) she doesn't love. As the town turns against her, a mysterious gunman (Ed Harris) offers her protection. Based on the novel by Zane Grey and directed by actor (ALTERED STATES) turned director Charles Haid. Originally made for television, This is a western that's good enough that you wish it were better. In the original novel, the closed religious community is Mormon but that's been changed here to an unnamed religion for obvious reasons. This is the fifth film version (1918, 1925, 1931, 1941) of the Zane Grey novel and I wish it had a stronger screenplay and a more creative director. Filmed in Utah (including Monument Valley), it would have benefited from being shot in wide screen scope too. On the plus side, the performances by Harris and Madigan are strong. Maybe the sixth film version will do the novel justice. With Henry Thomas, Robin Tunney and G.D. Spradlin.

The Man Inside (1958)

A mild mannered jeweler's clerk (Nigel Patrick) steals a priceless diamond and kills a man in the process. He is pursued across Europe by two people: a private detective (Jack Palance) and a beautiful woman (Anita Ekberg) who claims the diamond belongs to her. Based on the novel by M.E. Chaber and directed by John Gilling (PLAGUE OF THE ZOMBIES). A decent enough international crime thriller that could have been so much better with a stronger script. The film focuses on the wrong man, Jack Palance's detective when it's Nigel Patrick's mild mannered clerk turned thief who's the most intriguing character but the screenplay doesn't give him any background and instead focuses on the detective's pursuit. With Anthony Newley, Donald Pleasence, Sid James and Anne Aubrey.

Artists And Models (1937)

An advertising bigwig (Jack Benny) is charged with choosing a queen for the yearly Artists And Models ball. He wants to make his girlfriend (Ida Lupino) the queen but his client (Richard Arlen) has other ideas. He wants a society type, not a professional model. Directed by Raoul Walsh (WHITE HEAT). A bland musical comedy whose sole distinction is casting Jack Benny as a romantic leading man. Benny's persona never translated well to flm, he seemed more suited for TV and radio. It's a failure as a musical and as a comedy. Two musical numbers compensate for the barely there formulaic plot: a lively dance number with Judy Canova and Ben Blue that accents their physical agility and a jazz number with Martha Raye and Louis Armstrong directed by Vincente Minnelli in his first Hollywood assignment. With Gail Patrick, Hedda Hopper and Cecil Cunningham.

یک تصادف ساده (aka It Was Just An Accident) (2025)

When a stranded driver (Ebrahim Azizi) walks into his shop, a mechanic (Vahid Mobasseri) believes he has come face to face with the notoriously brutal prison guard who tortured him during his political imprisonment. He sets out to take justice into his own hands ..... but does he have the right man? Written and directed by Jafar Panahi (NO BEARS). The winner of the Palme d'Or at last year's Cannes film festival and nominated for two Oscars, best screenplay and best international feature. Filmed in secret in Iran, It's a potent film that doesn't hide its political agenda. Although it has the thin veneer of a thriller, it still has the feel of a heavy handed diatribe. Frankly, I thought this type of subject was handled better by Roman Polanski's DEATH AND THE MAIDEN (1994) and that had a single set and only three actors to accomplish the same thing. I don't mean to detract from an excellent movie but it didn't hold me in its grip, it just had a sense of deja vu. With Mariam Afshari, Hadis Pakbaten, Majid Panahi and Mohamad Ali Elyasmehr.

The Phantom President (1932)

The presidential hopes of a charmless businessman (George M. Cohan) are dead on arrival until his political advisors hatch a desperate plan by hiring a look alike snake oil salesman (George M. Cohan) to impersonate him during the campaign. Based on the novel by George F. Worts and directed by Norman Taurog (BLUE HAWAII). A pre code musical political satire that hasn't worn well. The songs are by Rodgers and Hart and they're not among their best work. The film is notable as being one of the few films made by the legendary George M. Cohan (played by James Cagney in YANKEE DOODLE DANDY) and this was his first talkie and he made only one more movie after this one. It's all a little too obvious and pat to be really interesting and the film is a relic of its time. Cohan does a musical number in blackface, there's racial and ethnic stereotypes and when Jimmy Durante (as Cohan's right hand man) suspects a man might be homosexual, he tells him, "Swish, sister, swish!". With Claudette Colbert, Sidney Toler and George Barbier.

The Beast From 20,000 Fathoms (1953)

Near the Arctic Circle, an atomic bomb is detonated. This disturbs the sleep of a giant rhedosaurus (a fictional dinosaur) encased in ice for over 100 million years and sends it southward on a destructive, deadly rampage. Loosely based on the short story THE FOG HORN by Ray Bradbury and directed by Eugene Lourie (GORGO). A relatively low budget sci-fi movie that became a huge hit and a landmark (it was released one year before the Japanese GODZILLA) in the "giant creature on a rampage" genre of the 1950s. The legendary Ray Harryhausen created the special effects. Although critical response was lukewarm upon its original release, the film is now considered a classic in the creature feature genre. It's a tight, economical film that holds up very well. The creature is the star of the movie but among the human cast are Paul Hubschmid, Paula Raymond, Cecil Kellaway, Kenneth Tobey, Donald Woods and Lee Van Cleef.

Цареубийца (aka The Assassin Of The Tsar) (1991)

A severe schizophrenic (Malcolm McDowell) in a dreary Soviet mental hospital is convinced that he's the assassin of two Tsars, Alexander II in 1881 and Nicholas II in 1918. The new head (Oleg Yankovskiy) of the hospital is determined to cure him of his madness. Inspired by the novella WARD NO. 6 by Anton Chekhov and directed by Karen Shakhnazarov (ZEROGRAD). Simultaneously shot in Russian and English versions (McDowell is dubbed in the Russian version), this is a complex and often frustrating film. The back and forth between the doctor and the schizophrenic is engaging and especially so when its the doctor and not the patient who begins to descend into insanity. The flashbacks into the assassination of Nicholas II (with Yankovskiy playing Nicholas II) are often intrusive and obvious. A good movie but alas, not good enough. With Armen Dzhigarkhanyan and Olga Antonova.

