Spanning the years from WWI to WWII and told in flashback, a dedicated newspaper editor (John Mills) falls in love and marries the headstrong daughter (Martha Scott) of a corrupt mill owner (Frederick Leister). But love has blinded the newspaper man to her true nature. Based on the novel by James Hilton (GOODBYE MR. CHIPS) and directed by Edward Dmytryk (CROSSFIRE). The tale of a good man in love with a manipulative and ambitious Lady MacBeth like wife, it's an old fashioned (in the good sense) literate/literary movie that has a solid story that holds you in its grip to the very end. In her best performance, Martha Scott carries the ball and runs with it, not afraid to show us what a monster her calculating wife and mother is. The kind of well crafted studio (in this case, RKO) film making that no longer exists today. The cinematic equivalent of a good page turner. With Trevor Howard (excellent as an alcoholic doctor), Richard Carlson, Patricia Roc, Reginald Tate and Juliet Mills.
To prove he's worthy of his editor's (Howard St. John) daughter (Yvonne Craig), a milquetoast journalist (Robert Morse) agrees to head to the Antarctic and report from an underground naval base. Realizing a scoop will cut short his stay, he decides to create his own news with the aid of his photographer friend (George Maharis). Based on the novel by Philip Benjamin and directed by Delbert Mann (MARTY). A flat, inane comedy with just a hint of a plot and no laughs. The movie doesn't seem to no what it is. A romantic comedy? A military comedy? A sex farce? Although there is some second unit shots in Alaska (subbing for the Antarctic), most of it is a studio bound icescape. With Anjanette Comer, James Gregory, Norman Fell, Michael Constantine, Janine Gray and a scene stealing penguin named Milton Fox.
An ex-convict (Burt Reynolds) goes home to claim an inheritance left by his deceased mother only to find that his estranged stepfather (Melvyn Douglas) holds him responsible for his own son's death. He will stop at nothing to fight the ex-con drifter from claiming his inheritance. Directed by Bernard Girard (DEAD HEAT ON A MERRY GO ROUND). A potentially interesting narrative about an estranged father and son attempting to overcome their past is sabotaged by a mediocre script and a pedestrian last act which turns into a routine "hysterical vigilantes hunt down an innocent man" scenario. A pity because there are a lot of good actors involved in this telefilm but their talents are wasted here. With Suzanne Pleshette, Martin Balsam, Peter Brown, Larry Storch, Jill Banner, A. Martinez and Donald Barry.
After spending the night with his girlfriend (Jeanne Moreau), a trucker (Jean Gabin) encounters a dead body on the road home. He reports the incident to the police but they suspect that he is responsible for the death And then there's that nasty gang of crooks who are harassing him. Based on the novel DU RAISIN DANS LE GAZ-OIL by Georges Bayle and directed by Gilles Grangier (TROIS JOURS A VIVRE). A routine crime drama elevated by the presence of Jean Gabin and Jeanne Moreau, who bring some star quality to the proceedings. It's quite entertaining but there's nothing out of the ordinary about it. The striking B&W cinematography is by Pierre Montazel (TOUCHEZ PAS AU GRISBI). With Marcel Bozzuffi, Ginette Leclerc and Jacques Marin.
When a fan sends the drummer (Ringo Starr) of The Beatles (John Lennon, Paul McCartney, George Harrison) an ancient sacrificial ring that becomes stuck on his finger, he becomes targeted by a group of obsessed Eastern mystics as well as an ambitious scientist (Victor Spinetti) who has his own plans for the ring. Directed by Richard Lester (PETULIA). Essentially a live action cartoon with The Beatles as the road runner and the villains as the coyote. The best part of the movie, of course, are the songs. The nonsensical plot is fun for awhile but it gets old pretty fast. The songs aren't integral to the narrative, they're inserted into the action and became a big influence on the music videos that emerged on MTV. The characterization of the Eastern cult is uncomfortable at times, bordering on racism. It goes without saying that Beatles fans will enjoy this. As for everybody else, I'm not so sure. With Eleanor Bron, Leo McKern, Patrick Cargill and Roy Kinnear.
