Lucky Partners (1940)

A caricaturist (Ronald Colman) and a girl (Ginger Rogers) who works in a bookshop share the cost of a sweepstakes ticket. The catch: although she's engaged to an insurance salesman (Jack Carson), if they win she'll go on a platonic "honeymoon" with him. Based on the French film BONNE CHANCE (1935) and directed by Lewis Milestone (ALL QUIET ON THE WESTERN FRONT). Full of suggestive situations but still clean enough to get by the code, this is a rather sweet romantic comedy. By 1940, Rogers had more than proven herself as an expert comedienne but Colman doesn't seem suited to romcom material. The critics gave it good reviews (maybe overpraised it) and it was a hit with audiences. I found it charming enough but it lacked the sparkle and wit that would make it a true classic of Golden Age comedy like THE AWFUL TRUTH or HIS GIRL FRIDAY. Still, I'm grateful for what it is ..... sassy and fun. With Spring Byington, Harry Davenport, Leon Belasco and Lucile Gleason.  

The Elephant Man (1980)

Based on the true story of Joseph Merrick (John Hurt), called John Merrick in the film, a severely deformed man in 19th century London. He is rescued from an abusive carnival show by a surgeon (Anthony Hopkins) and taken to London hospital where he is studied and taken care of. Based on two books, THE ELEPHANT MAN: A STUDY IN HUMAN DIGNITY by Ashley Montagu and THE ELEPHANT MAN AND OTHER REMINISCENCES by Frederick Treves and directed by David Lynch (BLUE VELVET). The first mainstream movie by the visionary Lynch, this is a beautifully crafted and poignant film though often difficult to watch. The human cruelty is hard to take and Lynch doesn't allow us to look away. That John Hurt was able to give such a strong performance under all that prosthetic make up is truly remarkable. The striking B&W cinematography is by the great Freddie Francis (ROOM AT THE TOP). With Anne Bancroft, John Gielgud, Wendy Hiller, Freddie Jones, Michael Elphick, Lesley Dunlop and John Standing. 

Five Easy Pieces (1970)

Once a child piano prodigy from a professional musical family, an ill tempered young man (Jack Nicholson) now works on oil rigs in the oil fields. He lives with his uneducated girlfriend (Karen Black), who work as a waitress. When word gets to him that his father (William Challee) is dying, he drives up to Washington state. Directed by Bob Rafelson (KING OF MARVIN GARDENS). One of the key films of the "new" Hollywood of the 1970s, Nicholson's alienated character doesn't fit in anywhere. He feels superior to the lower class company he keeps like his brainless girlfriend and his oil rig pals but he loathes the intellectual pretensions of the artistic upper class where he came from. You can feel Nicholson's rage and contempt bottling up but he has no idea what he wants or where to fit in. Thematically, the film is a riff on the superior SOME CAME RUNNING (1958), Nicholson's character echoing Frank Sinatra's novelist. I wasn't sympathetic to Karen Black's country singing waitress either, she was clinging and annoying, no wonder Nicholson wanted to get away from her. Compare her to SOME CAME RUNNING's poignant Ginny (Shirley MacLaine). With Susan Anspach, Lois Smith, Billy Green Bush, John P. Ryan, Sally Struthers, Fannie Flagg, Helena Kallianiotes, Ralph Waites, Toni Basil, Irene Dailey and as the waitress in the famous chicken salad scene, Lorna Thayer.

Let Us Live (1939)

A taxi driver (Henry Fonda) and his waitress girlfriend (Maureen O'Sullivan) plan on buying their dream house and his starting up his own taxi cab business. But when he and a friend (Alan Baxter) are arrested for murder after being identified by witnesses, his fiancee is determined to find the evidence to prove their innocence. Based on the short story MURDER IN MASSACHUSETTS by Joseph F. Dinneen and directed by John Brahm (HANGOVER SQUARE). The story itself was based on a real murder case although much dramatic license has been taken. Some 17 years before Fonda played the wrongly accused man in Hitchcock's THE WRONG MAN, this film is very similar thematically and in its outcome. It's a solid effort and even Fonda (not a favorite) is good. But the movie really belongs to the feisty O'Sullivan. The film is also subtly anti-capital punishment. With Ralph Bellamy, Stanley Ridges and John Qualen.