Toomorrow (1970)

A group of college students have a band that they hope will turn professional if they get the right break. Meanwhile, aliens from outer space kidnap them because they are intrigued by the band's synthesizer "tonalizer" that gives off life vibrations that their planet needs. Written and directed by Val Guest (THE DAY THE EARTH CAUGHT FIRE). A bizarre sci-fi pop musical (with generic pop songs) that seems rather silly today rather than 60s "groovy". Co-produced by Don Kirshner (a music producer who discovered Neil Diamond, Carole King, Kansas among others) and Harry Saltzman (producer of the James Bond movies) and notable as Olivia Newton John's film debut, some eight years before GREASE. Visually, it's quite colorful with brightly colored costumes and sets but rather innocuous when you compare it to earlier pop rock movies like HEAD with the Monkees or HELP! with the Beatles. After a one week run in London, the film was hit with an injunction (no one on the film had been paid) and except for a one time showing in Los Angeles, it hasn't been seen since its original release in 1970. It's been restored and looks marvelous but it's not a long lost jewel of a movie waiting to be rediscovered, it's a relic of its time. Still, if you're an Olivia Newton John fan (as I am), it's fun to see the pre stardom ONJ in the earliest stage of her career. With Benny Thomas, Roy Dotrice, Vic Cooper, Karl Chambers and Margaret Nolan.

Five And Ten (1931)

Thanks to his chain of five and dime stores, a small town businessman (Richard Bennett) becomes a wealthy magnate and he moves to New York with his wife (Irene Rich), son (Douglass Montgomery) and daughter (Marion Davies). But their newfound wealth just means they're nouveau riche to Manhattan society. Still, the daughter decides to steal a playboy (Leslie Howard) away from his fiancee (Mary Duncan). Based on the novel by Fannie Hurst (IMITATION OF LIFE) and directed by Robert Z. Leonard (PRIDE AND PREJUDICE). What begins as an interesting pre code melodrama stagnates midway as it goes around in circles until it limps to its hokey "tied neatly in a ribbon" finale. Davies and Howard work well together although sympathy for Davies' situation is hampered by her unethical and deliberate scheme to steal another woman's fiance. With Theodore Von Eltz and Henry Armetta.

The Garden Of Eden (1928)

A young girl (Corinne Griffith) leaves for Budapest where she hopes to find fame as an opera singer. Instead, she ends up working as a chorus girl in a notorious cabaret. The cabaret's costume seamstress (Louise Dresser) takes her under her wing and they head to Monte Carlo. Based on the play by Rudolf Bernauer and Rudolf Osterreicher and directed by Lewis Milestone (ALL QUIET ON THE WESTERN FRONT). A rather wearisome romantic comedy with Corinne Griffith playing a variation of Cinderella and Louise Dresser playing her "fairy godmother". Griffith is as cute as a button but that can carry the storyline only so far before the tediousness sets in. The movie originally contained a Technicolor dream sequence but that seems to have been lost to time. With Lowell Sherman, Charles Ray and Maude George.

Man With The Gun (1955)

When a gunfighter (Robert Mitchum) rides into town, the only thing he's looking for is the woman (Jan Sterling) he once loved. But what he finds is a town in trouble and he is hired by the townspeople as a "town tamer" to get rid of a brutal land baron (Joe Barry). Based on the short story THE DEADLY PEACEMAKER by N.B. Stone Jr. and directed by Richard Wilson (RAW WIND IN EDEN). A minor but very good addition to the western genre. We know where it's going because its narrative isn't all that original. The town that hires a gunfighter to get rid of the bad guys but turn on him when he gets the job done because he is a reminder of their cowardice and guilt in the way it was done. But it's done so skillfully that I didn't mind the retread plot. Western fans should enjoy this one. There's a nice score by Alex North (A STREETCAR NAMED DESIRE) that elevates the movie. With Angie Dickinson, Karen Sharpe, Barbara Lawrence, John Lupton, Ted De Corsia, Claude Akins, James Westerfield and Maidie Norman.

Hollywood Canteen (1944)

Set during WWII, a soldier (Robert Hutton) and his army buddy (Dane Clark) spend their three day leave in Hollywood. At the Hollywood Canteen, the soldier meets his movie star crush Joan Leslie (Joan Leslie) and they fall in love. Directed by Delmer Daves (A SUMMER PLACE). Oy! What a stinker! The corny plot is pure tedium but the only reason to watch the movie today is for the countless cameos by just about every star under contract to Warner Brothers at the time. If only the stupid plot didn't get in the way. The movie wants to assure us that movie stars are just ordinary people who wanted to do their bit for the war effort and to be fair, the Hollywood Canteen was the brain child of Bette Davis and John Garfield (both in the film playing themselves) where soldiers and other military personnel, both the U.S. and its allies, could be entertained while being served food and entertainment by Hollywood personalities. As the soldier in the middle of it all, Robert Hutton is a real pill, a cipher on the screen. The massive cast includes Barbara Stanwyck, Joan Crawford, Jane Wyman, Jack Benny, Eleanor Parker, Roy Rogers, Zachary Scott, Ida Lupino, Peter Lorre, Sydney Greenstreet, Kitty Carlisle, Janis Paige, Eddie Cantor, Dennis Morgan, Jack Carson, The Andrews Sisters, Paul Henreid, Alexis Smith, Dolores Moran, S.Z. Sakall, Irene Manning, Joan McCracken and Helmut Dantine.

