License To Kill (1984)

A grieving family whose daughter (Kristen Vigard) was killed in a car crash is outraged and frustrated as they encounter the inevitable bureaucratic delays in bringing the case to trial. Once in the courtroom, they are horror stricken as the hard pressed district attorney (Denzel Washington) seems unable to overcome the technicalities and maneuverings that the driver's attorney (Donald Moffat) uses to keep his client (Don Murray) out of jail. Directed by Jud Taylor (FADE IN). An unexceptional telefilm notable for an early appearance by Denzel Washington (shot during his tenure on ST. ELSEWHERE). The main interest is on the effect the death of the daughter has on her parents (James Farentino, Penny Fuller) as her death and the subsequent trial tears at their marriage. With Millie Perkins and Jacqueline Brookes.

Hamlet (1969)

Hamlet (Nicol Williamson), the prince of Denmark, plots to expose the murder of his father by his Uncle Claudius (Anthony Hopkins) who has married his mother (Judy Parfitt) only two months after his father's death. Based on the classic play by William Shakespeare and directed by Tony Richardson (TOM JONES). Adhering to "the play's the thing", this is a stripped down version of the Shakespeare classic that eschews elaborate sets and costumes and opening up the play. It's shot almost entirely in close ups which puts the burden on the actors to hold the play together and in spite of some dubious casting, the actors pull it off. Williamson was one year younger than Parfitt who plays his mother and one year older than Hopkins who plays his uncle. That they all look the same age is disconcerting at first but eventually the performances push the age issue to the back. The film does suggest a possible incestuous relationship between Ophelia (Marianne Faithfull) and her brother Laertes (Michael Pennington). There are better filmed versions of HAMLET but this is worth watching for the acting. With Roger Livesey, Mark Dignam, Gordon Jackson and Anjelica Huston (who decided to focus on modeling and wouldn't do another movie for 7 years).

The Big Caper (1957)

An indebted con man (Rory Calhoun) persuades a crime boss (James Gregory) to bankroll a million dollar heist on a small town bank. To accomplish this, he poses as a married couple with the boss's girl (Mary Costa) so that they become members of a small town community and thus avoid suspicion. Based on the novel by Lionel White and directed by Robert Stevens (IN THE COOL OF THE DAY). A nifty B heist movie that accomplishes what it set out to do, namely provide some taut entertainment diversion without an overly complicated plot that some heist films indulge in. The film has some bizarre characters like the gin guzzling pyromaniac (Robert H. Harris) who perspires constantly and the mobster's body building, milk drinking gofer (Corey Allen) who seems to have masochistic tendencies. In short, a satisfying programmer that should keep you entertained if you're not too discriminating. With Roxanne Arlen and Paul Picerni.

Sweet Rosie O'Grady (1943)

An American stage star (Betty Grable) of the British stage gets engaged to an English Duke (Reginald Gardiner). But an unscrupulous American reporter (Robert Young) writing for a tabloid digs up her past as a burlesque queen. Directed by Irving Cummings (THE DOLLY SISTERS). Betty Grable was at the height of her fame and the number one box office attraction in U.S. cinemas and this was one of 20th Century Fox's biggest hits of the year. For some reason, audiences loved the period musicals Grable starred in. Her other 1943 hit was CONEY ISLAND, another period musical. Personally I prefer Grable in her contemporary musicals like SPRINGTIME IN THE ROCKIES, DOWN ARGENTINE WAY and MOON OVER MIAMI. This effort is colorful courtesy of the Technicolor lensing by Ernest Palmer (BLOOD AND SAND) but it's unexceptional in every other way. The songs are dreary, the plot recycled, the acting unremarkable with only Hermes Pan's choreography highlighting Grable's hoofing meriting any note. With Adolphe Menjou, Virginia Grey and Sig Ruman.

