12 Hours To Kill (1960)

A newly arrived Greek immigrant (Nico Minardos) in the U.S. witnesses a gangland killing outside his window. To protect him from being murdered by the killers, a police detective (Grant Richards) sends him to a small town where no one knows him. But there's a leak from the police department and the killers are awaiting him when he arrives. Based on the story SET UP FOR MURDER by Richard G. Stern and directed by Edward L. Cahn (FOUR SKULLS OF JONATHAN DRAKE). A hopelessly inept thriller with poor writing, directing and acting. Minardos' Greek emigrant is incredibly naive which makes his character less than believable while Grant Richards' detective snarls and barks his lines to the point of annoyance. Even the normally appealing Barbara Eden as the small town girl who helps Minardos' man on the run doesn't register. It's the kind of movie where the heroine knows the bad guys are after her yet opens the front door without asking who it is thus allowing the baddies access to her home. With Gavin McLeod, Richard Reeves and Art Baker.

The Man Beneath (1919)

A Hindu physician (Sessue Hayakawa) is in love with a Caucasian woman (Helen Jerome Eddy) who loves him too but rejects his proposal of marriage because the difference in race would make marriage too difficult for everyone involved. Meanwhile, her young sister (Pauline Curley) becomes engaged to a college chum (John Gilbert) of the Hindu doctor. Based on the novel ONLY A N****R by Edmund Mitchell and directed by William Worthington (THE DRAGON PAINTER). It's an odd little film, part crime thriller, part social statement and not really successful on either count. The infusion of a subplot about a secret society that Gilbert joined in his youth and now demands he kill a judge borders on the preposterous. Its worth lies in its archival status on Sessue Hayakawa's silent film career, not as cinema. The film could have done with more intertitles as it's often difficult to piece the plot together. With Fontaine La Rue and Wedgwood Nowell.

East Side Of Heaven (1939)

A singing taxi driver (Bing Crosby) finds himself stuck with a baby left in his cab by a woman (Irene Hervey), who's looking for her missing husband (Robert Kent). Meanwhile, the baby's  millionaire grandfather (C. Aubrey Smith) has detectives roaming the city to find the missing child. Directed by David Butler (CALAMITY JANE). A moderately entertaining comedy with songs (courtesy of Bing Crosby, who also had money invested in the movie). The kind of fluff with an "adorable" baby at its center designed to make audiences go, "Awww ... isn't he cute?". Yes, the baby (billed as Baby Sandy) is cute but after too many close ups of the cooing or laughing infant, it gets rather tiresome. Crosby's romantic interest is Joan Blondell and they have an easy going chemistry together. Then there's Mischa Auer as Crosby's wacky room mate to provide the laughs. Considering I'm so not a Crosby fan, I had a pleasant enough time with it. With Jerome Cowan and Jane Jones.

Panic In The Streets (1950)

Set in New Orleans, when a bullet ridden body (Lewis Charles) in the waters off the docks is examined by a public health doctor (Richard Widmark), it's discovered that he carries a virulent strain of bubonic plague. Directed by Elia Kazan (ON THE WATERFRONT), this racing against time thriller is often categorized as film noir. I wouldn't categorize it as that but hey, that's just me. Kazan shot the film entirely on location on the streets and dives of New Orleans which lends an authenticity to the proceedings. It's a well executed intense thriller as Widmark and Paul Douglas (as a cop) attempt to track down the dead man's killers who are infected with the plague before they can infect more people. Alas, Kazan can't sustain the suspense as the movie's last fifteen minutes are a routine cops chasing the bad guys scenario and the movie goes out with a whimper. Surprisingly, the film did not turn a profit for 20th Century Fox (Zanuck blamed the cost of the location shooting) but the reviews were decent. The film's script won an Oscar for the story's writers, Edna and Edward Anhalt. With Barbara Bel Geddes, Jack Palance, Zero Mostel, Alexis Minotis and Tommy Rettig.