Lady Sings The Blues (1972)

The story of the legendary jazz singer Billie Holiday (Diana Ross) who rises from scrubbing floors in brothels to headlining at Carnegie Hall. Loosely based on the autobiography by Billie Holiday and directed by Sidney J. Furie (THE IPCRESS FILE). All the movie biography cliches are intact so you know exactly where the movie is going. But what elevates it into something special is Diana Ross's fierce no holds barred performance. She's sensational! One would have thought she had a major acting career in her future but it never happened. She never found a suitable follow up that challenged her as much. She only did two more theatrical features (the soap opera MAHOGANY and the dreadful THE WIZ) and just gave up. Realistically, as a singer, she can't match Billie Holiday's phrasing and style but if she can't sing Holiday, she can certainly act her. The film is to be taken with a grain of salt. For example, Louis McKay (Billy Dee Williams) is romanticized in the film when in reality, he was physically abusive and speculated with her money. With Richard Pryor, Isabel Sanford, James Callahan, Virginia Capers, Sid Melton and Ned Glass.

The Strange Case Of Dr. Jekyll And Mr. Hyde (1968)

A respectable doctor (Jack Palance) suggests to his colleagues that separating the good from the evil in mankind will advance man's progress and survival. But his ideas are rejected by his peers. Based on the 1886 novella by Robert Louis Stevenson and directed by Charles Jarrott (ANNE OF THE THOUSAND DAYS). An inferior adaptation of the oft filmed Stevenson tale. The art direction is quite good and Jarrott manages to imbue the telefilm with some atmosphere but that's about it. On the surface, Palance seems well cast as Mr. Hyde but his Dr. Jekyll is pretty creepy too so there's not much difference between the two. Perhaps sensing this, his Mr. Hyde is way over the top as if to compensate. Curiously, the film received four Emmy nominations. With Billie Whitelaw, Denholm Elliott, Leo Genn, Oscar Homolka, Torin Thatcher and Tessie O'Shea.

Bring Her Back (2025)

Following the death of their father (Stephen Phillips), a teenage boy (Billy Barratt) and his stepsister (Sora Wong) are placed by a social worker (Sally Anne Upton) with a foster mother (Sally Hawkins). Directed by Danny Philippou and Michael Philippou (TALK TO ME). I absolutely detested the Philippou brothers last horror film TALK TO ME and would have gladly passed on this one but the reviews were excellent so I went to the well for a second time. Unlike their lousy first film, this one actually has a reason to watch it and that's Sally Hawkins' performance. One has to admire her commitment to the role though I couldn't help wonder if the role was worth committing to. But like TALK TO ME, there was so much contrivance that didn't make sense. It's clear that Hawkins is batsh*t crazy when we first meet her and you immediately wonder how the system sees her as an acceptable foster mother. As the older brother, Barratt (who's marvelous) seems smart enough that he would size up the situation and get out of there immediately. But if he left with his sister, there would be no plot, would there? The film is gross but if you equal horror with being grossed out, then this is the movie for you! With Jonah Wren Phillips and Mischa Heywood.

Arsene Lupin Versus Arsene Lupin (1962)

Set in the 1920s. When the renowned gentleman thief Arsene Lupin dies, it's discovered that he had sired two sons from different mothers. In his will, he leaves a message to one son (Jean Claude Brialy) to find his brother (Jean Pierre Cassel). Not surprisingly, both sons have taken on their fathers profession. Based on the character created by Maurice Leblanc and directed by Edouard Molinaro (LA CAGE AUX FOLLES). The emphasis here is on the comedic aspects of the story. It's well acted and looks great thanks to Pierre Petit's meticulous B&W wide screen lensing. But the whole thing never jelled for me. It sporadically worked in bits and pieces but not enough to make a coherent movie. Maybe if it had taken itself a tad more seriously. Not amusing enough to be a successful comedic farce but not exciting enough to hold together as a thriller. With Francoise Dorleac, Genevieve Grad and Anne Vernon.

The Limey (1999)

A British ex-convict (Terence Stamp) arrives in Los Angeles to investigate the mystery behind his daughter's (Melissa George) "accidental" death. His prime suspect, a wealthy music promoter (Peter Fonda) is no easy target. Directed by Steven Soderbergh (ERIN BROCKOVICH). A solid revenge thriller all dolled up with unnecessary "artsy" editing that gives the movie an unfair pretentious aura. The film presents Terence Stamp with one of his best late career roles. The flashback sequences utilize scenes from POOR COW (1967) which starred the young Stamp. A solid example of neo noir, the film makes excellent use of its Los Angeles locations from the chic Hollywood Hills residences to the sleazy environs of downtown L.A. to the gorgeous coastline of Big Sur. With Lesley Ann Warren, Barry Newman, Luis Guzman, Amelia Heinle and Joe Dallesandro.

The Affairs Of Anatol (1921)

A newlywed (Wallace Reid) is a sucker for troubled women. On his quest to save every woman down on her luck, he overlooks the one woman who loves him the most, his wife (Gloria Swanson). Based on the play ANATOL by Arthur Schnitzler and directed by Cecil B. DeMille (SAMSON AND DELILAH). A moralistic cinematic lecture courtesy of Cecil B. DeMille, who always loved to put decadence on display before chastising the audience who enjoyed the decadence to take the virtuous path. Reid's protagonist is a self righteous control freak and hypocrite who goes through several negative experiences before he learns his lesson. The film seems somewhat misogynistic in its portrayal of its female characters as tramps and thieves as well as shallow and vain. With Bebe Daniels, Agnes Ayres, Monte Blue, Theodore Roberts and Wanda Hawley.

