The Phoenician Scheme (2025)

Set in 1950. During the final stages of a vast, decades-long, career defining business project, a ruthless and unscrupulous millionaire (Benicio Del Toro) survives a sixth assassination attempt and must appoint a successor: his long estranged daughter (Mia Threapleton) ..... a nun. Written and directed by Wes Anderson (MOONRISE KINGDOM). If you didn't know this was a Wes Anderson movie, you'd know it by the first frame of the film. Visually, the film is fantastic! Narratively, it's often confusing (I'm still not sure I understood what the Phoenician scheme is). If you're a fan of Anderson's work, you should find this a delight. Others may not be so charitable but I found its standard Anderson absurd quirkiness charming. Del Toro is excellent as are Threapleton (Kate Winslet's daughter) and Michael Cera as a Norwegian entomologist. The massive cast includes Tom Hanks, Scarlett Johansson, Bill Murray, Benedict Cumberbatch, Willem Dafoe, Bryan Cranston, Jeffrey Wright, Riz Ahmed, F. Murray Abraham, Mathieu Amalric, Hope Davis and Charlotte Gainsbourg.

Lost Highway (1997)

A musician (Bill Pullman) is arrested and convicted for the murder of his wife (Patricia Arquette). While in prison, he mysteriously disappears and is replaced by a young man (Balthazar Getty) leading a different life. Directed by David Lynch (MULHOLLAND DRIVE). Perhaps the most underrated of Lynch's movies, it received mixed reviews and dismissed by most critics as incoherent (understandable). It has since been reevaluated and appreciated. The movie has been influenced by a variety of other films and is a surrealistic voyage but what does it all mean? Is it a horror movie? Film noir? A psychological thriller? I don't think it means anything other than an exercise in style and atmosphere so I didn't feel the need to try and connect the dots. Robert Blake's role as the "mystery man" seems even creepier now when several years later, he was arrested for the murder of his wife. While it may seem that Lynch is treading over familiar ground, the film's ominous atmosphere is beautifully constructed. With Robert Loggia, Natasha Gregson Wagner, Gary Busey and in his last film role, Richard Pryor.

Rififi (aka Du Rifi Chez Les Hommes) (1955)

Recently released from prison after serving five years in prison for a jewel heist, a criminal (Jean Servais) joins forces with three other men (Carl Mohner, Robert Manuel, Jules Dassin) in robbing an exclusive jewelry shop in Paris. Based on the novel by Auguste Le Breton and directed by Jules Dassin (TOPKAPI), who received the best director award at the Cannes film festival. Perhaps the granddaddy of heist movies, every heist movie that followed owes a bit to RIFIFI. The film is notable for its nearly thirty minute detailed heist sequence with no dialogue and no music score. Of course, as with all classic film noir, what seems like the perfect crime soon messily unravels. No stranger to noir in Hollywood (THE NAKED CITY, BRUTE FORCE) or London (NIGHT AND THE CITY), it seems fit that he would direct the ultimate French noir although he's an American. Gritty, stylish and atmospheric, a genuine classic of the genre. With Magali Noel, Marie Sabouret, Claude Sylvain and Robert Hossein.

Promises To Keep (1985)

Diagnosed with a life threatening illness, a Wyoming ranch foreman (Robert Mitchum) makes the trek to California for treatment. On the way, he decides to visit the family he deserted 30 years earlier, his wife (Claire Bloom) and son (Christopher Mitchum, Robert's son). Directed by Noel Black (PRETTY POISON). While you know exactly where a melodrama like this is going and in spite of the cliches involved, for most of its running time it's not bad at all. This is mostly due to Black's sensitive direction and strong performances by the iconic Mitchum and Claire Bloom who brings a depth of unstated emotions not in the writing. The film's last twenty minutes or so sink into a morass of banality that undermine the good that came before. There's a third Mitchum in the cast. Robert's grandson and Christopher's son Bentley Mitchum, who's pretty bad and doesn't appear to have inherited any of the Mitchum talent. The score by Michel Legrand helps things along. With Tess Harper and Paul Mantee.

