Two Arabian Knights (1927)

Set during WWI, two American soldiers (William Boyd, Louis Wolheim) are caught by the Germans and placed in a POW camp. They escape dressed in the white robes of Arab prisoners and sent with other Arab prisoners to Constantinople. Based on a short story by Donald McGibney, produced by Howard Hughes and directed by Lewis Milestone (ALL QUIET ON THE WESTERN FRONT), who won an Oscar (at the very first ceremony) for his direction here. A very slight "buddy" comedy with Mary Astor thrown in for romance. I found it rather unmemorable except for the movie's last shot of Wolheim giving a eunuch an intense sexual vibe ..... what? Am I reading into it? There's a slight xenophobic undertone that I found bothersome.  The film gives off a distaste of Islamic culture and tradition and even uses it as a punchline for laughs. William Boyd would find fame in the 1930s and 40s as Hopalong Cassidy. With Boris Karloff and Michael Visaroff.

The Private Files Of J. Edgar Hoover (1977)

A chronicle on the life and career of FBI director J. Edgar Hoover (James Wainwright as the young Hoover, Broderick Crawford as the mature Hoover) from 1924 to his death in 1972. Written, produced and directed by Larry Cohen (IT'S ALIVE). The movie suffers from cramming almost 50 years of a polarizing public figure into two hours. There's no time to explore with any depth so what we get is a shallow movie of highlights of his career. It's a highly fictionalized and speculative version of Hoover's life, both negative and positive. The only other character with major screen time is Robert Kennedy (Michael Parks) but Parks is truly awful here. In addition to not being convincing, he annoyingly interjects "uh" between every five words spoken! In addition to Kennedy, other famous people portrayed include Martin Luther King (Raymond St. Jacques), Franklin D. Roosevelt (Howard Da Silva), Lyndon B. Johnson (Andrew Duggan) and Roy Cohn (George D. Wallace). The score by Miklos Rozsa is disappointing, it sounds recycled from his past film scores. The huge cast, most with little screen time, includes Rip Torn, Celeste Holm, Dan Dailey, Jose Ferrer, Lloyd Nolan, Ronee Blakley, Jack Cassidy, June Havoc Michael Sacks, Tanya Roberts and Brad Dexter.

The Drama (2026)

An engaged couple (Zendaya, Robert Pattinson) are having drinks with their best man (Mamoudou Athie) and maid of honor (Alana Haim) when they all play a game of "What's the worst thing you ever did?". When the bride to be tells of the worst thing she ever did, it throws their relationship into chaos and their future is clouded. Written and directed by Kristofer Borgli (DREAM SCENARIO). The film has been described as a dark romantic comedy but I didn't it funny at all, just deeply disturbing. Which doesn't mean I didn't like it, I did. But I found almost all the characters messed up (except for Mamoudou Athie) including Pattinson's bridegroom who comes across as creepy from the very start and he only gets worse as he unravels. The film builds in its intensity until all explodes at the wedding. Alas, director Borgli fumbles in the last ten minutes when he gives us a conventional (and highly inappropriate) romcom ending which makes a mockery of everything that preceded it. With Hailey Benton Gates and Sydney Lemmon.

Othello (1965)

Set in the Venice and Cyprus of 1603, a Moor military commander (Laurence Olivier) is manipulated by his ensign (Frank Finlay) into thinking his new bride (Maggie Smith) has been unfaithful with his loyal lieutenant (Derek Jacobi). Based on the classic play by William Shakespeare and directed by Stuart Burge (JULIUS CAESAR). Unable to get the financial backing to do a proper cinematic adaptation of OTHELLO with elaborate sets and shot on location, Olivier had to settle for a filmed adaptation of the National Theatre Of Great Britain production done on a sound stage using the original stage setting designs. Shot in wide screen Panavision by Geoffrey Unsworth (2001 A SPACE ODYSSEY), what the movie lacks in a cinematic style, it makes up for with four great performances: Olivier, Finlay, Smith and Joyce Redmond as Emilia, all who received Oscar nominations for their performances. Not that the movie is without its flaws. The performances are conceived for the stage and director Burge does little to alter that. Then there's the "blackface" performance of Olivier which can make one uncomfortable in 2026 especially with all those close ups. That aside, Olivier is brilliant, capturing all the rage, jealousy, pain and anguish of Shakespeare's Moor. With Robert Lang, Anthony Nicholls and Sheila Reid.

