Cold Storage (2026)

In 1979, Skylab breaks apart during its reentry to Earth but because of its size (77 tons), it did not burn up completely and it scatters debris over the Indian Ocean and sparsely populated areas of Western Australia. But it brings back a deadly parasitic fungus. Based on the novel by David Koepp (who adapted his book for the screen) and directed by Jonny Campbell (ALIEN AUTOPSY). A splendid homage to 1950s B movie science fiction that balances laughs with genuine thrills. It doesn't take itself seriously and neither should you. With the exception of the first victim (Sosie Bacon, daughter of Kevin), the people who die are morons so you can enjoy their gory deaths. Is there anything better than scares and laughs in the same movie? Some of the cast are overqualified for stuff like this including Vanessa Redgrave (looking frail but wonderful to see her back on the screen), Liam Neeson and Lesley Manville but they seem to be having a great time. With Georgina Campbell, Joe Keery, Ellora Torchia and Gavin Spokes.

Obsession (aka The Hidden Room) (1949)

Tired of his beautiful wife's (Sally Gray) infidelities, a psychiatrist (Robert Newton) vows to kill her latest lover (Phil Brown). He concocts the perfect murder plan ..... but will he get away with it? Based on the novel A MAN ABOUT A DOG by Alec Coppel (VERTIGO) (who also did the screenplay) and directed by Edward Dmytryk (THE CARPETBAGGERS). Dmytryk had a critical and commercial success with the film CROSSFIRE in 1947. But he was named as one of the Hollywood Ten by the House Un-American Activities Committee so he wasn't able to capitalize on that film's success and he fled to England and this was his first film there. I found it to be a marvelous thriller in the Hitchcock style (with a wee touch of Agatha Christie) and the cat and mouse game between Newton's obsessed husband and Scotland Yard builds in suspense. The acting is quite good, notably Phil Brown as the American lover but the film is stolen by a terrier called Monty, who has an important role in the narrative. The score is by Nino Rota. With Naunton Wayne as the Scotland Yard inspector on the case and James Harcourt.

L'Innocent (aka The Innocent) (2022)

When his mother (Anouk Grinberg) marries an ex-convict (Roschdy Zem), her adult son (Louis Garrel) disapproves. But it isn't long before he's seduced by his stepfather's criminal life. Directed by Louis Garrel. Showered by 11 Cesar (the French Oscar) nominations and winning two, the movie didn't work for me. Every character is a loser and save one, I didn't give a damn what happened to any of them. The contrivances overflowing on the screen only served to distance me from its machinations. The only character I had any empathy for was Grinberg's desperately lonely mother and by the film's end, I did feel sorry for her but as far as I was concerned, everyone else deserved what they got except Noemie Merlant, who was so annoying that I was hoping she would get bumped off. Did I mention the film is supposed to be a comedy? With Yanisse Kebbab and Jean Claude Pautot.

Les Aventures d'Arsene Lupin (aka The Adventures Of Arsene Lupin) (1957)

Set in Paris at the end of the 19th century, a gentleman thief by the name of Arsene Lupin (Robert Lamoureux) is the bane of the Paris police as his cunning mocks the gendarmes as he cleverly escapes their clutches and his identity remains a mystery to them. Loosely based on the novel ARSENE LUPIN, GENTLEMAN BURGLAR by Maurice Leblanc and directed by Jacques Becker (CASQUE D'OR). Stylish and elegant and moderately entertaining. What else can one say? There's no real plot to speak of, it's just a series of moments as Lupin engages in daring thefts and romances the pretty ladies. With Liselotte Pulver, Sandra Milo, O.E. Hasse and Daniel Ceccaldi.

