Charlie Chan's Secret (1936)

When the renowned detective Charlie Chan (Warner Oland) sets out to locate the missing beneficiary (Jerry Miley) to an immense fortune, he finds himself in the middle of a family feud. The missing heir turns up alive ..... just in time to be murdered. Based on the character created by Earl Derr Biggers and directed by Gordon Wiles (THE GANGSTER). The tenth entry in the 20th Century Fox Charlie Chan franchise is one of the best in the series. Seances, secret passageways and a gaggle of suspicious suspects all help in holding our attention till Chan gathers all the suspects in the drawing room to reveal the murderer! Even the usually annoying comic relief (here provided by Herbert Mundin as the scaredy cat butler) is amusing. With Henrietta Crosman, Rosina Lawrence, Charles Quigley, Astrid Allwyn and Edward Trevor.

Curse Of The Pink Panther (1983)

With famed detective Jacques Clouseau still missing, the French president orders Clouseau's nemesis Chief Inspector Dreyfus (Herbert Lom) to find him! Having no such intention, he hires the world's worst detective, a New York cop (Ted Wass). Directed by Blake Edwards (VICTOR VICTORIA). Determined to squeeze every cent out of the PINK PANTHER franchise after the death of Peter Sellers (the original Clouseau), director Edwards and United Artists whipped up two movies. The first TRAIL OF THE PINK PANTHER used deleted footage and clips featuring Peter Sellers. This one substitutes Ted Wass as a bumbling policeman looking for the bumbling Clouseau. Wass is no Peter Sellers and the movie stinks! I only laughed once when Wass was sitting with a rubber goose between his legs. It's just such a sad, sad movie and I couldn't help feel sorry for David Niven, Robert Wagner and Capucine (the stars of the original PINK PANTHER movie) returning to the scene of one of their best films and getting this drek. The original PINK PANTHER is one of my two or three favorite comedies and this is just not funny in any way shape or form. With Roger Moore, Burt Kwouk (returning as Cato), Joanna Lumley, Robert Loggia, Harvey Korman and Leslie Ash.

Marty Supreme (2025)

Set in New York in 1952, a shoe salesman (Timothee Chalamet) has ambitions to become the table tennis champion at the British Open (a table tennis tournament last staged in 2011). To get the money to get to England, he robs his place of employment. Inspired by the autobiography THE MONEY PLAYER by Marty Reisman and directed by Josh Safdie (UNCUT GEMS). Timothee Chalamet has delivered some impressive performances since his film debut 12 years ago in movies like CALL ME BY YOUR NAME and A COMPLETE UNKNOWN but nothing compared to his dynamite performance here. With the intensity of a young Pacino or De Niro, Chalamet's Marty seems ready to jump out of his skin at any moment. At two and a half hours, the film is a rollercoaster ride of emotions and ferocity. But I absolutely hated the phony sell out ending! For over two hours, Chalamet's Marty is a total narcissistic prick and suddenly after a tournament in Japan, he switches to Mr. Sweetheart cooing at his baby? I could buy his redemption if it was gradual but it's immediate and not believable. Not quite enough to ruin the movie it still compromises the film to the point that I had to downgrade it a few notches. The excellent supporting cast include Gwyneth Paltrow, Kevin O'Leary, Abel Ferrera, Fran Drescher, Odessa A'zion, Tyler Okonma and Sandra Bernhard.

You're My Everything (1949)

Set in 1924 Boston, a starstruck girl (Anne Baxter) has a crush on a musical comedy hoofer (Dan Dailey). They fall in love and marry when he gets an offer from Hollywood for a screen test. The studio passes on him but they like his wife and she soon becomes one of the studio's biggest stars. Directed by Walter Lang (CALL ME MADAM). Yet another nostalgic musical from 20th Century Fox that's connected by the numbers. This kind of hokum has been done so many times that the audience is always one step ahead of the plot. While it's always nice to see the underrated (as a dancer) Dan Dailey dancing, his blackface finale is cringe inducing. Fortunately there's Anne Revere as Baxter's tart tongued aunt to keep the sentimentality from completely taking over. With Buster Keaton, Alan Mowbray and Selena Royle.