Tall Man Riding (1955)

Seven years after being driven out of town by a cattle baron (Robert Barrat), a cowboy (Randolph Scott) returns to get his revenge. But he's not the only one who wants revenge on the cattle baron. Based on the novel by Norman A. Fox and directed by Lesley Selander (FLIGHT TO MARS). A routine second string western that's watchable even if it pretty much contains the usual western cliches. The following year Scott would embark on a series of classic westerns partnering with Budd Boetticher that put a programmer like this in the shade. Typical of westerns, there's the "good" girl (Dorothy Malone) and the "bad" girl (Peggie Castle as a saloon singer) so we know who Scott will end up with. Unusual for a western though, the women are best friends rather than rivals. Scott's hero is flawed which makes him more interesting than the usual western cowboy. He's stubborn, unreasonable and makes mistakes. With William Ching, John Baragrey, Paul Richards and John Dehner.

The Man Who Haunted Himself (1970)

A man (Roger Moore) finds himself in bewildering circumstances after recovering from a near fatal car accident. Friends and colleagues repeatedly sight him in places he's never been, a girl (Olga Georges Picot) he has briefly seen only once claims an intimate relationship with him. Does he have a doppelganger ..... or is he losing his mind? Based on the novel THE STRANGE CASE OF MR. PELHAM by Anthony Armstrong and directed by Basil Dearden (KHARTOUM) in his final film. Armstrong's book had previously been adapted for an episode of ALFRED HITCHCOCK PRESENTS in 1955 but there it had been done whimsically. Dearden has made it a psychological horror film. Roger Moore (three years before he became James Bond) is startingly good here, his best ever performance. Initial reviews were dismissive but in the ensuing years, it's become a cult movie. Dearden does a good job of building the tension until the clever if unsound conclusion. Although I consider it a horror movie, there are no scares or violence but the horror of a situation you have no control over. A movie worth rediscovering. With Hildegard Neil, Freddie Jones, Anton Rodgers and Thorley Walters.

Maigret Voit Rouge (aka Maigret Sees Red) (1963)

Three men cruising Paris's Pigalle district in a Chevrolet, shoot a bystander (Harry Max). Shortly after, the body is stolen. Inspector Maigret (Jean Gabin) suspects a ring of U.S. mobsters. This leads him to a bar where Americans gather and a mysterious femme fatale (Francoise Fabian) works. Based on the novel MAIGRET, LOGNON AND THE GANGSTERS by Georges Simenon and directed by Gilles Grangier (SPEAKING OF MURDER). I enjoyed the other two Maigret movies with Jean Gabin I've seen, MAIGRET SETS A TRAP and MAIGRET AND THE SAINT FIACRE CASE but this one seemed a little off to me. It might have something to do with the introduction of American gangsters into the mix. Their portrayal seemed cliched and stereotyped as if Grangier had seen too many American gangster movies and exaggerated what he took from them. As usual, Gabin is a treasure and his commanding presence anchors the film. A shade disappointing but still worth catching. With Marcel Bozzuffi, Roland Armontel, Paul Frankeur, Paul Carpenter and Pauline Dubost.

The Thief Of Bagdad (1940)

When Prince Ahmad (John Justin) is blinded and cast out of Bagdad by the nefarious Jaffar (Conrad Veidt), he joins forces with the scrappy thief Abu (Sabu) to win back the royal palace, as well as the heart of a beautiful princess (June Duprez). Directed by Ludwig Berger, Tim Whelan and Michael Powell. One of the best movie fantasies ever made. Ludwig Berger was the original director but producer Alexander Korda was unhappy with his work so he brought in Michael Powell, who eventually had to leave due to another commitment and Tim Whelan brought in to finish the film. The film won Oscars for best cinematography (Georges Perinal), art direction (Vincent Korda) and special effects. Handsomely shot in Technicolor, the film was a pioneer in its technical aspects and though those aspects are perhaps too obvious by 21st century standards, the film holds up as a grand entertainment. Sabu is delightful as the spirited thief of the title, June Duprez is perfectly cast as the beautiful princess with only John Justin lacking as the prince. He's handsome enough but he lacks personality and charisma. With the imposing Rex Ingram as the genie, Miles Malleson, Mary Morris and Adelaide Hall.