A Man Could Get Killed (1966)

An American businessman (James Garner) arrives in Lisbon but is mistaken for a British spy on the trail of diamond smugglers. Despite his protests that he's just there on business for an American bank, it isn't long before he finds himself up to his neck in intrigue and murder. Based on the novel DIAMONDS FOR DANGER by David E. Walker and directed by Ronald Neame (PRIME OF MISS JEAN BRODIE) and Cliff Owen (THE VENGEANCE OF SHE). A comedy/adventure that should be more fun than it is. Cliff Owen was the original director but when he proved unsatisfactory, he was replaced by Ronald Neame though both directors get on screen credit. The screenplay had possibilities but it's a curiously flat movie that I'll just chalk up to its different directors, neither of whom seems to have a flair for the genre. As a seductive widow, Melina Mercouri (looking ultra glam) manages to look like she gets it and is having fun but James Garner and especially Anthony Franciosa flounder and poor Sandra Dee is wasted. By this point in her career, she'd outgrown these kind of parts that she played in her teens. The movie has two assets however. The striking wide screen cinematography of Gabor Pogany (De Sica's TWO WOMEN) shows off the Portugal locales handsomely and there's a nice score by Bert Kaempfert whose love theme became a big hit for Frank Sinatra, STRANGERS IN THE NIGHT. With Robert Coote, Roland Culver, Cecil Parker and Dulcie Gray.

Sans Mobile Apparent (aka Without Apparent Motive) (1971)

A police detective (Jean Louis Trintignant) is faced with a series of random killings of seemingly unconnected strangers by a sniper. Slowly, he discovers quite the opposite. There is a link between these victims and it's connected to their past and not only that but it hits close to home. Based on the novel TEN PLUS ONE by Ed McBain and directed by Philippe Labro (L'HERITIER). A nimble thriller in a glamorous setting (sun washed Nice in France). Labro succinctly lets the mystery unfold giving us just enough clues to piece the murder solution together. Full of atmosphere and a sense of looming fate. A must for murder mystery fans! The excellent underscore is by Ennio Morricone. With Dominique Sanda, Stephane Audran, Carla Gravina, Laura Antonelli, Jean Pierre Marielle, Paul Crauchet, Sacha Distel and Erich Segal (the author of LOVE STORY).

Rhapsody In Blue (1945)

The story of composer George Gershwin (Robert Alda) and his rise from song plugger to one of America's most popular composers, both on the stage and films and the concert hall. Directed by Irving Rapper (NOW VOYAGER). Yet another composer movie biography of the "And then I wrote" variety. MGM did this kind of stuff with the likes of Rodgers and Hart, Jerome Kern, Kalmar and Ruby and Sigmund Romberg. But MGM had performers like Judy Garland, Fred Astaire, Gene Kelly, Lena Horne, Mickey Rooney and June Allyson to do the musical bits to alleviate the tedium. This is a Warner Brothers picture and musically, they lacked the musical talents of MGM. Here the musical numbers consist of poor Joan Leslie (only an adequate singer and dancer), Oscar Levant pounding on the piano and Robert Alda miming the piano playing. The hokey story is pure fabrication including two love interests (Joan Leslie and Alexis Smith) who never existed. The whole thing feels phony. The movie runs almost three hours (no intermission but there's a 10 minute overture) and it's a slog. The only two highlights are the great Hazel Scott performing two Gershwin numbers and Anne Brown (the star of the original production of PORGY AND BESS) singing Summertime. With Charles Coburn, Al Jolson (in blackface, of course), Morris Carnovsky, Albert Bassermann, Rosemary DeCamp, Herbert Rudley, Julie Bishop and Darryl Hickman.

Sing You Sinners (1938)

Three brothers disagree about everything and could not be more different from each other. The eldest son (Bing Crosby) is a shiftless gambler looking for easy money rather than working for it. The middle son (Fred MacMurray) is the responsible son, who is supporting the family and the youngest son (Donald O'Connor) idolizes his gambling brother and wants to be just like him. When the eldest brother (Crosby) moves to California, the family follows suit. Directed by Wesley Ruggles (CIMARRON). This is a movie about family and how the family bond is so strong that they stick together through everything. But the entire family is so flawed that the sticking together angle looks more foolish than practical and the phony happy ending seems contrived. It's a musical and on that level, it's not very good. I'm not Crosby's biggest fan but the film gives him an opportunity to show his acting chops early in his career. He got a hit song out of the movie, his rendition of Small Fry stayed at the top of the charts for 13 weeks. With Ellen Drew, Elizabeth Patterson and John Gallaudet.

Devil Doll (1964)

A magician (Bryant Haliday) dazzles audiences with his mastery of hypnosis and his strange ventriloquist dummy called Hugo. Determined to find out his method of controlling the dummy, a journalist (William Sylvester) begins a covert investigation. Directed by Lindsay Shonteff (THE MILLION EYES OF SUMURU). The theme of a ventriloquist being controlled by his dummy creation has resulted in some fine to decent creations, the most notable being the Michael Redgrave sequence in DEAD OF NIGHT (1946). But there's also MAGIC (1978) with Anthony Hopkins and a TWILIGHT ZONE episode called THE DUMMY (1962) with Cliff Robertson. This one is rather unusual in that the hapless ventriloquist is not controlled by his evil dummy but rather the "dummy" is the victim while the ventriloquist is the evil one. Although often needlessly slow in its narrative (and Sylvester's dull reporter doesn't help), it holds your attention long enough to get you through the "twist" finale. Horror fans should check it out. With Yvonne Romain and Sandra Dorne.

The Last Man To Hang (1956)

A married music critic (Tom Conway) is having an affair with an attractive singer (Eunice Gayson). He is about to leave England with her when news arrives of his wife's (Elizabeth Sellars) death. He's even more stunned when the police arrest him for her murder. Based on the novel THE JURY by Gerald Bullett and directed by Terence Fisher (THE BRIDES OF DRACULA). A rather drab courtroom murder mystery, a mash up of 12 ANGRY MEN and WITNESS FOR THE PROSECUTION. Not as dull as 12 ANGRY MEN (what could be?) but so stale that even its absurd "surprise" ending doesn't lift it out of the doldrums. As the husband on trial, Tom Conway gives a performance so soporific that you don't care if he's innocent or guilty. With Freda Jackson, Anthony Newley, Joan Hickson, Victor Maddern and Gillian Lynne.

