The Magnificent Dope (1942)

The owner (Don Ameche) of a self improvement school designed to promote successful careers has fallen on hard times. As a publicity stunt to attract students, he searches for the laziest man in America and attempts to make a success of him. When he finds a seemingly perfect candidate, a cheerful and uncomplicated yokel (Henry Fonda), he seems resistant to "success" as he enjoys his easy uncomplicated lifestyle. Directed by Walter Lang (STATE FAIR). Like Fonda's character, this is a simple and uncomplicated movie. I'm not Fonda's biggest fan but he's perfectly cast here and his role isn't all that different from his naive, woman shy snake expert in THE LADY EVE from the previous year. Alas, he has no one like Barbara Stanwyck to play off of but Lynn Bari (as Ameche's assistant) is lovely and Ameche brings a certain level of comedic stress to the proceedings. You pretty much know where it's going but the journey isn't unpleasant. With Edward Everett Horton, George Barbier and Marietta Canty.

Father Brown, Detective (1934)

A humble Roman Catholic priest (Walter Connolly) doubles as a sleuth, using his intuition and keen understanding of human nature to solve mysteries and crimes. A notorious gentleman thief intends to steal the precious diamonds from a crucifix in Father Brown's church. Based on the short story THE BLUE CROSS by C.K. Chesterton and directed by Edward Sedgwick (EASY TO WED). I love a good detective mystery but this one is for the birds. I'm not familiar with Chesterton's Father Brown mystery stories but hopefully they're not as sanctimonious as the movie. Father Brown proselytizes to the jewel thief till he converts to a God abiding man doing the right thing. Is this any way to entertain crime solving fans? As the gentleman thief, Lukas is no Ronald Colman (RAFFLES). With Gertrude Michael, Una O'Connor and Halliwell Hobbes.

Dancing At Lughnasa (1998)

Set in 1936 rural Ireland, five sisters live together struggling to hold the family together in near poverty. Four of the sisters (Meryl Streep, Kathy Burke, Sophie Thompson, Brid Brennan) are spinsters and the fifth (Catherine McCormack) has born a son (Darrell Johnston) out of wedlock. Based on the Tony award winning play by Brian Friel and directed by Pat O'Connor (A MONTH IN THE COUNTRY). There have been several minor changes from the play but enough to take the edge off it. It's a decent enough memory piece, narrated by the adult illegitimate son. It's a slight bit of family melodrama of a brief summer where the family unit was happy before everything falls apart. On its own, the obvious dramatics (we keep waiting for the uptight Streep to join her sisters in a joyous dance to liberate her if only momentarily) aren't enough to hold everything together but fortunately for us, the excellent acting compensates for that. Streep restrains her sometime tendency to "ACT with a capital A" and her repressed Kate is one of her best performances and she's matched by the other actresses, notably Kathy Burke who comes as close to stealing the movie as anyone. With Michael Gambon and Rhys Ifans.

Le Petit Soldat (1963)

Set in Switzerland during the French Algerian war, a deserter (Michel Subor) from the French army works for a French terrorist organization although he isn't particularly political. When he refuses his latest assignment, an assassination, the terrorist organization frames him for a hit and run. Written and directed by Jean Luc Godard. This film was Godard's follow up to his breakthrough film BREATHLESS (1960) but due to government censorship, it wasn't released until three years later (I assume because of the Algeria subject matter). So although it's his second film, it's his fourth released film. It's also the first film he made with Anna Karina, an inexperienced actress at the time cast but Godard saw her potential and she was a great camera subject. The movie is about ideals and Subor's cynical terrorist has none. His last line, "I had no choice but to learn not to be bitter. I was just glad I still had so much time ahead of me" only cements his character's chilly cynicism. With Henri Jacques Huet and Paul Beauvais.

