Once Upon A Honeymoon (1942)

An ex-stripper (Ginger Rogers) longs to be a baroness and gets her wish when she marries an Austrian Baron (Walter Slezak). Meanwhile, a journalist (Cary Grant) tries to alert her that her new husband is a Nazi working under Hitler's direct orders. Directed by Leo McCarey (THE AWFUL TRUTH). I've never warmed to comedies about Nazis. I'm not a fan of THE GREAT DICTATOR or TO BE OR NOT TO BE (the 1942 film, not the remake) and this movie mixing romantic comedy and anti Nazi rhetoric is particularly egregious. It's hard to be not to be offended watching Grant woo Rogers in a Jewish internment camp! The movie's nadir has Rogers and Albert Dekker as an American working undercover as a Nazi spy reciting the pledge of alligeance together! It's not the fault of the actors, Grand and Rogers are fine but that shambles of a script! With Albert Basserman and Natasha Lytess (more famous as Marilyn Monroe's notorious acting coach than for her acting).

Brian's Song (1971)

The true story of two professional football players, Brian Piccolo (James Caan) and Gale Sayers (Billy Dee Williams), for the Chicago Bears and their remarkable bond when they become the first interracial roommates in the history of the National Football League and how Sayers stood by Piccolo when he was diagnosed with cancer. Based on the non fiction book I AM THIRD by Gale Sayers and Al Silverman and directed by Buzz Kulik (VILLA RIDES). When this movie premiered on television in 1971, it received excellent notices from the critics and at its time was the most watched TV movie ever and even received a theatrical release after its TV debut. My lack of interest in football aside, I found it okay at best and overtly sentimental at worst. There's a fine performance by Billy Dee Williams as Sayers that anchors the film but other than that, there's not much I can say for it. The score is by Michel Legrand. With Jack Warden, Shelley Fabares, Judy Pace, Bernie Casey and David Huddleston.

The Benny Goodman Story (1956)

The story of Benny Goodman (Steve Allen), the clarinetist and band leader who became known as the king of swing and his rise from childhood to performing at Carnegie Hall. Directed by screenwriter Valentine Davies (BRIDGES AT TOKO RI) in his only film as a director. Universal had a huge success in 1954 with THE GLENN MILLER STORY so it was only natural they would want to follow up with another movie about a popular band leader and this Benny Goodman biography was it. It was nowhere near as successful as the Glenn Miller movie. As to this movie, it's a series of all the by the numbers cliches you've seen in Hollywood's mediocre movie biographies. As Goodman, Steve Allen was obviously chosen for the lead because of his resemblance to the bandleader, it certainly wasn't for his acting abilities or box office appeal. Aside from Goodman's music, the most impressive thing in the movie is Bill Thomas's stylish wardrobe for Donna Reed. With Harry James, Gene Krupa, Lionel Hampton, Martha Tilton, Robert Clarke, Herbert Anderson and Diane Jergens.

The Great Garrick (1937)

Set in 1750, the great British actor David Garrick (Brian Aherne) travels to Paris to appear with the Comedie Francaise. But infuriated by a perceived insult, the head of the Comedie Francaise (Melville Cooper) concocts a plan to teach the great actor a lesson by having his acting trouple pose as the innkeeper and servants at his lodgings. Based on the play LADIES AND GENTLEMEN by Ernest Vajda and directed by James Whale (BRIDE OF FRANKENSTEIN). An atypical comedic farce from director Whale but actually quite amusing. Aherne is in fine form (channeling John Barrymore) as Garrick but the rest of the cast seem to relish their parts equally. Olivia De Havilland provides the love interest. With Lana Turner (not yet a blonde), Marie Wilson, Albert Dekker, Edward Everett Horton and Lionel Atwill.

I Mongoli (aka The Mongols) (1961)

Set in the 13th century, Poland sends an emissary (Franco Silva) to Genghis Khan (Roldano Lupi) to negotiate for peace. But Khan's bloodthirsty son (Jack Palance overacting terribly) is against any peace in his ambitious plan for world conquest. Directed by Andre De Toth (HOUSE OF WAX). De Toth was another European emigre to Hollywood where he worked from 1942 to 1960 before returning to Europe. THE MONGOLS was the second movie he made upon his return to Europe. It's an overlong wannabe epic balancing two storylines, Silva's emissary which includes a romance with a peasant girl (Antonella Lualdi) and Palance's psychotic warmonger and his voluptuous companion (Anita Ekberg) in death and destruction. The entire movie drags except for the scenes involving Anita Ekberg as the wicked consort of Palance. With Gianni Garko and Gabriele Antonini.

Cold Storage (2026)

In 1979, Skylab breaks apart during its reentry to Earth but because of its size (77 tons), it did not burn up completely and it scatters debris over the Indian Ocean and sparsely populated areas of Western Australia. But it brings back a deadly parasitic fungus. Based on the novel by David Koepp (who adapted his book for the screen) and directed by Jonny Campbell (ALIEN AUTOPSY). A splendid homage to 1950s B movie science fiction that balances laughs with genuine thrills. It doesn't take itself seriously and neither should you. With the exception of the first victim (Sosie Bacon, daughter of Kevin), the people who die are morons so you can enjoy their gory deaths. Is there anything better than scares and laughs in the same movie? Some of the cast are overqualified for stuff like this including Vanessa Redgrave (looking frail but wonderful to see her back on the screen), Liam Neeson and Lesley Manville but they seem to be having a great time. With Georgina Campbell, Joe Keery, Ellora Torchia and Gavin Spokes.