The Case Of The Murdered Madam (1987)

A public relations woman (Ann Jillian) invites four clients to a luncheon at her country house where the men will discuss a plan that will make all of them rich. What they don't know is that she's secretly taping the conversation for her own scheme. When she is later found murdered and the tapes missing, her husband (Vincent Baggetta) becomes the prime suspect. Enter Perry Mason (Raymond Burr) to defend him. Based on the character created by Erle Stanley Garner and directed by Ron Satlof (PERRY MASON RETURNS). The sixth Perry Mason movie (there were a total of 30) based on the Perry Mason series with Raymond Burr which ran from 1957 to 1966. This entry is middling and the mystery isn't particularly compelling. The most interesting character is the ex-brothel keeper now turned respectable public relations woman played by Ann Jillian but she's bumped off early in the film and is sorely missed. With Barbara Hale, William Katt, Bill Macy, John Rhys Davies, David Ogden Stiers, Daphne Ashbrook and James Noble.

Affeksjonsverdi (aka Sentimental Value) (2025)

After the death of their mother, two sisters (Renate Reinsve, Inga Ibsdotter Lilleaas) must contend with the return home to Norway of their estranged father (Stellan Skarsgard). With his oldest daughter (Reinsve) who is an actress, he hopes to reconnect with her by casting her in his new film. Directed by Joachim Trier (THE WORST PERSON IN THE WORLD). Winner of the Grand Prix at last year's Cannes film festival and the Best International Feature at this year's Oscars. It's a stunning film that deals with the open wounds that a fractured family dynamic leave behind in their wake. It also addresses the connection between Art and what personal baggage (a crude way of putting it) artists bring to their art to humanize it. The four central performances (the fourth character is Elle Fanning as an American actress the father casts in his movie) are flawless, not a false note among them. They all received Oscar nominations. The film's emotional charge slowly and subtly creeps up on you, finally grabbing you in its hold by the film's end. With Anders Danielson Lie and Oyvind Hesjedal Loven.

The Egg And I (1947)

A newlywed wife (Claudette Colbert) follows her husband (Fred MacMurray) to the countryside where his dream is to become a chicken farmer. A city girl, she finds it difficult to adjust to the rural farm life. Based on the memoir by Betty MacDonald and directed by Chester Erskine (ANDROCLES AND THE LION). A charming if typical "fish out of water" tale that coasts along nicely until its last 15 minutes when it slogs to its sluggish end. Colbert and MacMurray had a nice chemistry through the seven movies (this one was the sixth) they made together. The film was a huge success at the box office and was an inspiration for the TV series, GREEN ACRES. The movie is stolen by Marjorie Main (in an Oscar nominated performance) as the slovenly neighbor with a shiftless husband (Percy Kilbride). Their teaming was so successful that they went on to make nine more movies playing their characters of Ma and Pa Kettle. With Richard Long, Louise Allbritton and Elisabeth Risdon.

Hillbillys In A Haunted House (1967)

Two country and western singers (Ferlin Husky, Joi Lansing) and their manager (Don Bowman) are en route to Nashville but become tired and stop to rest in an old abandoned mansion. Little do they know, but the basement of the old house is headquarters for the evil Madame Wong (Linda Ho) and her entourage of spies. Directed by Jean Yarbrough (SHE WOLF OF LONDON). I'm a sucker for haunted house comedies like THE CAT AND THE CANARY and GHOST BREAKERS. But this one is lame! For one thing it's a haunted house country & western musical comedy. But the songs aren't organic, the movie just stops dead in its tracks and someone sings a C&W song. The film ends with a 15 minute C&W jamboree. The whole thing comes off as amateur night. Somehow some movie veterans like Basil Rathbone, John Carradine and Lon Chaney Jr. were roped into this. With Merle Haggard, Molly Bee and Richard Webb.

Scener Ur Ett Aktenskap (aka Scenes From A Marriage) (1974)

During the tenth year of their marriage, a divorce attorney (Liv Ullmann) and a psychology reader (Erland Josephson) find their marriage at the crossroads. The marriage begins to disintegrate with the husband eventually leaving his wife for another woman. Written and directed by Ingmar Bergman (CRIES AND WHISPERS). Originally conceived as a five hour mini series for Swedish television in 1973, Bergman edited it down to three hours for a theatrical cut when released in the United States. I've seen the five hour cut and heresy I know but I think the three hour cut works just as well and frankly the thought of spending two more hours (the TV version can be seen in episodes) with the battling couple wasn't inviting. I found both protagonists unpleasant. Josephson's husband is an unfeeling brute (his beating of his wife was difficult to watch) and Ullmann's wife was a needy clinging vine suffocating her husband. By the film's end, she's liberated and he's weak and now married to others, they become adulterers resuming their "marriage". What holds the movie together for me is the acting which is superb. With Bibi Andersson (just one one scene but she kicks it out of the ballpark), Jan Malmsjo and Gunnel Lindblom.

The Caddy (1953)

The son (Dean Martin) of a San Francisco fisherman (Joseph Calleia) is expected to follow in his father's footsteps but he doesn't want to be a fisherman. With the help of his best friend (Jerry Lewis), he becomes proficient enough in golf to compete in tournaments and win money. Directed by Norman Taurog (BLUE HAWAII). One of Martin and Lewis's lesser vehicles. Lewis is in top form but the movie's lame script sabotages him. It makes his character more irritating than funny. Other than Lewis's sporadic highpoints, the only other notable thing about the movie is Martin's rendition of the Oscar nominated song That's Amore which became a big hit for him. As Martin's love interest, Donna Reed is wasted and had better luck with her other movie released the same month, FROM HERE TO ETERNITY. With Barbara Bates, Fred Clark, Clinton Sundberg, Nancy Kulp and Marshall Thompson.