The Baroness And The Butler (1938)

Set in Hungary, the third generation butler (William Powell) in service of the Prime Minister (Henry Stephenson) is unexpectedly elected to the Parliament. The Prime minister represents the conservative government while the butler is part of the progressive party. Based on the play JEAN by Ladislaus Bus Fekete and directed by Walter Lang (THE KING AND I). Who would think a Hungarian play written over 80 years ago would still be so topical today? Addressing class distinction and progressive ideas over conservatism in politics but in a light romantic comedy, I found the movie quite charming. It avoids the schmaltz and obviousness of Capra corn political films like MR. SMITH GOES TO WASHINGTON, MR. DEEDS GOES TO TOWN and MEET JOHN DOE. The French actress Annabella in her American film debut is quite enchanting. It's not a pre code film but the film isn't squeamish about Annabella's married Baroness falling in love with Powell's butler and divorcing her husband (Joseph Schildkraut) to ensure a happy ending. With Lynn Bari, Nigel Bruce and stealing the movie, Helen Westley as the Prime Minister's wife.

Hukkunud Alpinisti Hotell (aka Dead Mountaineer's Hotel) (1979)

A police inspector (Uldis Pucitis) is trapped by an avalanche in a ski lodge. When a murder is committed, there's a wealth of suspects. But there's something strange going on that suggests this was no ordinary "murder". Based on the novel by Arkady and Boris Strugatsky (who adapted their book for the screen) and directed by Grigori Kromanov (THE LAST RELIC). An overly complicated combination of murder mystery, film noir and science fiction. If, when the movie is over, you're scratching your head trying to piece together what you've just seen, it's most likely exactly what the writers and director want you to do. The film is seen as an attempt by the filmmakers to subtly question the then Soviet Union's (the film itself is Estonian) attempt to obstruct philosophical and biological ideas that don't conform to their particular tenets. I didn't warm to it but I appreciated its novel creativity in addressing the subject as an entertainment rather than giving us a heavy handed lecture. With Juri Jarvet, Lembit Peterson, Irena Kriauzaite, Nijole Ozelyte and Karlis Sebris.

I Want Your Sex (2026)

A backward nerd (Cooper Hoffman) has his fantasies come true when his aggressive boss (Olivia Wilde) taps him to be her new boytoy. He quickly finds himself out of his depth and on a journey of sex, power and murder. Directed by Gregg Araki (MYSTEROUS SKIN). While totally watchable, this movie didn't really work for me. Something felt off and before the movie was over, I figured what it was. At heart, it's a queer (in both meanings of the word) film and if the female roles had been played by men, it would have worked much better. The characters in the movie identified as gay are the usual bitchy, promiscuous stereotypes and by having the female roles switched to gay men it would have provided an alternative to the stereotypes. The BDSM relationship between Wilde's dominant aggressor and Hoffman's submissive slave parallels the much superior PILLION gay biker romance which came out last year. Still, there is Wilde's wonderful performance. Her character may be the boss from Hell but she's more interesting and fun than anyone else in the movie. With Johnny Knoxville, Margaret Cho, Charli XCX, Chase Sui Wonders, Daveed Diggs and Mason Gooding.

Tales From The Darkside: The Movie (1990)

In this omnibus film, a modern day witch (Deborah Harry) holds a little boy (Matthew Lawrence) captive and plans to roast him in her oven for a dinner party she's giving. Like Scheherazade, he reads her stories from a book to hold off his being baked. The stories include a malevolent mummy who comes to life after an ancient spell is read, a wealthy man (William Hickey) hires a hitman (David Johansen) to kill a homicidal cat and a struggling painter (James Remar) makes a promise to a murderous gargoyle that he is unable to keep. Based on short stories by Arthur Conan Doyle, Stephen King and Lafcadio Hearn (whose story was previously filmed for a segment in KWAIDAN) and directed by John Harrison (BOOK OF BLOOD). Anthology movies are usually uneven in their stories but this one has three solid tales, horror laced with doses of humor. Their brevity assures they won't wear out their welcome. Horror fans should have a good time with this one. With Julianne Moore (in her film debut), Steve Buscemi, Christian Slater, Rae Dawn Chong and Robert Klein.