Home Fries (1998)

At the behest of their psycho mother (Catherine O'Hara), two brothers (Luke Wilson, Jake Busey) kill their stepfather (Chris Ellis). But when they discover their stepfather's pregnant mistress (Drew Barrymore) might have overheard the killing, she becomes a "loose end" that must be dealt with. There's a problem however, when one (Wilson) of the brothers falls in love with her! Directed by Dean Parisot (GALAXY QUEST). This quirky black comedy is ridiculous at times and over the top but still remains wildly amusing for the most part. Yes, it's a shallow movie, often going for cheap laughs but it gets the job done. The cast is up for it. Barrymore is adorable but the scene stealer is Catherine O'Hara as the batsh*t crazy mother from hell. Pity it's not better written, there's a classic black comedy in there somewhere. With Shelley Duvall, Lanny Flaherty and Daryl Mitchell.

Move (1970)

A struggling writer (Elliott Gould) in New York City writes pornography and walks dogs for the rich in order to make a living. When he and his wife (Paula Prentiss) decide to move to a new apartment, things go from bad to worse as the real world and his fantasy world clash. Based on the novel by Joel Lieber and directed by Stuart Rosenberg (COOL HAND LUKE). A mess of a movie! Taking advantage of the screen's new freedom, Rosenberg tosses in as much gratuitous nudity as possible (if you ever wanted to see Elliott Gould's butt, this movie is for you) but this film about a paranoid failed writer walking through a surrealistic Manhattan just isn't funny. This was director Rosenberg's only comedy and one can see why. The man just doesn't have a comedic sensibility. There's a slightly (very slight) amusing sequence when Gould has a sexual encounter with a ditzy Brit (Genevieve Waite channeling Marilyn Monroe) but not enough to lift the movie out of the quicksand it's in. With Ron O'Neal, John Larch, Mae Questel and Jeannie Berlin.

Kampf Um Rom (aka The Last Roman) (1968)

Set in the 6th century A.D., the Roman Empire is a shadow of its former self as the Ostrogoths rule over it. When the Ostrogoth king dies, his two daughters (Harriet Andersson, Honor Blackman) fight over who will be Queen. The devious leader (Laurence Harvey) of what remains of Rome takes advantage of this by playing both sides while the Emperor (Orson Welles) of the Byzantine empire also has designs on Rome. Based on the novel THE STRUGGLE FOR ROME by Felix Dahn and directed by Robert Siodmak (THE SPIRAL STAIRCASE) in his swan song as a film director. From 1943 to 1952, Siodmak made a series of excellent films in the U.S. but after THE CRIMSON PIRATE, he returned to Europe to make movies. Siodmak wasn't content with the script but proceeded anyway. As an epic (its 3 hours long), it's visually impressive and structurally incoherent. Unless you're a Roman history buff, you may well be confused about the Roman, Goth and Byzantine triptych's power battle. With Sylva Koscina, Michael Dunn, Robert Hoffman, Ingrid Boulting, Lang Jeffries and Florin Piersic.

A Prize Of Gold (1955)

Set in post war Berlin, an Air Force Master Sergeant (Richard Widmark) falls in love with a German woman (Mai Zetterling) who is the caretaker for a bunch of German war orphans. She is trying to get the children away from Germany and to Brazil where they can start life anew. He attempts to help her by conceiving a daring heist of gold bullion. Based on the novel by Max Catto (THE DEVIL AT FOUR O'CLOCK) and directed by Mark Robson (VALLEY OF THE DOLLS). A decent enough heist movie and, of course, everything doesn't go as planned. If it did, there wouldn't be much suspense. The group of thieves are all amateurs and it's easy to spot the loose cannon (Nigel Patrick) that is going to muck everything up and I couldn't help but wonder why the others couldn't see it too. As the "girl" providing some romantic interest, Mai Zetterling is wasted. With George Cole, Donald Wolfit, Andrew Ray and  Karel Stepanek.