Alex & The Gypsy (1976)

An aging bail bondsman (Jack Lemmon) stands bail for a gypsy (Genevieve Bujold) when she is accused of stabbing her husband. Even though they had an affair several years ago, he suspects she will skip out on him. Based on the novel THE BAILBONDSMAN by Stanley Elkin and directed by John Korty (THE AUTOBIOGRAPHY OF MISS JANE PITTMAN). Something happened to Jack Lemmon's acting in the 1970s and it continued through the rest of his career. He began intensely overacting. This often worked in his comedic roles like THE OUT OF TOWNERS and PRISONER OF SECOND AVENUE but it was a mess in most of his dramatic roles and that included his Oscar winning turn in SAVE THE TIGER. When he was reined in, he could still be wonderful (CHINA SYNDROME, MISSING) but he's just awful here. I've not read the Elkin source material but it seems the film doesn't resemble it much nor the racist and misogynistic protagonist of that book. Bujold's character which is a major character in the film is an invention of the screenwriter, she's not in Elkin's book. The film is a mess and I've seen it described as a comedy ... you could have fooled me. A misguided misfire! With James Woods, Robert Emhardt and Eddra Gale.

Last Summer (1969)

Set during a languid summer on Fire Island, three privileged bored white teenagers (Barbara Hershey, Bruce Davison, Richard Thomas) form a close knit bond. When an awkward teenage girl (Catherine Burns in an Oscar nominated performance) attempts to join in the group, it intensifies their cruel streak. Based on the novel by Evan Hunter and directed by Frank Perry (MOMMIE DEAREST). When a film drops out of the public eye for whatever reason (a rights problem, original negatives lost, poor quality of surviving prints, etc.), it often receives an aura of "missing masterpiece" that enhances its reputation. For over 30 years, LAST SUMMER was known as a lost film until a 16 millimeter print was found in 2001 and eventually a 35 millimeter print was discovered last year and now the film has been restored to its original sheen. So was it a lost "masterpiece"? No but it's still a very good film. It's an unpleasant film, intentionally so. Aimless, bored privileged white kids with a streak of superiority that manifests itself in cruelty. Richard Thomas's character appears to have a moral backbone but it's made of rubber as he gives in to the demands of Hershey's bitch and Davison's mindless narcissist. All of them are excellent but the film's moral center is Catherine Burns' outsider. She has one acclaimed scene, a monologue on her mother's death and while she aces it, I wish it weren't so obviously incorporated for our sympathy. Then again, Frank Perry was never known for his subtlety. With Conrad Bain and Ernesto Gonzalez.

The Man With Two Faces (1934)

When his sister (Mary Astor) falls under the spell of her Svengali like, sadistic husband (Louis Calhern), an acclaimed stage actor (Edward G. Robinson) decides he'll do whatever it takes to save her ..... even if it takes murder. Based on the play THE DARK TOWER by George S. Kaufman and Alexander Woollcott and directed by Archie Mayo (THE PETRIFIED FOREST). Despite its illustrious theatrical roots, this is a rather static and stage bound effort for a film made some seven years after the first talking movie. Fortunately, at its center, there's a marvelous turn by the great Edward G. Robinson playing two roles. Alas, it's not a pre code film or perhaps the ending would have allowed the murderer to get away. The victim is a despicable prick and everybody in the film hates him but the ending is still ambiguous enough to encourage the idea that although the murderer is caught perhaps a jury would be on his side. With Ricardo Cortez, Mae Clarke and Margaret Dale.

Haunted Summer (1988)

Set in the summer of 1816, the poet Lord Byron (Philip Anglim) invites fellow poet Percy Shelley (Eric Stoltz), his lover Mary (Alice Krige) and her stepsister Claire (Laura Dern) to spend the summer with him at his villa in Switzerland. Based on the novel By Anne Edwards and directed Ivan Passer (BORN TO WIN). The previous year (1987), Ken Russell had taken the same story under the title of GOTHIC and being Russell, he made an over the top hallucinatory film. It wasn't a good movie at all but it was still superior to this pretentious effort. The two American actors (Dern, Stoltz) have British accents so inadequate that it took quite awhile until I figured out that they were even attempting accents! But the screenplay by Lewis John Carlino (RESURRECTION) is so inept that I can't blame any of the actors for coming across as nitwits or their inferior performances. Lousy as Russell's movie was, at least it was never dull. With Alex Winter.