Eve's Bayou (1997)

Set in rural Louisiana, a wife (Lynn Whitfield) and mother of three is forced  to admit that her family is falling apart due to her philandering husband (Samuel L. Jackson). Witnessing one of her father's infidelities, the youngest daughter (Jurnee Smollett) struggles to make sense of what she's seen. Written and directed by Kasi Lemmons (HARRIET) in her directorial debut. A complex coming of age tale with supernatural trimmings. Lemmon's direction takes us back in time and on a journey of fragmented memories, the occult and parental flaws that may or may not consist of abuse. The acting is superb, notably Debi Morgan giving a multi layered performance as an aunt with psychic abilities but unable to foresee her own tragedies. Just a lovely piece of film making. With Diahann Carroll, Meagan Good, Jake Smollett, Ethel Ayler, Vondie Curtis Hall and Roger Guenveur Smith.

David Copperfield (1935)

After the death of his father, a young boy (Freddie Bartholomew) and his mother (Elizabeth Allan) become very attached to each other. But when she remarries to a cruel and manipulative man (Basil Rathbone), he makes life miserable for them both. Based on the novel by Charles Dickens and directed by George Cukor (MY FAIR LADY). In the 1930s, MGM brought to the screen several "prestigious" literary adaptations of books and plays by the likes of William Shakespeare, Charles Dickens, Leo Tolstoy, Eugene O'Neill and Rudyard Kipling to name a handful. This version of DAVID COPPERFIELD is one the better page to screen adaptations and that's due to Cukor's meticulous direction which avoids the stuffiness and stiffness of those BBC adaptations. With one exception, an excellent cast. The one exception is W.C. Fields who seems out of place (he doesn't even bother to speak with an English accent). But most of the casting is spot on, notably Edna May Oliver as Aunt Betsey, Roland Young as Uriah Heep and Lennox Pawle as Mr. Dick. With Frank Lawton, Maureen O'Sullivan, Lionel Barrymore, Elsa Lanchester, Madge Evans, Lewis Stone, Una O'Connor and Jessie Ralph.

Meet The People (1944)

Set during WWII, a welder (Dick Powell) in a shipyard falls head over heels for a Broadway musical star (Lucille Ball). He is also a playwright and when he gives her a script for a musical show, she decides to star in it. Based on the Broadway revue and directed by Charles Reisner (THE BIG STORE). The kind of musical they don't make anymore ..... thank heaven! The barely there "plot" is a thin excuse to serve up a variety of singing, dancing and novelty acts that have nothing to do with the narrative. Unfortunately, with the exception of two numbers, the songs aren't very memorable and the novelty acts are the pits. The two standout numbers are I Like To Recognize The Tune, an ensemble number performed by June Allyson, Virginia O'Brien, Vaughn Monroe, Ziggie Talent and the King Sisters and the amusing Say That We're Sweethearts Again  sung by Virginia O'Brien. With Bert Lahr, Rags Ragland, Steven Geray and Spike Jones and the City Slickers.

Sirocco (1951)

Set in 1925 Damascus, where the Syrians are fighting against the French colonialists to get their country back. A black marketeer (Humphrey Bogart) has no moral scruples and is selling guns and ammunition to the Syrian rebels and making a handsome profit off it. Based on the novel COUP DE GRACE by Joseph Kessel (BELLE DE JOUR) and directed by Curtis Bernhardt (A STOLEN LIFE). I'm surprised that this is one of those movies that received negative reviews upon its initial release because I found it quite engrossing. Bogart isn't a hero here, he's a cynic who doesn't take sides and supplies guns and ammo because there's money in it regardless that both French and Syrians will die as a result. The film's real "hero" is the French Colonel (Lee J. Cobb in a restrained performance), who sees the futility of the war situation and tries for a truce. But he's not perfect either, he's obsessed with a chilly mistress (Marta Toren), who has nothing but contempt for him. The film eschews a romanticized "happy" ending (this is no CASABLANCA) for a cautiously optimistic one. With Everett Sloane, Zero Mostel, Gerald Mohr, Harry Guardino, Nick Dennis and Jeff Corey.

Wanted: The Sundance Woman (1976)

Etta Place (Katharine Ross), former lover of the outlaw known as the Sundance Kid, lives in anonymity with a former Hole-In-The-Wall gang member (Michael Constantine) and his wife (Katherine Helmond). But she has a bounty on her head and it isn't long before a lawman (Steve Forrest) tracks her down. Directed by Lee Philips (WINDMILLS OF THE GODS). A highly fictionalized or rather a totally fabricated account of Etta Place's life after she left Bolivia after the Sundance Kid was killed. This telefilm has her get involved with the Mexican revolution and romancing Pancho Villa (Hector Elizondo). As it is, it's a conventional western, certainly no worse than BUTCH CASSIDY AND THE SUNDANCE KID (sorry, I'm not a fan) with Ross reprising her role as Etta Place. There are two supporting performances that stand out: Elizondo as Pancho Villa and Stella Stevens as an ex-prostitute now running a respectable boarding house. With Steve Forrest, Warren Berlinger and Lucille Benson.