Play Girl (1941)

An aging gold digger (Kay Francis) is no longer able to attract rich men so she does the next best thing. She mentors a young girl (Mildred Coles) that she passes off as her niece and together they con men out of their money and split the profits. Directed by Frank Woodruff (LADY SCARFACE). Ostensibly a comedy, I found the film rather sad. At age 36, Kay Francis was still attractive and vital and to see her reduced to pimping an innocent young girl and pushing her toward a life of using men for profit, I was not amused. But this being 1941, it has a happy ending and everybody gets what they want and no one gets hurt. It's passable entertainment and Kay Francis fans should enjoy it. With James Ellison, Nigel Bruce, Margaret Hamilton (doing the wise cracking Thelma Ritter maid bit), Katharine Alexander and G.P. Huntley.

The Colossus Of New York (1958)

After his brilliant scientist son (Ross Martin) is killed in an accident, his father (Otto Kruger) transplants his brain into the huge body of a cyborg. But the experiment soon backfires when the cyborg becomes independent and takes control of the father. Directed by Eugene Lourie (THE BEAST FROM 20,000 FATHOMS). This minor B science fiction flick was released on a double bill rather than on its own. Still, it has acquired a small cult following. Why, I don't know as I found it an unexceptional updated retelling of the Frankenstein story. Its ineptitude can be seen toward the end when the man built monster starts killing people at the United Nations. Instead of running away in terror, people stand there screaming so they can be next in line to be killed! Ross Martin does some good voice acting as the cyborg but the rest of the cast sinks (or should I say stinks?). With Mala Powers, John Baragrey, Robert Hutton and Charles Herbert giving one of those horrible child actor performances that doesn't resemble any actual living kid.

Le Meurtrier (aka Enough Rope) (1963)

An architect (Maurice Ronet) is unhappily married to his shrewish wife (Yvonne Furneaux). His interest in the murder case of a suspected wife killer (Gert Frobe in a genuinely creepy performance) is fueled after the man is acquitted and he strikes up an acquaintance with the man, who is still under suspicion by a police detective (Robert Hossein) that will have dire consequences. Based on the novel THE BLUNDERER by Patricia Highsmith (THE TALENTED MR. RIPLEY) and directed by Claude Autant Lara (THE DEVIL IN THE FLESH). An intense noir-ish thriller strikingly directed by Autant Lara, a director not noted for thrillers. The cat and mouse interplay between the three protagonists (Ronet, Frobe, Hossein) is expertly done. We observe coolly from a distance as all the characters are unpleasant or unlikable to some degree. Even Hossein's detective is a nasty piece of goods. Fans of film noir should eat this up. With Marina Vlady and Paulette Dubost.

Mildred Pierce (2011)

Set in Glendale, California during the Great Depression of the 1930s. A recent divorcee (Kate Winslet) struggles to raise her two daughters: the pretentious Veda (Morgan Turner who morphs into Evan Rachel Wood) and the tomboyish Ray (Quinn McColgan). She eventually finds financial success when she turns her pie baking skills into a successful series of restaurants. She's less of a success as a mother as she indulges her older daughter's selfish ways and doesn't realize she's created a monster! Based on the novel by James M. Cain (previously filmed in 1945) and directed by Todd Haynes (FAR FROM HEAVEN). Cain's novel is about a middle class divorcee trying to maintain her lifestyle during the depression and about her tumultuous relationship with her devious daughter. The popular 1945 film adaptation turned it into a film noir by adding a murder which isn't in the book thus changing Cain's intent where there is no violence. Running over five hours, Haynes' adaptation is a faithful rendering of Cain's novel. Winslet gives a virtuoso performance and seeing a real actress in the part (sorry, Crawford fans) is a revelation. With Guy Pearce, Melissa Leo, Mare Winningham, James LeGros, Brian F. O'Byrne and Hope Davis.