Secret Agent Of Japan (1942)

Set in Shanghai prior to Pearl Harbor, an apoliticial nightclub owner (Preston Foster) with a mysterious past has no allegiance to anyone but himself. But he unwillingly becomes involved in espionage when he gains access to information that the Japanese government wants at any price including torture and murder. Enter an allied spy (Lynn Bari) to complicate matters further. Directed by Irving Pichel (THEY WON'T BELIEVE ME). Yet another WWII propaganda piece but with a difference. This one is very entertaining as it (mostly) spares the jingoism and concentrates on the action. It's a B movie but if it was an A picture, he would have starred actors like Humphrey Bogart and Ann Sheridan, it's that good. It's an invigorating above average slice of WWII propaganda with good acting and director Pichel keeps it moving forward at a rapid pace. With Janis Carter, Steven Geray and Victor Sen Yung.

Mississippi (1935)

Set in the Old South, a gentleman (Bing Crosby) loses his honor and the respect of his fiancee (Gail Patrick) after he refuses to engage in a duel. After taking a singing job on a riverboat, he must learn to regain his confidence with the help of a quirky captain (W.C. Fields). Based on the novel MAGNOLIA by Booth Tarkington (THE MAGNIFICENT AMBERSONS) and directed by A. Edward Sutherland (THE INVISIBLE WOMAN). The third version of the Tarkington novel (previously filmed in 1924 and 1929). A mess of a movie! It's a musical with songs by the great Rodgers and Hart but none of the songs are memorable and the film reeks of a glamorized Old South which Hollywood seemed enamored of in the 1930s and 40s. Black people are referred to as "darkies" and their children as "pickaninnies", get the picture? Obviously, I don't "get" W.C. Fields at all as I've never found him funny and I'm not a Crosby fan (at least, not without Bob Hope) so the movie was a slog for me to get through. The mixture of comedy with the code of the Old South (duels and all that nonsense) which is taken seriously doesn't jell well. With Joan Bennett, Queenie Smith and John Miljan.

South By Southwest (1997)

A young woman (Mel Harris) witnesses the murder of a government agent. Placed under FBI protection and using a pseudonym, she boards a train heading from Los Angeles to Florida. On the train, she shares a dinner with the renowned mystery writer, Jessica Fletcher (Angela Lansbury). When she suddenly disappears, the writer is determined to solve the mystery. Directed by Anthony Shaw (MRS. ARRIS GOES TO PARIS). MURDER SHE WROTE ended 12 seasons in 1996 and its star Angela Lansbury did four movies featuring her character in the telefilm format. This one was the first. It's a decent murder mystery with a dash more paranoia and intrigue than the standard MSW episodes. Lansbury's Fletcher gets more involved in the physical action of the piece but if you're a fan of the series as I am, this is an acceptable offering. With Keith David, Elya Baskin, Harriet Sansom Harris and Ray Baker.

ブラザー (aka Brother) (2001)

After his clan is defeated in a criminal war with a rival family, a yakuza enforcer (Takeshi Kitano) flees to America. There, he reunites with his younger brother (Claude Maki), who sells drugs to make money. He then creates a gang of his younger brother and his African American friends to challenge a Mexican gang's turf. Written and directed by Takeshi Kitano (ZATOICHI). This was Kitano's first and only film made outside of Japan to date. It's in both Japanese and English. While Kitano's film making is skilled, taking a violent Yakuza style narrative out of Japan and placing it smack in the middle of Los Angeles just doesn't work. Having all the central gangsters played by Japanese, African Americans and Mexicans also leaves an uncomfortable taste. Kitano brings in the Mafia (Italians) near the end but they aren't given nearly as much time as the other ethnicities. The violence is overdone but without much style and becomes plodding after awhile. The whole enterprise feels "fish out of water". On the plus side, there's a terrific score by Joe Hisaishi which is very different from his scores for Hayao Miyazaki. With Omar Epps, Masaya Kato, James Shigeta and Tetsuya Watari.