Obsession (aka The Hidden Room) (1949)

Tired of his beautiful wife's (Sally Gray) infidelities, a psychiatrist (Robert Newton) vows to kill her latest lover (Phil Brown). He concocts the perfect murder plan ..... but will he get away with it? Based on the novel A MAN ABOUT A DOG by Alec Coppel (VERTIGO) (who also did the screenplay) and directed by Edward Dmytryk (THE CARPETBAGGERS). Dmytryk had a critical and commercial success with the film CROSSFIRE in 1947. But he was named as one of the Hollywood Ten by the House Un-American Activities Committee so he wasn't able to capitalize on that film's success and he fled to England and this was his first film there. I found it to be a marvelous thriller in the Hitchcock style (with a wee touch of Agatha Christie) and the cat and mouse game between Newton's obsessed husband and Scotland Yard builds in suspense. The acting is quite good, notably Phil Brown as the American lover but the film is stolen by a terrier called Monty, who has an important role in the narrative. The score is by Nino Rota. With Naunton Wayne as the Scotland Yard inspector on the case and James Harcourt.

L'Innocent (aka The Innocent) (2022)

When his mother (Anouk Grinberg) marries an ex-convict (Roschdy Zem), her adult son (Louis Garrel) disapproves. But it isn't long before he's seduced by his stepfather's criminal life. Directed by Louis Garrel. Showered by 11 Cesar (the French Oscar) nominations and winning two, the movie didn't work for me. Every character is a loser and save one, I didn't give a damn what happened to any of them. The contrivances overflowing on the screen only served to distance me from its machinations. The only character I had any empathy for was Grinberg's desperately lonely mother and by the film's end, I did feel sorry for her but as far as I was concerned, everyone else deserved what they got except Noemie Merlant, who was so annoying that I was hoping she would get bumped off. Did I mention the film is supposed to be a comedy? With Yanisse Kebbab and Jean Claude Pautot.

Les Aventures d'Arsene Lupin (aka The Adventures Of Arsene Lupin) (1957)

Set in Paris at the end of the 19th century, a gentleman thief by the name of Arsene Lupin (Robert Lamoureux) is the bane of the Paris police as his cunning mocks the gendarmes as he cleverly escapes their clutches and his identity remains a mystery to them. Loosely based on the novel ARSENE LUPIN, GENTLEMAN BURGLAR by Maurice Leblanc and directed by Jacques Becker (CASQUE D'OR). Stylish and elegant and moderately entertaining. What else can one say? There's no real plot to speak of, it's just a series of moments as Lupin engages in daring thefts and romances the pretty ladies. With Liselotte Pulver, Sandra Milo, O.E. Hasse and Daniel Ceccaldi.

Home Fries (1998)

At the behest of their psycho mother (Catherine O'Hara), two brothers (Luke Wilson, Jake Busey) kill their stepfather (Chris Ellis). But when they discover their stepfather's pregnant mistress (Drew Barrymore) might have overheard the killing, she becomes a "loose end" that must be dealt with. There's a problem however, when one (Wilson) of the brothers falls in love with her! Directed by Dean Parisot (GALAXY QUEST). This quirky black comedy is ridiculous at times and over the top but still remains wildly amusing for the most part. Yes, it's a shallow movie, often going for cheap laughs but it gets the job done. The cast is up for it. Barrymore is adorable but the scene stealer is Catherine O'Hara as the batsh*t crazy mother from hell. Pity it's not better written, there's a classic black comedy in there somewhere. With Shelley Duvall, Lanny Flaherty and Daryl Mitchell.

Move (1970)

A struggling writer (Elliott Gould) in New York City writes pornography and walks dogs for the rich in order to make a living. When he and his wife (Paula Prentiss) decide to move to a new apartment, things go from bad to worse as the real world and his fantasy world clash. Based on the novel by Joel Lieber and directed by Stuart Rosenberg (COOL HAND LUKE). A mess of a movie! Taking advantage of the screen's new freedom, Rosenberg tosses in as much gratuitous nudity as possible (if you ever wanted to see Elliott Gould's butt, this movie is for you) but this film about a paranoid failed writer walking through a surrealistic Manhattan just isn't funny. This was director Rosenberg's only comedy and one can see why. The man just doesn't have a comedic sensibility. There's a slightly (very slight) amusing sequence when Gould has a sexual encounter with a ditzy Brit (Genevieve Waite channeling Marilyn Monroe) but not enough to lift the movie out of the quicksand it's in. With Ron O'Neal, John Larch, Mae Questel and Jeannie Berlin.

Kampf Um Rom (aka The Last Roman) (1968)

Set in the 6th century A.D., the Roman Empire is a shadow of its former self as the Ostrogoths rule over it. When the Ostrogoth king dies, his two daughters (Harriet Andersson, Honor Blackman) fight over who will be Queen. The devious leader (Laurence Harvey) of what remains of Rome takes advantage of this by playing both sides while the Emperor (Orson Welles) of the Byzantine empire also has designs on Rome. Based on the novel THE STRUGGLE FOR ROME by Felix Dahn and directed by Robert Siodmak (THE SPIRAL STAIRCASE) in his swan song as a film director. From 1943 to 1952, Siodmak made a series of excellent films in the U.S. but after THE CRIMSON PIRATE, he returned to Europe to make movies. Siodmak wasn't content with the script but proceeded anyway. As an epic (its 3 hours long), it's visually impressive and structurally incoherent. Unless you're a Roman history buff, you may well be confused about the Roman, Goth and Byzantine triptych's power battle. With Sylva Koscina, Michael Dunn, Robert Hoffman, Ingrid Boulting, Lang Jeffries and Florin Piersic.

A Prize Of Gold (1955)

Set in post war Berlin, an Air Force Master Sergeant (Richard Widmark) falls in love with a German woman (Mai Zetterling) who is the caretaker for a bunch of German war orphans. She is trying to get the children away from Germany and to Brazil where they can start life anew. He attempts to help her by conceiving a daring heist of gold bullion. Based on the novel by Max Catto (THE DEVIL AT FOUR O'CLOCK) and directed by Mark Robson (VALLEY OF THE DOLLS). A decent enough heist movie and, of course, everything doesn't go as planned. If it did, there wouldn't be much suspense. The group of thieves are all amateurs and it's easy to spot the loose cannon (Nigel Patrick) that is going to muck everything up and I couldn't help but wonder why the others couldn't see it too. As the "girl" providing some romantic interest, Mai Zetterling is wasted. With George Cole, Donald Wolfit, Andrew Ray and  Karel Stepanek.