Dinner At The Ritz (1937)

The grieving daughter (Annabella) of a murdered Parisian banker (Stewart Rome) vows to find his killer. With the help of a fraud investigator (Romney Brent), she sets out on her mission and discovers that all of the suspects happen to be her father's colleagues. Directed by Harold D. Schuster (MY FRIEND FLICKA). Made by the British branch of 20th Century Fox, I found this a congenial combination of mystery and romance with just the right amount of both. In her quest to find her father's murderer, Annabella gets to pass herself off as s Spanish Marquessa and an Indian princess. David Niven provides the continental charm as her suitor. Far from essential cinema but a pleasant diversion. With Paul Lukas, Francis L. Sullivan and Nora Swinburne.

Christmas Eve (1947)

When her unscrupulous nephew (Reginald Denny) attempts to declare his eccentric wealthy Aunt (Ann Harding) incompetent in order to swindle her out of her money, her three long missing adopted sons reunite and come to the rescue on Christmas Eve. Directed by Edwin L. Marin (TALL IN THE SADDLE). A sentimental Christmas dramedy movie which could be referred to as a portmanteau film as the Aunt story has three different stories within its narrative. The three stories are about the sons: 1) a bankrupt playboy (George Brent) is in trouble because of some bounced checks, 2) a nightclub owner (George Raft) lives in South America because he's wanted by the FBI in the U.S., 3) a hard drinking womanizing cowboy (Randolph Scott) seems to have no aim in life other than to have a good time. Curiously, outside of Raft's story, no reason is given for the sons' estrangement from their adoptive mother who they all seem to love. The Raft storyline is the serious one, the other two have comedic elements. I found it modestly entertaining and enjoyed it more than IT'S A WONDERFUL LIFE (1946). Remade as a TV movie in 1986 with Loretta Young in the Ann Harding role. With Joan Blondell, Virginia Field and Dolores Moran as the romantic interests for the sons.

Trois Jours A Vivre (aka 3 Days To Live) (1957)

A struggling actor (Daniel Gelin) witnesses a murder and fingers a suspect (Lino Ventura) as the killer. But when the man escapes from prison, he phones the actor telling him he has only three days to live before he's killed. Based on the novel by Peter Vanett and directed by Gilles Grangier (LE DESORDRE ET LA NUIT). An odd thriller in that the film's protagonist is unlikable. He's selfish, cowardly and abusive to other people. In comparison, the escaped convict is kinder and has a sense of integrity (slight though it is). One wonders why Jeanne Moreau, who plays the actor's girlfriend, puts up with him and his juvenile tantrums. For awhile, it looked like Moreau would hook up with Ventura's thug and I was hoping but alas, she stuck with Gelin. With Georges Flamant and Evelyne Rey.

Look What's Happened To Rosemary's Baby (1976)

A young woman (Patty Duke) who has given birth to Satan's son escapes from the coven holding her and the child she bore. But she is not strong enough to fight them and the child is eventually taken from her to be raised by Satan's disciples. Based on characters from the novel by Ira Levin and directed by Sam O'Steen (SPARKLE), who was the film editor on the original 1968 Roman Polanski movie. The 1968 film is one of the greatest horror films ever made and this made for television "sequel" is a miscalculated travesty! Other than its characters, it has nothing to do with Ira Levin's novel or Polanski's film (though Ruth Gordon returns as Minnie Castevet) and neither was associated with this film. Rosemary (Duke) is disposed of quite early in the film and as the adult Adrian, the spawn of Satan, Stephen McHattie is just awful. Overdoing the angst bit, he plays Lucifer Jr. with a tormented James Dean imitation. Dull and not even bad enough to be camp, just bad. With George Maharis, Ray Milland, Tina Louise, Donna Mills, Broderick Crawford and Lloyd Haynes.