Heaven With A Gun (1969)

A gun toting preacher (Glenn Ford) comes to a small town to open up the town's first church. Meanwhile, a range war rages between the local cattlemen and sheepherders. Directed by Lee H. Katzin (WHAT EVER HAPPENED TO AUNT ALICE?). A gritty little western that starts off well but loses its way on its journey. It contains the usual western cliches but it also has a strong backbone that holds the movie together until the preachy finale. As the ex-gunfighter turned parson, Glenn Ford brings a believable conflict to his preacher as he tries to contain his violent nature. Ford's character is also uncomfortably wooed by two different specimens of the female sex: the aging madam (Carolyn Jones) of the local brothel and a teenage Indian girl (Barbara Hershey). With David Carradine, J.D. Cannon, Harry Townes, Virginia Gregg, John Anderson, James Griffith, Barbara Babcock and Roger Perry.

七人の侍 (aka Seven Samurai) (1954)

Set in 16th century Japan, a village of farmers hire seven samurai to help defend their village from bandits who return after harvest time to steal their crops. Directed by Akira Kurosawa (RASHOMON). A popular success in Japan in 1954, the film wasn't released in the U.S. until 1956 and in a cut version. Now considered one of the greatest films ever made, SEVEN SAMURAI lives up to its heady reputation. At three hours and 27 minutes, it's a true epic. The first half of the movie is heavy on exposition and can be a bit tedious but the second half of the film (after the intermission) is thrilling. Attempts have been made to over analyze the film (often chastising it for its perceived condescension to the farmers) much to Kurosawa's displeasure and while there's an intelligence behind it too often missing from action films, I take it for what it is ..... a stunningly crafted action piece. As the foolish but good hearted clown, Toshiro Mifune stands out among the excellent cast. A big thumbs up to Fumio Hayasaka's score. With Takashi Shimura as the samurai leader, Daisuke Kato, Isao Kimura and Keiko Tsushima.

Frankenstein (1973)

A scientist (Robert Foxworth) is determined to prove to his skeptical colleagues that it is possible to sustain life after death. However, he is not prepared for the consequences of his "creation". Based on the novel by Mary Shelley and directed by Glenn Jordan (ONLY WHEN I LAUGH). A decent adaptation of the classic Shelley novel that is hampered by its small budget and being filmed on videotape rather than film. It was filmed entirely on the MGM soundstages which hinders a more expansive production. The production design and art direction are superior which helps give the film some atmosphere. The film portrays Frankenstein's creature (Bo Svenson) as both a victim and a revenge seeking monster so it manages to create some sympathy for him while still portraying him as a monster unable to control his emotions. With Susan Strasberg, John Karlen, Heidi Vaughn and Willie Aames.

La Frusta E Il Corpo (aka The Whip And The Body) (1963)

The sadistic son (Christopher Lee) of a wealthy Count (Gustavo De Nardo) returns to the family castle much to the dismay of his family, the servants and the beautiful woman (Daliah Lavi), now married to his brother (Tony Kendall). Directed by Mario Bava (LISA AND THE DEVIL). Quite controversial when first released because of its sadomasochistic elements (Lavi's character gets her kicks being beaten with a whip), the film was cut by ten minutes. The transfer I saw had the ten minutes restored. The gothic tale has the feel of those Roger Corman AIP Poe adaptations but none of the artistry. While I didn't dislike it, the movie just had a deja vu quality to it and without its kinky S&M element, it would be pretty routine. Its initial reviews weren't especially good but in the ensuing years, the film has grown into a cult film with its share of admirers. With Ida Galli and Harriet Medin.