The Mad Doctor (1941)

A smooth and sinister physician (Basil Rathbone) woos, weds and murders several of his wealthy female patients for their fortunes. He sets up a Park Avenue psychiatry practice and sets his eyes on "curing" a troubled heiress (Ellen Drew). But something different occurs ..... he falls in love with her. Directed by Tim Whelan (THIEF OF BAGDAD) with a script co-written by Charles MacArthur and Ben Hecht (THE FRONT PAGE). An above average thriller with a solid performance by Basil Rathbone in one of his rare leading man roles (the Sherlock Holmes franchise excepted). The nominal "hero" (John Howard) is unlikable and arrogant which gives a perverse sympathy to Rathbone's serial killer. As Ellen Drew's character says of him, there's something frightening about him but also something sad and this is what gives him a dual nature and makes him more interesting than the bland "hero". The film's last 15 minutes or so are very intense and director Whelan squeezes all the tension he can out of the material. With Martin Kosleck (very good as Rathbone's homicidal companion), Ralph Morgan and Barbara Jo Allen.

Smart Woman (1948)

A special prosecutor (Brian Aherne) is assigned when a grand jury is dissatisfied with the efforts of the district attorney (Otto Kruger) to prosecute crime in its city. And why would he? He's involved up to his teeth in crime and racketeering. Meanwhile, an attorney (Constance Bennett) is being blackmailed by the D.A.'s partner in crime (Barry Sullivan). Directed by Edward A. Blatt (BETWEEN TWO WORLDS). In the late 1940s as actors were freed by the studio system, many formed their own production companies to make their own films (Humphrey Bogart's Santana productions and Joan Fontaine's Rampart productions to name just two). One of the most popular actresses in the 1930s, Constance Bennett found her career floundering in the late 1940s and she formed Constance Bennett productions and SMART WOMAN was the result. While the film offers a juicy role for her, it's not much more than a melodramatic potboiler. It's watchable but it's also forgettable and did nothing to stop her sinking career and by 1951, her film career was over (she did return one more time in 1966 for MADAME X). Worth checking out for Bennett fans but everyone else can pass. With Michael O'Shea, James Gleason, Isobel Elsom and Selena Royle.

Three Sisters (1970)

Set in a small provincial Russian town, three sisters long to return to Moscow, the city where they grew up: Olga (Jeanne Watts) is a spinster who teaches school, Masha (Joan Plowright) is married to an older man (Kenneth MacKintosh) she has fallen out of love with and Irina (Louise Pernell), the youngest who fantasizes that everything will be fine if they could get back to Moscow. Based on the classic play by Anton Chekhov (the "The" has been dropped from the title) and directed by Laurence Olivier. Chekhov's great drama reflects on the dreams we have and how we must go on when they don't materialize. While the sisters' stoic acceptance of their situation may prove irritating to some (at times, I wanted to yell, "Do something about it instead of just talking about it"), Chekhov perfectly encapsulates their loneliness and entrapment and perhaps their passive acceptance is a comment (would they be any happier in Moscow?). The acting is very good and director Olivier has a supporting role as an alcoholic doctor. Not released in the U.S. until 1974. With Alan Bates, Derek Jacobi, Sheila Reid and Ronald Pickup.

The Lawyer (1970)

A Harvard educated Italian-American attorney (Barry Newman) practices law in a small Southwestern town where he's resented by the prejudiced locals. When he takes on the defense of a rich physician (Robert Colbert) accused of murdering his wife (Mary Wilcox), he has an uphill battle. Directed by Sidney J. Furie (THE IPCRESS FILE). Despite it's graphic violence and nudity, the film plays out a TV movie of the week. Indeed, it spawned a TV series named PETROCELLI (the name of Newman's character) also starring Barry Newman that had a two year run from 1974 to 1976 so the theatrical film seems like a TV pilot. The film's murder trial is based on the notorious Sam Sheppard murder case in 1954. If you're partial to courtroom dramas and whodunits as I am, there's enough here to hold your attention. The acting never rises above adequate and sometimes less than that. There are two awful performances that I found hard to watch: Harold Gould as the prosecuting attorney can't seem to get a grasp on his character so he continually pops candy into his mouth hoping that will define his character and then there's Jeff Thompson whose non stop grinning made him look mentally defective. With Diana Muldaur, Kathleen Crowley, William Sylvester, Michael Murphy and Ken Swofford.