Annabel Takes A Tour (1938)

While on tour promoting her latest movie, an actress (Lucille Ball) conjures up a fictitious romance with a famous romance novelist (Ralph Forbes) as a publicity stunt. Directed by Lew Landers (DAVY CROCKETT, INDIAN SCOUT). An unnecessary sequel to THE AFFAIRS OF ANNABEL (1938). Unnecessary because it's just more of the same. In the first movie, I found Jack Oakie (as Ball's publicist) irritating and he's just as irritating here and again, considering how he screws up every time, why does Ball continue to listen to his crazy publicity stunts. If it were actually funny, such complaints wouldn't matter but it isn't amusing in the least. Lucille Ball tries but it's like putting make up on a corpse ... it's still dead. With Ruth Donnelly, Bradley Page and Frances Mercer.

Junior Miss (1945)

A young teenage girl (Peggy Ann Garner) meddles in her family's lives which leads to a series of misunderstandings that causes problems for everyone. Based on the hit Broadway play by Jerome Chodorov and Joseph Fields (by way of the short stories by Sally Benson) and directed by George Seaton (MIRACLE ON 34TH STREET). The kind of sitcom material in the pre television days that proved popular on Broadway. JUNIOR MISS was performed by community theatres and high school productions for decades. Today, it's a relic of another era. Fresh off the success of A TREE GROWS IN BROOKLYN (1945), Peggy Ann Garner is sweet and charming which goes a long way in overcoming the tediousness of the contrived plot though to be fair, it's not altogether unpleasant. With Mona Freeman, Allyn Joslyn, Faye Marlowe, Barbara Whiting, Mel Torme and Stephan Dunne.

The Case Of The Sinister Spirit (1987)

A publisher (Robert Stack) is accused of murdering his top client (Matthew Faison) during a visit to the author's Denver estate. But he wasn't the only invited guest and they all had motives to do the writer in. Enter Perry Mason (Raymond Burr) to defend him. Directed by Richard Lang (BLOOD BLACK AND WHITE). The fifth entry in the thirty movie Perry Mason franchise done after the series ended in 1966. This is one of the better entries with a very clever finale. While it's fairly easy to guess the murderer, it's the murderer's motive that's the big surprise. With Leigh Taylor Young, Barbara Hale, William Katt, David Ogden Stiers, Kim Delaney, Percy Rodrigues and Dwight Scultz.

Wuthering Heights (2026)

Set in 19th century England, the owner (Martin Clunes) of the Wuthering Heights estate brings home a young boy (Owen Cooper morphing into Jacob Elordi) he has rescued from the streets. The boy forms a bond with the owner's young daughter (Charlotte Mellington morphing into Margot Robbie) that turns into a passionate love as they grow into adults. Loosely based on the classic novel by Emily Bronte and directed by Emerald Fennell (PROMISING YOUNG WOMAN). First off, this is NOT Emily Bronte's WUTHERING HEIGHTS, it's clearly Fennell's WUTHERING HEIGHTS! Fennell has gone on record as saying she wanted to recreate the feeling of a teenage girl reading the book for the first time. I'm not a teenage girl so clearly I'm not the demographic Fennell was aiming for. Fennell brings in S&M, masturbation and lots of f*cking which weren't in Bronte's novel but I assume Fennell feels its what teenage girls want to see. Fennell jettisons Cathy's older brother from the film and instead of an elderly housekeeper, Nelly is now an Asian servant (Hong Chau) about the same age as Cathy. I've seen many Heathcliffs (Laurence Olivier, Charlton Heston, Richard Burton, Timothy Dalton, Ralph Fiennes among them) and they all brought an intensity, the destructive passion that destroys Heathcliff. Alas, Elordi may be a hunk but he can't summon up that passion and when he wants to show passion, he licks Robbie's face like a dog! Judging from what's on view here, Fennell's reimagination of Bronte's novel suggests that love is only passionate when it degrades us. On the plus side, the film looks fantastic thanks to Linus Sandgren's (LA LA LAND) elegant cinematography. With Shazad Latif and Alison Oliver.

The Hard Way (1943)

An ambitious woman (Ida Lupino) in a small steel town is determined to push her younger sister (Joan Leslie) toward a better life. To that end, she manipulates, lies and backstabs anyone who stands in her way. Directed by Vincent Sherman (MR. SKEFFINGTON). Ida Lupino never got an Oscar nomination but she did receive the New York Film Critics award for best actress for this film. The movie itself is nothing special, a standard melodrama about clawing your way to the top of the show business heap only to find when you get there that it's pretty lonely (in that respect, one could call it the VALLEY OF THE DOLLS of its day). What is special is Ida Lupino's performance, who always seemed to inherit Bette Davis's hand me downs. Here she gets an opportunity to sink her teeth in a juicy role that's all hers (though reputedly Davis turned this down, too). I have to say I think the film lets Leslie's sister off the hook too easily. She's every bit as ambitious as her sister, at least in the beginning. Well done of its kind but not entirely persuasive. With Dennis Morgan, Jack Carson, Faye Emerson, Gladys George, William Hopper, Jody Gilbert and Dolores Moran.

Sixth And Main (1977)

A wealthy woman (Beverly Garland), who dabbles as a writer visits Skid Row in downtown Los Angeles to soak up the atmosphere for a book she plans to write about the homeless. One mysterious homeless man (Leslie Nielsen) in particular catches her eye and she seeks him out. Written, produced and directed by Christopher Cain (THE NEXT KARATE KID). Filmed on the streets of L.A., what the movie gets right is the atmosphere, the feel and look of L.A.'s skid row and its homeless population. I'm just guessing but I suspect that those weren't background actors but real homeless people used in the background, they look authentic and not out of Central Casting. Alas, the film is saddled with a heavy handed and poorly written script that sabotages whatever authenticity the movie displays. The casting goes against type what with an unshaven and disheveled Leslie Nielsen as a homeless man and Roddy McDowall as a legless junkie scooting around on a skateboard but both do very nicely in their roles given the severe limitations of the script. With Leo Penn (Sean's father and overacting abominably), Joe Maross and in the film's best performance, Gammy Burdett as a pregnant hooker.