An attorney (Jean Simmons) is selected to fill a vacated government position. Her husband (Gene Barry) is approached by a man (Jonathan Banks) who has stolen medical records about his wife's nervous breakdown seven years earlier. Succumbing to blackmail, the husband agrees to pay $50,000 but when he goes to hand over the money, he finds the blackmailer dead and is arrested for murder. Enter Perry Mason (Raymond Burr) to defend him. Directed by Ron Satlof (THE CASE OF THE NOTORIOUS NUN). The fourth entry in the thirty Perry Mason telefilms is one of the very best. It gives Jean Simmons, a fine actress whose film career after 1970 was weak, a late career role that allows her to remind us what a good actress she is. Burr's health was declining and he had mobility issues. He uses a cane throughout the film and is usually photographed sitting or standing. With Barbara Hale, William Katt, Robert Mandan, David Ogden Stiers, Robert F. Lyons and Robert Walden.
A building contractor (Warner Baxter) has a wife (Loretta Young) who has aspirations to become a professional opera singer. Her ambition leads to marital tensions that only increase when an opera diva (Binnie Barnes) takes a liking to the husband. Based on the novella by James M. Cain (MILDRED PIERCE) and directed by Gregory Ratoff (INTERMEZZO). An agreeable comedy that pokes fun at artistic pretensions although I'm not so sure that it's also poking fun at opera. Maybe a little of both. It's a modest farce and the actors seem to be having a good time and I enjoyed seeing Loretta Young, an actress not known for her comedic chops, loosen up. Remade ten years later as EVERYBODY DOES IT. With Cesar Romero, Eugene Pallette, Helen Westley and George Barbier.
A convicted embezzler turned successful businessman (Stewart Granger) discovers his troubles are just beginning. First, he's blackmailed by a prison dentist (Norman Bird) threatening to expose his past. Then, his wife (Haya Harareet) leaves him when she suspects he has a mistress. Directed by Basil Dearden (VICTIM). While the movie's premise seems far fetched, Dearden manages to keep the action moving at a decent pace until it arrives at a corker of a twist ending that would do Agatha Christie proud. Its over convoluted plot gets in the way of the narrative occasionally but I found it moderately entertaining but then again, I'm partial to mystery thrillers. I could have done without the cheesy underscore by Philip Green. With Bernard Miles, Hugh Burden and Melissa Stribling.
A widowed mother (Meghann Fahy) and survivor of domestic violence goes on her first date in years with a charming photographer (Brandon Sklenar). Their date is interrupted by a series of anonymous drops to her phone showing a masked killer entering her home and ordering her to follow a series of instructions. Directed by Christopher Landon (HAPPY DEATH DAY). Despite an extremely far fetched plot (and the unpleasantness of using domestic violence as a gimmick), the first hour of this mystery thriller is very good. Landon keeps an intensity that propels the movie forward at an exciting pace. Alas, the film goes off the rails in its last half hour. It becomes so ludicrous as to be laughable and all the good will it generated in its first hour goes out the window. Even the film's good reviews acknowledged the absurdity of its gimmicky narrative. With Reed Diamond, Violett Beane, Jeffery Self and Gabrielle Ryan.
A pugnacious and arrogant hoodlum (Edward G. Robinson) with a massive chip on his shoulder has few friends and no sense of underworld diplomacy. But his ambition leads him to climb the ranks of organized crime until he reaches the top. But how long will he stay there? Based on the novel by W.R. Burnett (THE ASPHALT JUNGLE) and directed by Mervyn LeRoy (QUO VADIS). Brutal and gritty, this was the movie that made Robinson a star and forever associated with him. Robinson didn't have movie star looks but he held the screen with authority for over 40 years. As far as gangster movies go, this pre code drama is one of the best though it's inconceivable to think of the film without Robinson's commanding performance. With Douglas Fairbanks Jr., Glenda Farrell, Sidney Blackmer and Ralph Ince.
Stationed to work side by side on a mission in post war Germany, a French army officer (Cary Grant) and an American WAC Lieutenant (Ann Sheridan) fall in love. When they marry, complications arise as the only way for her husband to enter the U.S. is through the congressional act governing war brides. Based on MALE WAR BRIDE TRIAL TO ARMY by Roger Charlier and directed by Howard Hawks (RED RIVER). Hawks is an admired auteur but there's a surprising amount of routine films on his resume, this one among them. It's not bad, mind you but it's essentially a one joke movie that gets tiresome pretty quickly. Fortunately, Grant and Sheridan have a nice antagonistic chemistry but the entire red tape complications which are meant to be amusing are as frustrating to the viewer as it is to Grant's character. Even Grant's drag act falls flat. The film was a huge hit, however. With Kenneth Tobey, Eleanor Audley, Randy Stuart and Marion Marshall.