Gold Of The Seven Saints (1961)

Two fur trappers (Clint Walker, Roger Moore) find a fortune in gold nuggets in a Utah river. But it isn't long before friends (Robert Middleton), thieves (Gene Evans) and even a doctor (Chill Wills) all want a piece of the action. Based on the novel DESERT GUNS by Steve Frazee and directed by Gordon Douglas (TONY ROME). A drab little western that ambles along leisurely in the first half before exploding in action in the second half. The best thing about the movie is the handsome B&W wide screen cinematography by Joseph Biroc (BYE BYE BIRDIE). It's not boring but western fans have seen it all before and done better. I could see its tip of the hat to TREAUSRE OF THE SIERRA MADRE coming a mile away. With Leticia Roman, Lalo Rios and Christopher Dark.

Nickelodeon (1976)

Set in 1914, a struggling lawyer (Ryan O'Neal) is coerced into being a screenwriter (and later a director) at the urging of a film producer (Brian Keith). Meanwhile, he becomes smitten with a pretty girl (Jane Hitchcock) and makes her his leading lady. However, she has eyes for the leading man (Burt Reynolds). Directed by Peter Bogdanovich (THE LAST PICTURE SHOW). Bogdanovich wanted to make a nostalgic film about the rough "guerilla" days of making movies before Hollywood became the capital of movie making in America. The film is flat as a pancake and I'm not sure where the blame lies. Bogdanovich insisted it was studio interference while the film's original producer Irwin Winkler insists that Bogdanovich took a perfectly good screenplay and rewrote it and the result is a muddle. The film doesn't work on any level and some of the actors seem miscast, notably Burt Reynolds who at 40 is playing someone in their 20s. The film's leading lady Jane Hitchcock was a model making her film debut (she only made one other film before "retiring") and her inexperience shows. Also, the film doesn't give any indication that the burgeoning film makers have any talent. With Tatum O'Neal, John Ritter, Stella Stevens, George Gaynes and Priscilla Pointer.

Disclosure Day (2026)

A cyber security specialist (Josh O'Connor) steals a piece of extraterrestrial technology and related files from a secret arm of the U.S. government and goes on the run with his girlfriend (Eve Hewson). Simultaneously, a television meteorologist girl (Emily Blunt) suddenly begins to speak in foreign languages and has psychic ability. Unaware of the other, they are both connected. Directed by Steven Spielberg (JAWS). With a few exceptions, Spielberg's output in the 2000s, hasn't interested me. I've skipped a few and those I've seen haven't impressed me much. They've ranged from good (THE POST) to mediocre (LINCOLN) to bad (INDIANA JONES AND THE CRYSTAL SKULL). The last Spielberg movie I really loved was WAR OF THE WORLDS (2005). This one is a return to top form for Spielberg. No, it's nowhere near his masterpieces (JAWS, CLOSE ENCOUNTERS OF THE THIRD KIND, E.T.) but honestly, he'll never get there again. Like Orson Welles and CITIZEN KANE or Spike Lee and DO THE RIGHT THING, he created great cinema early in his career and nothing he (or they) has come close to achieving the same result. But this one is wonderful and I won't discuss it much because the less you know about it, the better your experience will be. My only disappointment is the John Williams score which is serviceable at best. Emily Blunt is really terrific here and good enough to be considered when the year end best actress awards get handed out. With Colin Firth, Colman Domingo, Wyatt Russell (son of Goldie Hawn and Kurt Russell) and Elizabeth Marvel.

How To Lose Friends & Alienate People (2008)

Hired by the editor (Jeff Bridges) of a fashionable magazine, a young Brit (Simon Pegg) moves from his native England to New York to write celebrity profiles for the glossy monthly. He soon finds himself in the limelight for his fifteen minutes of fame. Based on the memoir by Toby Young and directed by Robert B. Weide (LENNY BRUCE: SWEAR TO TELL THE TRUTH). Weide's career began in documentaries (his Lenny Bruce documentary received an Oscar nomination) and he went on to direct TV (30 episodes of CURB YOUR ENTHUSIASM). The film is a fictionalized account of Toby Young's years at Vanity Fair magazine. I'm not familiar with Young's memoir but the movie portrays him as a totally insensitive moron but attempts to redeem him by turning the movie into a romantic comedy. But the damage has been done so well that his "redemption" comes across as contrived. It doesn't succeed at any level. It was a success in England but a critical and commercial failure in the U.S. With Kirsten Dunst, Megan Fox, Gillian Anderson, Danny Huston, Max Minghella, Miriam Margolyes, James Corden, Chris O'Dowd and Janette Scott.

Silver River (1948)

After being kicked out of the Union army during the Civil War, an ex soldier (Errol Flynn) goes rogue and confiscates gambling equipment to set up his own saloon and gambling hall and thus begins the growth of his empire. Based on the novel by Stephen Longstreet and directed by Raoul Walsh (HIGH SIERRA). While not wholly successful, I found this western above average. At this stage of his career, Errol Flynn was drinking heavily but his character here is much more complex than many of his swashbuckling hero roles. As he lusts after another man's (Bruce Bennett) wife (Ann Sheridan), the biblical story of David and Bathsheba is reenacted in a western setting. Reputedly, director Walsh was unhappy with the script for being too talky and eliminated what might possibly have been crucial events because the movie loses its way and by the end of the film, it's become just another western instead of the multifaceted western it had the potential to become. With Thomas Mitchell, Tom D'Andrea and Barton MacLane.

Charlie Chan At Treasure Island (1939)

When the renowned detective Charlie Chan (Sidney Toler) sets out to investigate the link between several suspicious deaths and a mysterious psychic, he soon finds himself mired in intrigue. Based on the character created by Earl Derr Biggers and directed by Norman Foster (JOURNEY INTO FEAR). The 19th entry in the 20th Century Fox Charlie Chan franchise is one of the better ones. There's a plethora of suspects with a red herring or two tossed in the mix until Chan emerges victorious in the end. The overly complicated plot often seems haphazard and difficult to follow but it's a fun journey especially if you're into whodunits as I am. With Cesar Romero, Victor Sen Yung, Pauline Moore, Douglas Fowley, Louis Jean Heydt and Douglass Dumbrille.