Fried Green Tomatoes (1991)

While visiting a nursing home, an unhappy housewife (Kathy Bates) befriends an elderly resident (Jessica Tandy), who regales her with stories from her past in a small Alabama town, specifically the tomboy Idgie (Mary Stuart Masterson) and her friend Ruth (Mary Louise Parker). Based on the novel FRIED GREEN TOMATOES AT THE WHISTLE STOP CAFE by Fannie Flagg (who has a small role in the film) and directed by Jon Avnet (UP CLOSE AND PERSONAL). A sentimental tearjerker that shamelessly manipulates its audience but done so skillfully and with good intentions that one can't help but give it a pass. And the performances! The four leads are impeccable as the narrative shifts back and forth between the 1920s and the present day. At the time of the film's release, there was some criticism over the film downplaying the lesbian aspects which were in the novel but I found it very obvious in the movie, subtle but it's there. With Cicely Tyson, Chris O'Donnell, Lois Smith, Stan Shaw, Gary Basaraba and Grace Zabriskie.

The Fourth Protocol (1987)

An M15 officer (Michael Caine) finds himself caught between the acting director (Julian Glover) of M15, who dislikes him, and a high ranking British Secret Service official (Ian Richardson) when he suspects that the Soviets may be smuggling an atomic bomb into Great Britain. Meanwhile, a Soviet agent (Pierce Brosnan) is sent to do just that ..... smuggle an atom bomb to go off near an American airbase. Based on the novel by Frederick Forsyth (who adapts his novel for the screen) and directed by John Mackenzie (THE LONG GOOD FRIDAY). A well done but conventional cold war thriller that maintains a taut pacing throughout but fizzles its denouement. The acting is better than average for a movie like this especially Pierce Brosnan, who brings a chilly demeanor to his cold blooded assassin. There are some notable changes from the novel including a gender change for the assembler but as it's Joanna Cassidy, it's a welcome change. With Ned Beatty, Michael Gough, Ray McAnally and Betsy Brantley.

La Mort De Belle (aka The Passion Of Slow Fire) (1961)

Set in Switzerland, a sexually repressed school teacher (Jean Desailly) lives quietly with his wife (Monique Melinand). They take in a visiting American girl (Alexandra Stewart) for two weeks, the daughter of the wife's American friend (Louisa Colpeyn). When the girl is found murdered, their lives are turned upside down. Based on the novel by Georges Simenon with a screenplay by Jean Anouilh (THE MADWOMAN OF CHAILLOT) and directed by Edouard Molinaro (LA CAGE AUX FOLLES). I love coming across a terrific film that I had very little knowledge of and this dark crime drama is a real jewel. A succinct, self examining narrative that keeps us on the edge before it suddenly spirals down the rabbit hole and our worst suspicions are confirmed. Desailly's ambiguous performance is superb and he's supported by a perfect supporting cast. The score is by George Delerue (JULES AND JIM). Worth seeking out! With Jacques Monod, Marc Cassot, Yvette Etievant and Yves Robert.

Do You Love Me (1946)

A prim and proper dean (Maureen O'Hara) of a music academy travels by train to New York where a fellow passenger (Harry James) refers to her as an ice queen that is unattractive to men. She gets her revenge when she transforms herself into a glamour girl and he pursues her but she prefers the popular band singer (Dick Haymes) also pursuing her. Directed by Gregory Ratoff (INTERMEZZO). A contrived Technicolor musical where the "musical" portions consist of Dick Haymes crooning and Harry James playing his trumpet although there is one lively dance number, Moonlight Propaganda when you suddenly feel you're in a real musical. Surprisingly, Maureen O'Hara who can sing isn't given any songs. Frankly, I thought none of the three men (the third is Richard Gaines as her fiance) were good enough for her. With Betty Grable, Reginald Gardiner, Stanley Prager, Alma Kruger and Lex Barker.

Hard To Get (1938)

A society girl (Olivia De Havilland) roars off in the family valet's (Melville Cooper) car without a cent in her pocket.  When she fills up the car with gas but can't afford to pay, the gas station attendant (Dick Powell) insists she pay by cleaning rooms in the station's adjoining motel. She concedes against her will, then plots her revenge. Based on the short story STUFFED SHIRT by Stephen Morehouse Avery and directed by Ray Enright (HAVANA WIDOWS). A minor romantic comedy that's a pleasant enough watch. As the mismatched pair, Dick Powell and Olivia De Havilland are up for the antics. Still in the crooner phase of his career, Powell sings four songs including You Must Have Been A Beautiful Baby which debuts here and went on to become a standard in the American songbook. Fans of 1930s comedies should have some fun with this one. With Bonita Granville, Penny Singleton, Allen Jenkins, Charles Winninger Isabel Jeans and Thurston Hall.

The Picture Of Dorian Gray (1973)

A handsome aristocrat (Shane Briant) has his portrait painted by a friend (Charles Aidman). He is pushed into a decadent lifestyle by a hedonistic nobleman (Nigel Davenport). Curiously, his depravity has no effect on him through out the years but his portrait shifts and displays his every sin on his face. Based on the classic novel by Oscar Wilde and directed by Glenn Jordan (ONLY WHEN I LAUGH). A dull adaptation of the Wilde novel. Granted, it would be hard to best the 1945 film version but this made for television version is listless. As Dorian Gray, the expressionless Shane Briant seems bored and that ennui is passed on to the audience. No genuine sense of a degenerate or corrupt atmosphere is provided, we're just told about it through Briant's narration. With Vanessa Howard, Linda Kelsey, Fionnula Flanagan and John Karlen.