Ma Saison Preferee (aka My Favorite Season) (1993)

Set in Southwest France, a brother (Daniel Auteuil) and sister (Catherine Deneuve) renew their tenuous relationship after their mother (Marthe Villalonga) suffers a stroke. Co-written and directed by Andre Techine (LES VOLEURS). Although very well acted and directed, I found Techine's film about a dysfunctional family creepy. Certainly it's possible (and it's been done) to make a film with screwed up characters at its center and still relate to their problems but Techine isn't able to make that connection. But Deneuve's adrift wife, Auteuil's self centered doctor, Villalonga's ornery mother deserve each other. As Deneuve's daughter (Chiara Mastroianni) states in the film, that side of the family is dangerous and she doesn't want to have anything to do with them and I couldn't agree more. My opinion isn't share because the film was a big hit in France where it received 7 Cesar (the French Oscar) nominations and both French and American critics gave it their approval. Still, there's no denying it has a certain power. With Jean Pierre Bouvier, Anthony Prada and Carmen Chaplin (Charlie's granddaughter).

The Enforcer (1951)

A crusading district attorney (Humphrey Bogart), out to convict the head of a vicious murder for hire ring, must race against time to find the evidence he needs to bring down the mob boss (Everett Sloane). Directed by Bretaigne Windust (JUNE BRIDE) with an uncredited assist from Raoul Walsh (WHITE HEAT). This early example of what has come to be known as a police procedural is also considered film noir although I wouldn't consider it so myself. The film is often tedious and repetitive with what seems the same scene played over and over again, only with different characters. The movie opens in the present and goes into flashback mode where there are several flashbacks within that flashback. There is a very nice twist at the very end which ends in an intense race against time in order to prevent another death. It's a good little suspense flick, you'll just have to endure the frequent monotony to get to the excellent payoff. With Zero Mostel, Ted De Corsia, Susan Cabot, Roy Roberts, Michael Tolan, Don Beddoe and Patricia Joiner.

Return Of The Bad Men (1948)

Set during the Oklahoma Land Rush of 1889, a cadre of outlaws headed by the notorious outlaw Wild Bill Doolin (Robert Armstrong) prey on the newly prosperous territory. The nastiest of the gang is The Sundance Kid (Robert Ryan) and the town's marshal (Randolph Scott) has a personal grudge to settle with the Kid. Directed by Ray Enright (THE SPOILERS). Typical B western fodder, the kind that played on Saturday afternoons on TV when I was a kid. The good guys (Scott) vs. the bad guys (Ryan), the "bad" girl (Anne Jeffreys) and the "good" girl (Jacqueline White) both in love with the hero, shoot outs and fist fights. You could follow the movie like a map of western movie cliches. Being the bad girl who turns good because she loves the marshal and turns against her outlaw pals, you just know that Jeffreys won't make it to the end. Then there's the ubiquitous Gabby Hayes, irritating as ever presumably there to provide comedy (epic fail there). With Lex Barker, Robert Bray, Steve Brodie and Minna Gombell.

Charlie Chan At The Olympics (1937)

When a U.S. military plane is hijacked and its top secret guidance system stolen, detective Charlie Chan (Warner Oland) heads to Germany to attempt to get it back before it falls into enemy hands. By coincidence, his son (Keye Luke) is on the U.S. Olympics swim team. Based on the character created by Earl Derr Biggers and directed by H. Bruce Humberstone (I WAKE UP SCREAMING). The 14th film in the 20th Century Fox Charlie Chan franchise is one of the better entries. The film includes actual footage from the 1936 Berlin Olympics. The mystery is complicated and takes a few twisty turns before it arrives at its satisfying conclusion but the screenplay doesn't allow for any excess fat as director Humberstone pushes it along. The film hints at the trouble in Germany to come and in an amusing bit, Chan flies to Germany on the Hindenburg. With Katherine DeMille (Cecil B.'s daughter), Pauline Moore, Allan Lane, C. Henry Gordon and John Eldredge.