Annabel Takes A Tour (1938)

While on tour promoting her latest movie, an actress (Lucille Ball) conjures up a fictitious romance with a famous romance novelist (Ralph Forbes) as a publicity stunt. Directed by Lew Landers (DAVY CROCKETT, INDIAN SCOUT). An unnecessary sequel to THE AFFAIRS OF ANNABEL (1938). Unnecessary because it's just more of the same. In the first movie, I found Jack Oakie (as Ball's publicist) irritating and he's just as irritating here and again, considering how he screws up every time, why does Ball continue to listen to his crazy publicity stunts. If it were actually funny, such complaints wouldn't matter but it isn't amusing in the least. Lucille Ball tries but it's like putting make up on a corpse ... it's still dead. With Ruth Donnelly, Bradley Page and Frances Mercer.

Junior Miss (1945)

A young teenage girl (Peggy Ann Garner) meddles in her family's lives which leads to a series of misunderstandings that causes problems for everyone. Based on the hit Broadway play by Jerome Chodorov and Joseph Fields (by way of the short stories by Sally Benson) and directed by George Seaton (MIRACLE ON 34TH STREET). The kind of sitcom material in the pre television days that proved popular on Broadway. JUNIOR MISS was performed by community theatres and high school productions for decades. Today, it's a relic of another era. Fresh off the success of A TREE GROWS IN BROOKLYN (1945), Peggy Ann Garner is sweet and charming which goes a long way in overcoming the tediousness of the contrived plot though to be fair, it's not altogether unpleasant. With Mona Freeman, Allyn Joslyn, Faye Marlowe, Barbara Whiting, Mel Torme and Stephan Dunne.

The Case Of The Sinister Spirit (1987)

A publisher (Robert Stack) is accused of murdering his top client (Matthew Faison) during a visit to the author's Denver estate. But he wasn't the only invited guest and they all had motives to do the writer in. Enter Perry Mason (Raymond Burr) to defend him. Directed by Richard Lang (BLOOD BLACK AND WHITE). The fifth entry in the thirty movie Perry Mason franchise done after the series ended in 1966. This is one of the better entries with a very clever finale. While it's fairly easy to guess the murderer, it's the murderer's motive that's the big surprise. With Leigh Taylor Young, Barbara Hale, William Katt, David Ogden Stiers, Kim Delaney, Percy Rodrigues and Dwight Scultz.

Wuthering Heights (2026)

Set in 19th century England, the owner (Martin Clunes) of the Wuthering Heights estate brings home a young boy (Owen Cooper morphing into Jacob Elordi) he has rescued from the streets. The boy forms a bond with the owner's young daughter (Charlotte Mellington morphing into Margot Robbie) that turns into a passionate love as they grow into adults. Loosely based on the classic novel by Emily Bronte and directed by Emerald Fennell (PROMISING YOUNG WOMAN). First off, this is NOT Emily Bronte's WUTHERING HEIGHTS, it's clearly Fennell's WUTHERING HEIGHTS! Fennell has gone on record as saying she wanted to recreate the feeling of a teenage girl reading the book for the first time. I'm not a teenage girl so clearly I'm not the demographic Fennell was aiming for. Fennell brings in S&M, masturbation and lots of f*cking which weren't in Bronte's novel but I assume Fennell feels its what teenage girls want to see. Fennell jettisons Cathy's older brother from the film and instead of an elderly housekeeper, Nelly is now an Asian servant (Hong Chau) about the same age as Cathy. I've seen many Heathcliffs (Laurence Olivier, Charlton Heston, Richard Burton, Timothy Dalton, Ralph Fiennes among them) and they all brought an intensity, the destructive passion that destroys Heathcliff. Alas, Elordi may be a hunk but he can't summon up that passion and when he wants to show passion, he licks Robbie's face like a dog! Judging from what's on view here, Fennell's reimagination of Bronte's novel suggests that love is only passionate when it degrades us. On the plus side, the film looks fantastic thanks to Linus Sandgren's (LA LA LAND) elegant cinematography. With Shazad Latif and Alison Oliver.