Hell's Island (1955)

A washed up alcoholic bouncer (John Payne) working in a Las Vegas casino is offered a job to retrieve a rare ruby which may be in the hands of the woman (Mary Murphy) who jilted him. Directed by Phil Karlson (5 AGAINST THE HOUSE). Although shot in Technicolor and VistaVision, this is a nifty, gritty film noir. It has all the elements: a down on his luck hero (Payne) over his head, a duplicitous femme fatale (Murphy channeling Mary Astor's Brigid O'Shaughnessy), vicious thugs who like to beat up people and Francis L. Sullivan as a wheelchair bound baddie channeling Sydney Greenstreet. Director Karlson gives the movie an exacting veneer that insures a tale full of color and brittle. An unappreciated noir that should be better known. Curiously, the movie uses stock music rather than an original score but I recognized Miklos Rozsa's music. Worth seeking out for noir fans. With Arnold Moss, Paul Picerni and Eduardo Noriega.

Flame Of The Islands (1956)

A secretary (Yvonne De Carlo) in Manhattan deliberately gives the impression that she was the mistress of a wealthy millionaire. When he dies, his wife (Frieda Inescort) gifts her with a $100,000 check for the "happiness" she brought her late husband. She quits her job and goes off to the Bahamas but her scheme will come back to haunt her. Based on the unpublished novel REBEL ISLAND by Adele Comandini and directed by Edward Ludwig (WAKE OF THE RED WITCH). The 1950s seemed to love the Caribbean which might explain why so many movies were set there. This attractive looking (shot in Trucolor) melodrama is pretty corny but trash has its lure sometimes and I had a good time with this soap opera. The highlights of the movie aren't the dramatics but the two campy musical numbers sung by Yvonne De Carlo, Bahama Mama and Take It Or Leave It. The movie's only surprise is who De Carlo ends up with at the end of the movie! With Howard Duff, Zachary Scott, Kurt Kasznar, James Arness, Barbara O'Neil and Donald Curtis.

Eddington (2025)

Set in a small town in New Mexico in 2020 at the height of the Covid lockdown. There is friction between the town's mayor (Pedro Pascal) and the town's sheriff (Joaquin Phoenix) over the mask mandates as well as the mayor's past relationship with the sheriff's unstable wife (Emma Stone). Written and directed by by Ari Aster (HEREDITARY). An ambitious modern "western" often described as a satire as it pokes at conspiracy theories, MAGA, white privilege and radical leftists. It's the kind of movie that overreaches but so zealous in its drive that one can't help but admire it in spite of its flaws. Honestly, I have no idea what Aster's intentions were but it's done so skillfully that I just sat back and watched and enjoyed. Phoenix is excellent here but the supporting ensemble cast measures up admirably. With Austin Butler, Luke Grimes, Michael Ward and Diedre O'Connell.

Quand Vient L'Automne (aka When Fall Is Coming) (2024)

After a tumultuous life in Paris, an elderly woman (Helene Vincent) has retired to a quiet existence in Burgundy, France. She is estranged from her adult daughter (Ludvine Sagnier) but close to her young grandson (Garlan Erlos). When the son (Pierre Lotin) of her best friend (Josiane Balasko) comes out of prison, everyone's life will be changed. Written and directed by Francois Ozon (8 FEMMES). In the last several years, Francois Ozon has had a run of fine to excellent movies that never quite found the attention in the U.S. that they should have. Movies like THE CRIME IS MINE, BY THE GRACE OF GOD, FRANTZ, DOUBLE LOVER and this one. An often complex look at family dynamics and relationships disguised as a morality thriller. Everyone seems to have a haunted past, sometimes we are (eventually) privy to that past as with Vincent and Balasko and sometimes we're not as with Pierre Lotin, we never find out about what crime he committed to be sent to prison. Just a lovely but slightly disturbing film. With Sophie Guillemin and Paul Beaurepaire.

The Gentle Gunman (1952)

Set in England and Ireland during WWII, a member (John Mills) of the Irish Republican Army questions the ruthless methods employed by the IRA like bombing crowded London underground stations. His brother (Dirk Bogarde), also an IRA member, considers him a traitor. Based on the play by Roger MacDougall (who adapted his play for the screen) and directed by Basil Dearden (KHARTOUM). An agreeable drama with thriller trimmings that can't quite sustain itself to its end but the journey there is very solid. The movie bounces back and forth between the British and Irish viewpoints of the conflict in an effort to be fair but only superficially. Basil Dearden directs with confidence and the acting is quite good. Thumbs up to Gordon Dines' (SECRET PEOPLE) conspicuous (in a good sense) cinematography. With Elizabeth Sellars, Robert Beatty, Barbara Mullen, Eddie Byrne and Jack MacGowran.

Where Angels Go, Trouble Follows (1968)

On a cross country trip from Pennsylvania to California, a mother superior (Rosalind Russell) must not only once again deal with high spirited schoolgirls but with a young and non conventional progressive nun (Stella Stevens). Directed by James Neilson (THE MOON SPINNERS). A sequel to the 1966 movie, THE TROUBLE WITH ANGELS. More enjoyable than it has a right to be. The movie was on the borderline between traditional mainstream "wholesome" family comedies and the "new" Hollywood films that pushed the envelope (EASY RIDER, MIDNIGHT COWBOY, BOB & CAROL & TED & ALICE) that would come the next year. In that regard, it's a bit of a relic. Still, it has it charms, however conventional. If you enjoyed TROUBLE WITH ANGELS, you should enjoy this. If you didn't, obviously you wouldn't bother. With Robert Taylor, Van Johnson, Susan Saint James, Milton Berle, Binnie Barnes, Mary Wickes, William Lundigan and Arthur Godfrey.