The Others (2001)

Set right after the end of WWII on a Channel island formerly occupied by Germans. A mother (Nicole Kidman) with two photosensitive (sensitive to daylight) children (Alakina Mann, James Bentley) lives in a secluded country estate. The arrival of three new servants (Fionnula Flanagan, Eric Sykes, Elaine Cassidy)  punctures her insular world and disturbs the balance between the living and the dead. Written and directed by Alejandro Amenabar (OPEN YOUR EYES). A corker of a ghost story rich in atmosphere and menace. Even if you figure out the "twist" ending, it doesn't tarnish the film's richness and creepy ambience. There aren't any special effects to speak of and no jump in your seat moments, the movie doesn't need them to keep the viewer on edge. 2001 was a banner year for Kidman, her other 2001 film was MOULIN ROUGE! which netted her an Oscar nomination, and she soon became known as one of the best actresses of her generation. With Christopher Eccleston and Renee Asherson.

Morgiana (1972)

When their wealthy father dies and leaves the bulk of his wealth to one sister (Iva Janzurova), the other sister (Iva Janzurova) plots to slowly poison her and inherit her share. Based on the novel JESSIE AND MORGIANA by Alexander Grin and directed by Juraj Herz (THE CREMATOR). A handsomely mounted Gothic horror fairy tale anchored by a marvelous performance by Iva Janzurova in the dual role of the sweet but trusting sister and the jealous wicked sister. She's so good that it seems like two different actresses rather than the same actress playing both parts. Three parts actually if you count the apparition in orange that Janzurova also plays. The Czech film is a combination of surreal horror combined with an old fashioned Brothers Grimm fairy tale with a little GASLIGHT tossed in. The film isn't very clear on certain points. Are the two sisters the two sides of the same person? The movie isn't named after either of the sisters but rather the bad sister's pet Siamese cat. Is the cat supernatural? A lot of it doesn't make sense but it's done with so much style and along with Janzurova's performance, it's an enthralling experience. With Nina Diviskova and Petr Cepek.

Exit Smiling (1926)

A wannabe actress (Beatrice Lillie) joins a third rate traveling acting troupe but she's stuck playing maids rather than leading roles. She falls in love with a young recruit (Jack Pickford, Mary's brother) to the stage, unaware he is in love with someone else. Based on the play by Marc Connelly and directed by Sam Taylor (COQUETTE). A middling silent comedy that is notable for being the film debuts of Beatrice Lillie and Franklin Pangborn. Lillie is the reason for seeing the movie. She's a terrific physical comedienne but her film resume (this is her only silent film) is quite limited and the movie only gives an inkling of her talent. If she had better roles in better movies, she might have been the female Chaplin or Buster Keaton. Alas, she only made six more movies, the stage was her medium. With Doris Lloyd and DeWitt Jennings.

From The Mixed Up Files Of Mrs. Basil E. Frankweiler (aka The Hideaways) (1973)

A sister (Sally Prager) and brother (Johnny Doran) run away from home and head to New York City where they hide out at the Metropolitan Museum Of Art. She becomes fixated on the sculpture of an angel that might have been done by Michelangelo. But the only one who knows for certain is a reclusive millionairess (Ingrid Bergman). Based on the novel by E.L. Konigsburg and directed by Fielder Cook (A BIG HAND FOR THE LITTLE LADY). I've not read the award winning source material but surely it wasn't as humdrum as this. Part of the tediousness is in the typical child actor performances of Prager and Doran, who bear little resemblance to real children. The movie only comes alive in the second half of the film when Ingrid Bergman enters the narrative. She brings some much needed gravitas to the proceedings. With Madeline Kahn, George Rose, Richard Mulligan and Georgann Johnson.