Exclusive (1937)

After being acquitted by a bribed jury, a mobster (Lloyd Nolan) buys a newspaper with the intention of destroying the competition that exposed his corruption. The other newspaper's editor (Fred MacMurray) is determined to bring the mobster to justice but a lot of innocent people are going to suffer during the battle. Directed by Alexander Hall (HERE COMES MR. JORDAN). A huge miscalculation! The movie attempts to bridge two dissimilar styles and the juxtaposition is jarring. On one hand, it attempts to be a serious drama about ethics in journalism with a narrative that features murder, suicide, corruption and yellow journalism. On the other hand, it attempts to be a brassy newspaper comedy along the lines of THE FRONT PAGE and HIS GIRL FRIDAY! A smoother script and better direction could possibly have married the two comfortably but this effort is clumsy. I liked the dramatic aspects of the film but the comedy is lame. With Frances Farmer, Charles Ruggles, Horace McMahon and Fay Holden.

The Miracle (1959)

Set in a Spanish convent, a young postulant (Carroll Baker) forsakes the convent to rejoin the British soldier (Roger Moore) she loves. She falls in with a group of gypsies but when she thinks her soldier lover is dead, she rejects her Christianity. Based on the 1911 play by Karl Vollmoller and directed by Irving Rapper (NOW VOYAGER). The kind of schmaltzy faith based hokum that shouldn't work but damned if it doesn't! It's the kind of movie where you're either rolling your eyes or resisting getting choked up without much success. Carroll Baker's performance is so sincere that despite being miscast, she brings some genuine pathos in her work. Reputedly, director Rapper (he blamed the movie's failure on her) and actress Baker (she called him a humorless jerk) disliked each other. Watching the film, you know it's not very good but you can't help getting involved in the plot's machinations. Handsomely shot in Technirama by Ernest Haller (LILIES OF THE FIELD) and there's a nice underscore by Elmer Bernstein. With Katina Paxinou, Vittorio Gassman, Walter Slezak, Isobel Elsom, Torin Thatcher, Gustavo Rojo, Carlos Rivas, Madlyn Rhue and Eduard Franz.

Jay Kelly (2025)

An internationally famous movie star (George Clooney) goes to Italy, ostensibly to receive a career tribute award but in reality, he hopes to spend time with his daughter (Grace Edwards) who wants to spend time with her friends in Italy before going to college in the fall. Co-written and directed by Noah Baumbach (MARGOT AT THE WEDDING). In his best performance since MICHAEL CLAYTON, a perfectly cast George Clooney is terrific. It's said that it takes a star to play a star and no where is it more in evidence than this film. The Movie Star as we knew them is a fading phenomenon. Clooney (along with the likes of Tom Cruise, Tom Hanks, Denzel Washington and Julia Roberts) is the last of the breed. The film is a rumination on the narcissism and self centeredness of the actor who knows no other life and whose life beyond the lens uses family and friends as a supporting cast. Fame is their victory but at what cost? As his loyal manager, Adam Sandler gives a career best performance. The movie is generously laced with humor and if you're any part of the film industry, the humor comes with the pang of recognition. With Laura Dern, Greta Gerwig (nice to see her back in front of the camera), Billy Crudup, Stacy Keach, Jim Broadbent, Patrick Wilson and Isla Fisher.

椿三十郎 (aka Sanjuro) (1962)

A jaded samurai warrior (Toshiro Mifune) helps an idealistic group of young warriors weed out their clan's evil influences. Based on the short story HIBI HEIAN by Shugoro Yamamoto and directed by Akira Kurosawa (HIGH AND LOW). A follow up to Kurosawa's hugely popular YOJIMBO from the year before. The element of humor is upped here and the tone is less bold than its predecessor. As the title protagonist, Mifune is as charismatic as ever and gives an authoritative performance. I have to confess I found the infighting rivalry confusing at times but not enough to take away from my enjoyment of the film. The wide screen (Tohoscope) lensing by Fukuzo Koizumi is impressive and despite some anachronistic bits, so was the underscore by Masaru Sato. With Tatsuya Nakadai, Keiju Kobayashi, Yuzo Kayama and the lovely Reiko Dan.