Endless Love (1981)

Set in Chicago, a 17 year old boy (Martin Hewitt) and a 15 year old girl (Brooke Shields) fall in love. When her father (Don Murray) refuses to let the boy see his daughter, the teenage boy sets their house on fire. Based on the novel by Scott Spencer and directed by Franco Zeffirelli (ROMEO AND JULIET). This is one sick movie! Spencer's dark novel about obsessive love and its psychotic and unhinged teenage boy's obsession with a 15 year old girl is turned into a sappy tale of "true" love between teens and how a conventional society attempts to destroy that "true" love. In 1968, Zeffirelli's version of Shakespeare's ROMEO AND JULIET turned it into a teen fantasy. In that movie, Zeffirelli discreetly gazed over Leonard Whiting's nude body but in the more permissive 1981, he doesn't hold back and lovingly lingers over Hewitt's nude body till Zeffirelli's own obsession takes over! Zeffirelli's romanticization of the book's dangerous love into a conventional teenage love story makes one wonder if he understood the novel. As an actor, Hewitt is a pretty boy cipher and his career went nowhere until he quit acting altogether. With Tom Cruise, Shirley Knight, Richard Kiley, Beatrice Straight and Penelope Milford.

The Castilian (1963)

Set in 10th century Spain, the film follows the saga of Fernan Gonzalez (Espartaco Santoni) of Castile, a nobleman whose guerrilla warfare attempts to drive the Moors out of Spain. Inspired by the epic poem POEMA DE FERNAN GONZALEZ (author unknown) and directed by Javier Seto (BREAD, LOVE AND ANDALUSIA). A wannabe epic that attempts to recreate the success of EL CID (1961) without any success. It's a Spanish movie with some international names cast in supporting roles to help insure marketability outside Spain. The leads are Espartaco Santoni and Tere Velazquez and their conflicted romance is an imitation of the conflicted romance at the heart of EL CID but alas, they are no Charlton Heston and Sophia Loren as either actors or stars. The jumbled battle sequences are a mess. The U.S. version is about ten minutes shorter than the international cut. With Broderick Crawford, Cesar Romero, Alida Valli and Frankie Avalon as a balladeer who sings the narration for the film.

Mother Didn't Tell Me (1950)

A young woman (Dorothy McGuire) sets her sight on a doctor to marry. But when she marries the doctor (William Lundigan) of choice, she finds her romanticized view of being a doctor's wife unrealistic and marital problems surface. Based on the novel THE DOCTOR WEARS THREE FACES by Mary Bard and directed by Claude Binyon (HERE COME THE GIRLS). This comedy backfires because it miscalculates the appeal of its heroine. Dorothy McGuire is a lovely actress with dignity and charm but here she plays an immature wife whose fantasies about being a doctor's wife clashes with the reality of the situation and her resentment about his duties that occupy so much of his time which she feels should be devoted to her. All the sympathy goes to her doctor husband for putting up with such a selfish brat. With Gary Merrill, June Havoc, Jessie Royce Landis, Leif Erickson and Joyce MacKenzie.

Don Juan (1926)

The notorious lover Don Juan (John Barrymore) pursues his conquests with a rakish abandon. But when he glimpses the virginal Adriana (Mary Astor), he finds true love. But there's a problem. A confidant (Montagu Love) of the Borgia family also has eyes for her. Inspired by the 1821 epic poem by Lord Byron and directed by Alan Crosland (THE JAZZ SINGER). A romantic swashbuckler that I found heavy handed and overlong. As Don Juan, Barrymore shows why he was a silent movie idol with a strong screen presence and some panache in his performance. But combining the Don Juan legend with the machinations of the Borgia family makes for a bloated movie. The film was a huge hit though. The film is notable for being the first silent film with a synchronized musical score and sound effects. With Warner Oland, Estelle Taylor, Myrna Loy, Hedda Hopper and Josef Swickard.

Primrose Path (1940)

A teenage girl (Ginger Rogers) is the daughter of a mother (Marjorie Rambeau in an Oscar nominated performance) who supports her squalid family as a prostitute. The girl marries an upstanding young man (Joel McCrea) but keeps her mother's lifestyle a secret. Based on the novel FEBRUARY HILL by Victoria Lincoln (by way of a stage adaptation by Robert H. Buckner and Walter Hart) and directed by Gregory La Cava (STAGE DOOR). How this racy scenario escaped the wrath of the Hays code, I'll never know. I'm not familiar with the source material, either the book or the play, but apparently this film version is faithful to neither. Once again, the 29 year old Rogers is unconvincing as a teenager but after her character marries, she matures rapidly and Rogers is okay after that. The possibilities of the narrative are never satisfactorily executed and the ending is phony. The most interesting characters aren't the two leads but the prostitute mother (Rambeau) and her bitch of a mother (Queenie Vassar), who may have been responsible for pushing her daughter into prostitution. With Henry Travers, Miles Mander and Joan Carroll.

The Beast Of The City (1932)

A police captain (Walter Huston) is not above fighting violence with violence. His brutal methods cause him to be demoted for political reasons. Meanwhile, his brother (Wallace Ford), also a cop, is seduced by a mobster's mistress (Jean Harlow). Directed by Charles Brabin (THE MASK OF FU MANCHU). A most unusual movie to come from MGM, this was the kind of violent gangster flick that usually emanated from Warner Brothers. In fact, Louis B. Mayer relegated it to the second half of MGM's double features. There are no heroes in this movie. Huston's police captain is brutal in his methods and he's a bit of a racist, too. He refers to a character as "one of the greatest white men I've ever known" and refers to an Italian mobster as "greasy". The bloodbath finale at the end of the film sees all the major characters dead! As the film's gold digging femme fatale, Jean Harlow steals every scene she's in and began her reign as MGM's platinum blonde! With Jean Hersholt, J. Carrol Naish, Dorothy Peterson and Nate Pendleton.