One Of Our Dinosaurs Is Missing (1975)

An international secret formula, microfilmed and hidden on the massive skeleton of a museum dinosaur spawns a race between London based Chinese intelligence agents and a battalion of British nannies. Based on the novel THE GREAT DINOSAUR ROBBERY by David Forrest and directed by Robert Stevenson (MARY POPPINS). With Caucasian actors Peter Ustinov and Clive Revill playing Chinese villains in "yellowface", the film is embarrassing in 2026. I think the Disney organization knows this hence the film is unavailable (to the best of my knowledge) on streaming or physical media in the U.S. For some reason, all the actors including Helen Hayes as the leader of the nannies play their roles in annoying high pitched voices. The novel was aimed at adults but Disney has "disneyfied" it for the family market. The humor is silly (and not in a good way). With Derek Nimmo, Joss Ackland, Natasha Pyne, Jane Lapotaire, Roy Kinnear and Kathleen Byron.

Le Gout De La Violence (aka The Taste Of Violence) (1961)

In an unnamed Central American country ruled by a dictator, a revolutionary leader (Robert Hossein) holds up a train and kidnaps the dictator's daughter (Giovanna Ralli) in order to trade her for captured revolutionaries. Directed by Robert Hossein (NUDE IN A WHITE CAR). A French western? Yes and a terrific one, too. The title is misleading, there's only a minimal amount of violence. Rather than show us massacres and killing, we see the aftermath of violence and its effect on the survivors. This is no spaghetti western. Shot beautifully in B&W wide screen (Dyaliscope, essentially a French form of CinemaScope) by Jacques Robin (TRAITEMENT DE CHOC), it contains some of the best use of wide screen anamorphic scope I've ever seen. It would be a crime to watch it in pan and scan or cropped to anything less than 2.35. Dialogue is kept to a minimum and director Hossein uses long takes and silence to achieve his bleak vision. Although taking place in Central America, it was filmed in what was then, Yugoslavia. If you're into westerns, you have to check this one out. With Mario Adorf, Madeleine Robinson and Hans H. Neubert.

Liliom (1934)

Fired from his job as a carnival barker by his jealous female boss (Florelle), the barker (Charles Boyer) moves in with a young girl (Madeleine Ozeray). They're penniless and he's abusive to her. Based on the play by Ferenc Molnar (THE SWAN) and directed by Fritz Lang (METROPOLIS). The play was previously filmed by Frank Borzage in 1930 and Rodgers & Hammerstein used Molnar's play as the basis for their 1945 musical, CAROUSEL. Frankly, I've never warmed to LILIOM in any of its incarnations though if I had to choose a favorite, it would be CAROUSEL because of the wonderful Rodgers & Hammerstein songs. The movie's romanticization of domestic violence doesn't sit well to 21st century sensibilities. The movie's ace is Charles Boyer, who's excellent. With Pierre Alcover and Antonin Artaud.

Song Sung Blue (2025)

Set in 1987, a recovering alcoholic (Hugh Jackman) who works as a Don Ho impersonator at the Wisconsin state fair meets a part time hairdresser (Kate Hudson in an Oscar nominated performance) impersonating Patsy Cline at the same event. They fall in love and together form Lightning And Thunder, a Neil Diamond tribute band. Based on the 2008 documentary film of the same name and directed by Craig Brewer (HUSTLE & FLOW). I try not to read too many reviews or pieces on films before I see them as they often tell us too much and I prefer seeing a movie knowing as little as possible and with no preconceived notions. I'm glad because this was a total surprise and not what I was expecting. It's funny, it's tragic and a wonderful musical. Even if you're not a Neil Diamond fan (and I'm not), this is a marvelous movie and when I call it old fashioned, I mean that as a compliment. Jackman is terrific but the movie belongs to Hudson. Kudos to director Brewer because the film could have been a cheesy "true story" bio instead of the minor gem we get here. With Michael Imperioli, Ella Anderson, Mustafa Shakir and James Belushi (very good!).