A group of young baseball hopefuls head out to a Florida baseball training camp for the New York Giants where an ex major league player (Edward G. Robinson) puts them through their paces and reports to the front office on who has the potential to make it to the major leagues. Directed by Robert Aldrich (KISS ME DEADLY) in his directorial film debut. This was a job for hire for Aldrich and the movie displays none of the complexities, resonance or subversion of his best work. It's an "inspirational" baseball flick and although I'm not fond of sports movies, this one moves quickly and with a tight running time of one hour and ten minutes, it's painless. It was a low budget effort from MGM but it still lost money. With Vera Ellen (in a rare non dancing role), Jeff Richards, Richard Jaeckel, William Campbell, Paul Langton and Lalo Rios.
After inheriting a house that has a reputation for being haunted, a young woman (Marj Dusay) hires a parapsychologist (Kerwin Mathews) to investigate and prove that the house is not haunted. Directed by Lela Swift (NIGHTMARE AT 43 HILLCREST). An unsold television pilot that would have Mathews' parapsychologist and his assistant (Cal Bellini) investigating the supernatural each week. As a haunted house movie, it's predictable and dull and it looks ugly (it was shot on videotape instead of film). It was produced by Dan Curtis who has some history with horror (he created, produced and directed the gothic soap opera DARK SHADOWS) but came up with a lemon here. With Thayer David and Louis Edmonds.
Almost three decades since a rage virus escaped from a biological weapons laboratory, a small group of survivors live in a ruthlessly enforced quarantine village off the coast of Scotland. A father (Aaron Taylor Johnson) takes his young son (Alfie Williams) to the mainland to hunt infected mutants for sport. Directed by Danny Boyle (SLUMDOG MILLIONAIRE). The third entry (or sequel if you prefer) in the 28 DAYS LATER film franchise. It's a grisly example of gore porn, this is a thoroughly unpleasant movie. The first half hour is torture to sit through as director Boyle seems to relish and dwell over every bleeding hole, decapitation, hanging intestines etc. It improves after that but honestly, it's still a relentlessly downbeat movie whose main purpose seems to be to gross out its demographic audience. If gore porn is your thing, go for it. For others, I suspect they'll be repelled by it as much as I was. With Jodie Comer, Ralph Fiennes and Jack O'Connell.
A radio talk show host (Juliette Binoche) has been living with her lover (Vincent Lindon) for ten years. When they met, she was involved with another man (Gregoire Colin) and when he suddenly reenters their lives, things spiral out of control. Based on the novel UN TOURNANT DE LA VIE by Christine Angot and directed by Claire Denis (BEAU TRAVAIL). A deeply disturbing look at a complex love triangle. I found it difficult to empathize with Bincoche's character. She's a phony, she's a liar, she's duplicitous and she hurts people. Her live in lover deserves better. Filmed during the Covid pandemic in 2021, the characters in the film wear masks when outside their homes. The performances are top notch and Denis keeps a driving intensity that slowly grows into a powerhouse conclusion. With Bulle Ogier, Alice Houri and Issa Perica.
An art dealer (Paul Frankeur) has a wife (Jacqueline Noelle) with expensive tastes. When the opportunity arrives to make money by forging a fake Gauguin, he takes it. But when the forger (Giani Esposito) gets a conscience and his drinking threatens to expose them, the art dealer and his accomplice (Michel Auclair) know they will have to silence him. Based on the novel by Michel Lenoir and directed by Gilles Grangier (LE ROUGE EST MIS). A very good example of French film noir. Frankeur's protagonist is essentially a decent man that crosses a line that he would never have crossed if it hadn't been for a wrong done to him. Once in, he goes deeper into crime until murder seems the only out. The film's only downside is a godawful score by Jean Yatove that is so obvious as to be almost laughable. Noir fans should check this one out. With Annie Girardot and Marcel Bozzuffi.
Pee Wee Herman (Paul Reubens) has a cherished bicycle. When it is stolen, a psychic (Erica Yohn) tells him the bike is in the basement of the Alamo and off he goes to Texas in search of it. Directed by Tim Burton (ED WOOD). I've never been a big fan of Reubens' child-man creation, Pee Wee Herman. But although uneven, the movie is imaginative, colorful, sometimes witty and more often silly fun. The film was a big hit as was Burton's follow up, BEETLEJUICE and Burton became an A list director. The film is surrealistic and inventive enough and with a slightly calculated innocence that it easily overrode my lack of enthusiasm for the Pee Wee character (a little goes a long way). Danny Elfman's score is very clever borrowing from Bernard Herrmann, Nino Rota and John Barry. With James Brolin, Morgan Fairchild, Milton Berle, Diane Salinger, Cassandra Peterson, Elizabeth Daily and Mark Holton.