The Brotherhood Of The Bell (1970)

A university professor (Glenn Ford) learns that an elite society he joined as an undergraduate is really a sinister organization that seizes wealth and power for its members through nefarious practices. After refusing an order from the Brotherhood, he finds himself increasingly isolated as he tries to expose the organization. Based on the novel by David Karp and directed by Paul Wendkos (THE MEPHISTO WALTZ). For the first hour, this is a very good conspiracy thriller. It creates an atmosphere of paranoia that grows in intensity until you become unsure if Ford's protagonist is a victim of a conspiracy or if he's mentally unhinged. Alas, it unravels in the movie's last 20 minutes or so. It doesn't entirely fall apart but it goes enough off the rails to make it do some damage. Previously filmed for television in 1958. With Rosemary Forsyth, Maurice Evans, Dean Jagger, Dabney Coleman, William Conrad, Eduard Franz and Robert Pine.

Good Luck, Have Fun, Don't Die (2026)

A man (Sam Rockwell) claiming to be from the future recruits an unlikely group of diner patrons to join him in a daring attempt to save mankind from the perils of social media brain rot and the impending AI apocalypse. Directed by Gore Verbinski (THE MEXICAN). If THE TERMINATOR and EVERYTHING EVERYWHERE ALL AT ONCE had a baby, it might look like this! Gore Verbinski's first film in ten years is a humdinger of an inventive science fiction action comedy. Its high concept takes awhile to get off the ground (its first 20 minutes or so are shaky) but when it does, it soars. A cinematic rollercoaster ride that you would be foolish to pass up. With Juno Temple, Haley Lu Richardson, Michael Pena, Zazie Beetz, Asim Chaudhry and Tom Taylor.

First Love (1970)

Set in 19th century Russia, a 16 year old boy (John Moulder Brown) falls in love with the enigmatic beauty (Dominique Sanda) who lives next door. He isn't the only one however as she has many suitors. Based on the novella by Ivan Turgenev and directed by actor Maximilian Schell (who plays the father in the film), who also wrote the screenplay. It's an attractive looking film thanks to the great Sven Nykvist (CRIES AND WHISPERS) but Schell's adaptation of Turgenev is turgid. Its sluggish pacing aside, director Schell doesn't provide us with any sense of youthful passion or the genuine ache of loving someone you can never have. As the boy, John Moulder Brown broods nicely but the ardor isn't there, it's barely puppy love. The film has one of the worst scores (attributed to Mark London) that I've ever heard! With Valentina Cortese, Marius Goring, Dandy Nichols and John Osborne (yes, the playwright).

The Affairs Of Annabel (1938)

Since in her next movie, she'll play a maid, a studio publicity man (Jack Oakie) arranges for a movie star (Lucille Ball) to go undercover as a maid in a real household to get publicity for the film. But everything backfires on the stunt. Directed by Benjamin Stoloff (THE LADY AND THE MOB). A fast paced, fast talking comedy that's undercut by rather stupid characters doing stupid things that are more irritating than funny. The film's main premise has Oakie's publicity man getting Ball's actress in hot water by continually putting her in crazy situations. Ball's Annabel is supposed to be savvy so why does she constantly agree to these crazy publicity stunts that don't work out? Why does Oakie continually do them when they don't work out? On the plus side, Ball proves early in her career that she was an ace comedienne long before TV's I LOVE LUCY. RKO had enough confidence in it that they already had a sequel in the works before this was even released. With Ruth Donnelly, Bradley Page, Elisabeth Risdon, Thurston Hall, Fritz Feld and Madame Sul Te Wan.

Lassie Come Home (1943)

Set in depression era England, a family is hit by hard times and are forced to sell their dog Lassie (Pal) much to the distress of their young son (Roddy McDowall). The dog goes with its new owner (Nigel Bruce) to Scotland but he escapes and begins the long trek back to England and the boy he adores. Based on the novel by Eric Knight and directed by Fred M. Wilcox (FORBIDDEN PLANET). One of the greatest animal movies ever made and if you don't tear up at the finale, well ..... something's lacking in you! You don't have to be an animal lover to enjoy this moving film and it's a perfect family film that doesn't hoke it up for the children and condescend to the adults. Lassie's adventures on the way home include two emotionally charged sequences: the brief respite with an elderly couple (Dame May Whitty, Ben Webster) and his interval with a traveling tinker (Edmund Gwenn) and his pooch. A huge hit that spawned six sequels in the 1940s alone. With Elizabeth Taylor (only 11 years old but already well on her way to becoming a legendary beauty), Donald Crisp, Elsa Lanchester and Alan Napier.

The Flintstones (1994)

Set in the Stone Age, Fred Flintstone (John Goodman) mistakenly becomes an executive at Slate & Company after his buddy Barney (Rick Moranis) switches their test scores. What Fred doesn't know is that his boss (Kyle MacLachlan) is setting him up to take the fall for an embezzlement scheme. Based on the 1960s animated televison series and directed by Brian Levant (JINGLE ALL THE WAY). This is fun for maybe the first 20 minutes as we see how the film makers are translating the TV cartoon show to the live action format but the novelty wears off very quickly and what we get is a visually impressive movie in search of a decent script. Still, audiences seemed to like it enough to make it a box office hit and a sequel followed six years later with a different cast. With Elizabeth Taylor (in her last theatrical feature film), Halle Berry, Rosie O'Donnell, Elizabeth Perkins, Jonathan Winters, Jay Leno, Laraine Newman and the B-52s.

浮草 (aka Floating Weeds) (1959)

A traveling troupe of actors arrive in a provincial town where the leader of the group (Nakamura Ganjiro) has an ex-mistress (Haruko Sugimura) who has raised their son (Hiroshi Kawaguchi), now grown, without the son ever knowing who is father is. Matters become complicated when his current mistress (Machiko Kyo) finds out and in a fit of spite urges another actress (Ayako Wakao) from the troupe to seduce the son. Directed by Yasujiro Ozu (TOKYO STORY). This is a color (Ozu's third) remake of Ozu's silent film STORY OF FLOATING WEEDS (1934). The narrative follows the original film extremely close but many consider it superior to the 1934 movie. While I think it's a marvelous film, I found it veered toward excessive sentimentality toward the film's final moments. But it's a wonderful looking film thanks to Kazuo Miyagawa's lovely cinematography utilizing Eastman color and the performances are excellent. With Hitomi Nozoe and Chisu Ryu.