Step Lively (1944)

A Broadway producer (George Murphy) has a potential hit in the works, especially since he latched onto a playwright (Frank Sinatra) whose real talent is singing. Now, all he has to do is put his musical revue on the stage before the rubber check underwriting it bounces. Based on the play ROOM SERVICE (previously filmed in 1938) by Allen Boretz and John Murray and directed by Tim Whelan (THE THIEF OF BAGDAD). In order to work, a sense of madness needs to be rampant in a farce like this. The 1938 film version had the Marx Brothers so that madness was guaranteed. The stolid George Muprhy and the fledgling Sinatra (in his first leading role) don't have it so what we get is a lot of hysterical actors flapping their arms and shouting in an attempt to convince the audience that they're funny. It's a musical version of ROOM SERVICE with songs by Jule Styne and Sammy Cahn, wonderful songwriters but not here. With Gloria DeHaven, Adolphe Menjou, Walter Slezak, Anne Jeffreys, Eugene Pallette, Wally Brown and Dorothy Malone.

The House On Telegraph Hill (1951)

Shortly after WWII, a Polish immigrant (Valentina Cortese) emigrates to San Francisco. She marries a wealthy businessman (Richard Basehart) and lives in a mansion overlooking San Francisco Bay. But she is not who she seems. She has taken on the identity of a woman (Natasha Lytess) who died in a German concentration camp. Based on the novel THE FRIGHTENED CHILD by Dana Lyon and directed by Robert Wise (THE SAND PEBBLES). An excellent thriller with film noir atmosphere. Although the movie is referred to as film noir, I found it to be more of a damsel in distress thriller. The movie benefits from its San Francisco location shooting and the stylish B&W cinematography of Lucien Ballard (THE WILD BUNCH). As the beleaguered heroine, Cortese is attractively sympathetic and quite believable going from the happy emigrant wife to the distressed spouse fearing for her life. With William Lundigan, Fay Baker (in a nice ambiguous performance) and Steven Geray.

Obsession (2026)

After breaking the mysterious "One Wish Willow" to win the love of the girl (Inde Navarette) he loves, a hopeless romantic (Michael Johnston) finds himself getting exactly what he wished for but soon discovers that some desires come at a sinister price. Written and directed by Curry Parker. A phenomenon of sorts because it cost only $800,000 to make but has grossed $460 million globally and received critical acclaim. To put it mildly, I found it a major disappointment. I found the the movie more silly than scary and after awhile, I just couldn't wait for it to end. Johnston's nerd is a cipher as a character and after his dream girl goes batshit crazy, he's a milquetoast when most anybody else would freak out and get out of the situation immediately rather than enabling it. I admired Navarette's performance, she was able to show flashes of depth amid all the ranting and raving but not enough to salvage the foolishness of the project. With Andy Richter, Cooper Tomlinson and Megan Lawless.

Flying Tigers (1942)

Set in China prior to the Japanese attack on Pearl Harbor, a small band of American mercenaries led by an ace pilot (John Wayne) battle against the Japanese in defense of China's freedom. Directed by David Miller (LONELY ARE THE BRAVE). Although the film is fictional, there was a unit known as the American Volunteer Group that fought the Japanese in China during WWII. However, the movie has them fighting the Japanese prior to WWII when, in fact, they did not see action until after Pearl Harbor. It's a hackneyed war propaganda film (and not one of the better ones) that proliferated in U.S. cinemas during WWII. The aerial sequences are fine but the pedestrian narrative is hokey and predictable. Ironically (or maybe not), the film is set in China but the main cast are all Caucasian with the Chinese characters reduced to bit parts or background atmosphere on the periphery of the action. Unintentionally, it comes across as one of those "white savior" movies where Caucasians save people of color because they are unable to do so themselves. The film received three Oscar nominations including one for Victor Young's score. With Anna Lee, John Carroll, Paul Kelly, Mae Clarke and Richard Loo.