The Slugger's Wife (1985)

A womanizing baseball player (the colorless Michael O'Keefe) falls head over heels with a rock singer (Rebecca De Mornay) and decides to settle down. But their marriage hits a wall when he expects her to put her career second and be a baseball wife. Written by Neil Simon and directed by Hal Ashy (SHAMPOO). Atrocious about sums it up! Simon hits rock bottom. Could this drek come from the pen of the man who wrote BAREFOOT IN THE PARK, THE GOODBYE GIRL or THE OUT OF TOWNERS? Apparently and the film doesn't cover Hal Ashby in glory either. O'Keefe's character is a prick and we're supposed to accept his psychotic behavior as love for his wife. Maybe if any of this were funny, it would override some of the nonsense on display here but it's a dud. To Simon's credit, he doesn't give us a happy ending with everything wrapped up in a neat little ribbon but that doesn't excuse the crappy writing preceding it. A well deserved critical and commercial flop. With Martin Ritt (yes, the director), Randy Quaid, Cleavant Derricks, Lisa Langlois, Lynn Whitfield and Georgann Johnson.

Walk Like A Dragon (1960)

A cowboy (Jack Lord) saves a Chinese girl (Nobu McCarthy) from a life of prostitution in 1870's San Francisco. When he takes her home to be his housekeeper, he draws the ire of a local Chinese man (James Shigeta) who wants the woman for himself. Co-written and directed by James Clavell (author of SHOGUN). The most unique aspect of this western is that two of its three protagonists are Asian and the interracial romance between the three as well as dealing with racism of that era. Other than that, it's a pretty conventional western. Interestingly, the film opts for a "stick with your own kind" ending rather than an interracial marriage that would challenge the status quo racism. With Mel Torme, Josephine Hutchinson, Lilyan Chauvin, Michael Pate, Benson Fong and Natalie Trundy.

Her Cardboard Lover (1942)

A love struck woman (Norma Shearer) can't trust herself around her dashing lover (George Sanders), who treats her badly. She always goes crawling back to him. So she hires a young man (Robert Taylor) to pose as her lover and to step in whenever she weakens and tries to go back to him. There's a small problem however. The young man is as crazy about her as she is with her narcissistic lover. Based on the play DANS SA CANDEUR NAIVE by Jacques Deval and directed by George Cukor (GASLIGHT). This was Shearer's final film at MGM where she was its reigning queen for many years and it's a sad swan song. There are so many problems with the movie, where does one start? Robert Taylor is miscast. Along with Tyrone Power, he was one of the handsomest stars of their era, women threw themselves at them. Here, he's all wrong as the tongue tied, shy and awkward man with a crush. It doesn't help that Taylor is ill suited to comedy. All three of the main characters are sick! Sanders is a womanizer who won't stay faithful to Shearer, she's a doormat with no pride and Taylor is a stalker who won't take no for an answer. Reputedly, Shearer turned down MRS. MINIVER to do this? With Elizabeth Patterson, Chill Wills and Frank McHugh.

Joy Of Living (1938)

A famous actress (Irene Dunne) is the meal ticket for her relatives who sap her of her money and time. But her world changes when she meets a carefree millionaire (Douglas Fairbanks Jr.) who stalks her and thinks her family are leeches. Directed by Tay Garnett (THE POSTMAN ALWAYS RINGS TWICE). Irene Dunne in a screwball comedy is normally cause for celebration. But this one is a dud! It's a semi musical with songs by Jerome Kern and Dorothy Fields (SWING TIME) but with such a lackluster script that I couldn't help feel sorry for Dunne and Fairbanks Jr. trying their damnedest to no avail. There's a briefly amusing roller skating sequence that might have been even funnier if Dunne and Fairbanks Jr.'s stunt doubles weren't so blatantly obvious. Then there's the problem of Fairbanks Jr.'s persistent lothario who comes across as a creepy stalker by 21st century standards. With Lucille Ball, Alice Brady, Guy Kibbee, Eric Blore, Jean Dixon, Franklin Pangborn and Warren Hymer.

The Last Outpost (aka Cavalry Charge) (1951)

Set in the West during the Civil War, two brothers are on opposite sides of the war. One (Ronald Reagan) is in the Confederate army while his brother (Bruce Bennett) is in the Union army. Directed by Lewis R. Foster (THE BOLD AND THE BRAVE). A B movie programmer that makes the Confederate army the heroes. The Union army is portrayed as incompetent, the Indians are portrayed as savages but the Confederate army saves the day! It's not even a good B western, just a hash of western movie tropes with a tired romantic subplot (Rhonda Fleming as the girl Reagan ditched when he joined the Confederate army). Surprisingly, the movie was a success and turned a healthy profit. With Bill Williams, Hugh Beaumont and Lloyd Corrigan.

Dracula (1974)

Set in 1897, a British solicitor (Murray Brown) arrives in Transylvania to meet with the Count Dracula (Jack Palance), who is interested in renting a property in England. When the Count sees a photograph of a young woman (Fiona Lewis) in the solicitor's room, he is determined to travel to England to meet the young girl. Based on the novel by Bram Stoker and directed by Dan Curtis (DARK SHADOWS). According to the Guinness World Records, Dracula is the most filmed literary character in history. How does this telefilm (released theatrically in Europe) stand up to the many adaptations? It's merely okay. It's a nondescript telling of the Stoker tale without any imagination, style or atmosphere. The most interesting thing about it is how relatively restrained Jack Palance's performance as Dracula is. He's not an actor known for his subtlety. There are some talented people behind the camera including cinematographer Oswald Morris (THE MAN WHO WOULD BE KING) and costume designer Ruth Myers (L.A. CONFIDENTIAL). With Nigel Davenport, Simon Ward, Pamela Brown and Penelope Horner.