Love That Brute (1950)

Set in 1928 Chicago, a big shot gangster (Paul Douglas) with a soft heart falls in love with a child care worker (Jean Peters), who doesn't realize he's a mobster. So he pretends to be a widower with two young children in an attempt to woo her. Directed by Alexander Hall (HERE COMES MR. JORDAN). This is a remake of TALL, DARK AND HANDSOME (1941). A lightweight but agreeable slice of entertainment that goes down easily even if its stale plot doesn't offer up anything fresh or original. There's a Runyonesque feel to the narrative especially in the supporting characters of cops, mobsters and molls. With Cesar Romero (who played the lead in the original 1941 movie), Keenan Wynn, Joan Davis, Jay C. Flippen, Arthur Treacher, Kenneth Tobey and Anthony George.

The Slime People (1963)

A group of subterranean reptile men (referred to as the slime people) rise from their depths and invade Los Angeles. They create a wall of solidified fog around the city to prevent its citizens from escaping. Directed by actor Robert Hutton (THE RACKET) in his only movie as a director. Jaw dropping bad! One can't even call it a B movie, it goes straight to Z movie. Stunt men in rubber reptile suits stumbling around excessive fog (the fog machine overdoing it). Are you scared yet? Add the bad acting and inept script and you get a stinker that only connoisseurs of bad movies could love. With Hutton doubling as leading man, Susan Hart, Les Tremayne, William Boyce and Judee Morton.

The Turn Of The Screw (1974)

A governess (Lynn Redgrave) is hired by the guardian (John Barron) of two orphaned children (Jasper Jacob, Eva Griffith) to tend them in the country manor where they reside. Once there, she believes the estate is haunted by the spirits of a former governess (Kathryn Leigh Scott) and her lover (James Laurenson). Her pursuit of the truth leads her to the brink of insanity. Based on the novella by Henry James and directed by Dan Curtis (DARK SHADOWS). Henry James' classic ghost story has been made into films, TV shows, stage plays and even an opera. Perhaps, the definitive version is Jack Clayton's 1961 film version called THE INNOCENTS with Deborah Kerr as the governess. This version done for television is surprisingly good with a solid performance by Lynn Redgrave. Shot on videotape instead of film, it doesn't look particularly good but that is compensated by the quality of the performances and the sense of dread created by director Dan Curtis. With Megs Jenkins (repeating the role of the housekeeper she played in the 1961 film), Anthony Langdon and Benedict Taylor.

The Barbarian (1933)

An Egyptian gigolo (Ramon Novarro) sets his sights on a British socialite (Myrna Loy) recently arrived in Cairo. So he steals her dog and later "finds" it and returns it to her to get in her favor. He continues to pursue her even though she is engaged to another man (Reginald Denny). Based on the 1911 play THE ARAB by by Edgar Selwyn and directed by Sam Wood (A NIGHT AT THE OPERA). Apparently in the 1920s and early 30s, it was every woman's dream to be carried off to an oasis and ravished by a sheik hence the popularity of Rudolph Valentino's sheik films and movies like this! Alas, this scenario doesn't play well in the 21st century. I found it downright offensive as Novarro's Arabian gigolo/prince degrades Loy (in the desert, he rides while she walks and when they reach an oasis, he insists his horse then he drink water before her). But, of course, in the end they ride off happily into the sunset together! Novarro is billed above the title and Loy below the title but their cinematic fortunes would soon change as Novarro's popularity took a nose dive in the mid thirties while Loy would join the Hollywood A list a year later with THE THIN MAN. With C. Aubrey Smith, Edward Arnold, Louise Closser Hale and Hedda Hopper.

The Crooked Way (1949)

After receiving a head wound in combat, a decorated WWII veteran (John Payne) has a permanent case of amnesia. With no idea of his former life, he moves back to Los Angeles where he lived with the hope that he might find people who can tell him who he is or rather was. Based on the play NO BLADE TOO SHARP by Robert Monroe and directed by Robert Florey (MURDERS IN THE RUE MORGUE). Just two years previously, there was another ex-soldier returns from the war with amnesia movie, SOMEWHERE IN THE NIGHT (1947) so this film suffers from deja vu. It also suffers from the contrivance of having Payne return to a large city like Los Angeles and bingo! He's meeting people from his past left and right on the day he arrives! If you can get past that "coincidence", there's a lot to enjoy for noir fans. Notably, the excellent B&W cinematography of John Alton (THE BIG COMBO). Filmed on the streets of L.A. rather than a studio, it adds a touch of realism. With Ellen Drew, Sonny Tufts, Rhys Williams, Percy Helton and John Doucette.

Roofman (2025)

A former Army Ranger and struggling father (Channing Tatum) turns to robbing McDonald's restaurants by cutting holes in their roofs, earning him the nickname, Roofman. After being sentenced to prison, he escapes and lives undetected inside a Toys"R" Us. Directed by Derek Cianfrance (BLUE VALENTINE). The saying "truth is stranger than fiction" applies here. This is based on the life of Jeffrey Manchester, a criminal caught in 2005 and currently serving time in prison with a projected release date of 2036. If I didn't know it was a true story, I'd more than likely call the narrative preposterous! Clearly, the "Roofman" definitely has some psychological problems and as played by Tatum, he doesn't disguise them but Tatum's likability gives the Roofman some charm. A quirky, offbeat crime comedy with a poignant romance (Kirsten Dunst as a single mother raising two daughters) at its center. With LaKeith Stanfield, Juno Temple, Peter Dinklage, Ben Mendelsohn and Uzo Aduba.