The Brutalist (2024)

A Hungarian born Jewish architect (Adrien Brody) survives the Holocaust and immigrates to America. Although addicted to heroin, he struggles to attain the American dream until a wealthy client (Guy Pearce) enters and changes his life. Co-written and directed by Brady Corbet (VOX LUX), who won the best director award at the Venice film festival for his work here. An epic period drama that runs three hours and 40 minutes including an intermission and shot in the higher resolution VistaVision process. It's a powerful look at the immigrant experience starting with 1947 and ending in 1980 with Brody's architect a broken man at the film's beginning and try as he might, he can't seem to heal himself. Brody is amazing here but the best performance comes from Guy Pearce as his disturbed mentor. It's ambitious film making and director Corbet aces it. The period detail in the art and set direction is stunning, almost as if I were watching a movie in the 1940s or 1950s. There are some unpleasant images in the film, the shooting up of heroin and the most disturbing male rape scene since DELIVERANCE (1972). The audacious score is by Daniel Blumberg. The excellent cast includes Felicity Jones (sensational as Brody's wheelchair bound wife), Joe Alwyn, Raffey Cassidy, Stacy Martin, Issach D. Bankole and Alessandro Nivola.

A Simple Favor (2018)

A single mother (Anna Kendrick) runs a video blog while raising her son (Joshua Satine). At her son's school, she meets another mother (Blake Lively), who has a high powered job and the women become best friends although they are very different. But when her friend goes missing, she takes it upon herself to discover what happened but when the friend's dead body is found drowned in a lake, that would seem to be the end of it. But it isn't ..... and a darker scenario shows that her deceased friend wasn't exactly who she thought she was. Based on the novel by Darcey Bell and directed by Paul Feig (BRIDESMAIDS). I love a good mystery movie and this black comedy/mystery is a humdinger. Alas, like many such films it can't sustain itself until the end and the movie's last half hour is pretty ludicrous. But up till then I was glued to the screen. Both Kendrick and Lively are very good, giving contrasting performances, one sugar (Kendrick) and one spice (Lively). There are enough twists and turns to keep movie mystery lovers happy. With Henry Golding, Jean Smart, Linda Cardellini and Rupert Friend.

Down And Out In Beverly Hills (1986)

Rescued from drowning in the swimming pool of a nouveau riche Beverly Hills businessman (Richard Dreyfuss), a homeless bum (Nick Nolte) proceeds to turn the entire household upside down. Based on the play BOUDU SAUVE DES EAUX by Rene Fauchois (previously filmed in 1932 by Jean Renoir) and directed by Paul Mazursky (BOB & CAROL & TED & ALICE). It's funny what time does to your perception of a movie. When I first saw this film on its initial release, I thought it was positively hilarious. While I still found much to enjoy this time around, I found the movie strained and more than a bit smug. Has my sense of humor changed or was the movie always this way? Mazursky gives the movie a silly bourgeois Hollywood ending rather than the free spirited "thanks but no thanks" ending of the Renoir version. Still fun even if its lost some of its luster. With Bette Midler, Little Richard (who gets to sing), Elizabeth Pena, Tracy Nelson, Michael Yama, Dorothy Tristan, Irene Tsu and a scene stealing dog called Mike.

Arnold (1973)

When the wealthy and eccentric Lord Dwellyn (Norman Stuart) dies, his funeral also doubles as a wedding when he marries his mistress (Stella Stevens). But in order to inherit his wealth, she must live in his mansion along with his corpse for the rest of her life. However, when his relatives and friends start getting killed off, his bride fears she may be next! Directed by Georg Fenady (TERROR IN THE WAX MUSEUM). Horror comedies (CAT AND THE CANARY, GHOST BREAKERS) are usually fun but this one misses the boat. Its droll humor is amusing in fits and spurts but overall, the laughs just aren't there. One can't fault the cast who try their damnedest but other than Elsa Lanchester doing her specialty as the deceased's dotty sister, the actors flounder. It's not so much the script but Fenady's sluggish direction. The man doesn't seem to have a funny bone in his directorial body. With Roddy McDowall, Farley Granger, Shani Wallis, Patric Knowles, Victor Buono, Jamie Farr, John McGiver and Bernard Fox who wastes way too much screen time as an unfunny constable.