The Winning Of Barbara Worth (1926)

The adopted daughter (Vilma Banky) of a rancher (Charles Willis Lane) who dreams of turning their desert town into a farmland is pursued by two men: the son (Ronald Colman) of a devious land developer (E.J. Ratcliffe) and a shy cowboy (Gary Cooper). Based on the novel by Harold Bell Wright and directed by Henry King (LOVE IS A MANY SPLENDORED THING). A slightly creaky mixture of western romance and action movie. Ronald Colman seems an odd choice for a western but this is a silent movie so his clipped English accent isn't heard. Colman is the star and Cooper is the young newcomer so there's never any doubt who the heroine will end up with. The highlight of the movie is the massive flood finale and it's handled beautifully. Unfortunately, the transfer I saw had one of those godawful solo organ scores instead of a full orchestra. With Paul McAllister and Clyde Cook.

Belles On Their Toes (1952)

Set in the 1920s. After the death of her husband, a female engineer (Myrna Loy) struggles to make a living to support her twelve children. Male chauvinism against women in the industry makes it difficult for her to get work. Based on the semi autobiographical book by Frank Bunker Gilbreth Jr. and Ernestine Gilbreth Carey and directed by Henry Levin (WHERE THE BOYS ARE). The first book by the Gilbreth brother and sister CHEAPER BY THE DOZEN was made into a hit movie in 1950 so it was inevitable that the second book which continued the story of the Gilbreth family would get made into a film too. It's a bland wholesome family movie with the thinnest of plots. In the 1950 movie, the father was played by Clifton Webb and his acidity is sorely missed in this sequel. The second installment is inoffensive but not much else. If you're a fan of the first movie, your tolerance for this one might get you by. With Jeanne Crain, Jeffrey Hunter, Debra Paget, Edward Arnold, Barbara Bates, Martin Milner, Robert Arthur, Verna Felton and Hoagy Carmichael.

The Case Of The Notorious Nun (1986)

A young priest (Timothy Bottoms) brought in by an archbishop (William Prince) to look for signs of embezzlement in the archdiocese is found stabbed in his hotel room. A young nun (Michele Greene) is accused of the murder. The archbishop asks his old friend Perry Mason (Raymond Burr) to defend her. Directed by Ron Satlof (PERRY MASON RETURNS). The second of the thirty Perry Mason movies made in the 1980s long after the television series ended in 1966. It's a decent murder mystery hampered by the unsympathetic nun suspect being exceedingly irritating, a fact that is acknowledged in the telefilm. The movie seems somewhat padded out. The original PERRY MASON episodes were an hour in length and by expanding it to 90 minutes, some of the scenes seem superfluous. With Arthur Hill, Barbara Parkins, Tom Bosley, Barbara Hale, William Katt, Jon Cypher and Gerald S. O'Laughlin.

Die My Love (2025)

A writer and young mother (Jennifer Lawrence) is slowly slipping into madness. Locked away in an old house in and around Montana, she becomes increasingly agitated and erratic. Her boyfriend (Robert Pattinson) seems helpless in this situation. Based on the novel MATATE AMOR by Ariana Harwicz and directed by Lynne Ramsay (WE NEED TO TALK ABOUT KEVIN). The film suggests that post partum anxiety is responsible for Lawrence's descent into madness but I think that was just a trigger for someone who wasn't healthy to begin with and would eventually have gone batshit crazy anyway. I certainly can empathize with her apathy living in the boondocks with a clueless boyfriend. Signs of her instability are clearly there but the boyfriend seems to be in denial, that it's just a phase and it can be worked out. Some parts of the film are unclear. Is Lawrence's black lover (LaKeith Stansfield) real or a figment of her psychosis? One has to admire Lawrence's commitment to her character. Her performance is terrific and perhaps in any other year (2025 was an excellent year for female performances), it would have gotten more awards attention. Unrelentingly grim but worth a watch. With Sissy Spacek, Nick Nolte and Gabrielle Rose.

Abbott And Costello Meet Captain Kidd (1952)

Two tavern workers (Bud Abbott, Lou Costello) accidentally mix up the treasure map of the notorious Captain Kidd (Charles Laughton) with a love letter from a young woman (Fran Warren) to her beloved (Bill Shirley). Directed by Charles Lamont (I WAS A SHOPLIFTER). A low point in the careers of Abbott & Costello and Charles Laughton. I'm a huge Abbott & Costello fan but this effort ranks very close to the bottom of their filmography. Laughton had previously played Captain Kidd in 1945. But in 1952, his Hollywood career wasn't going too well, so not only does he parody his 1945 performance, he gets below the title "co-starring" billing! Maybe if the film were actually funny, all that wouldn't have mattered much but as it is, it's embarrassing to see one of cinema's great actors doing slapstick when he has no talent for it. The film's only interest is that it's one of only two A&C movies made in color. With Hillary Brooke and Leif Erickson.

Anything Else (2003)

When an aspiring young writer (Jason Biggs) falls head over heels in love with a free spirited but neurotic young woman (Christina Ricci), he soon discovers he's going to have to work doubly hard to make their relationship work. Written and directed by Woody Allen (ANNIE HALL). Woody Allen in a rut! The material seems recycled from other (and better) Allen movies. At this stage of his career, Allen was too old to play the romantic lead anymore so Jason Biggs stands in. But Biggs delivers his performance full of the usual Woody Allen tics and phrasing and while Allen plays his mentor with the usual Allen tics and phrasing. The film was made during one of Allen's worst periods (2000-2004) as a filmmaker with forgettable movies like CURSE OF THE JADE SCORPION, HOLLYWOOD ENDING, MELINDA AND MELINDA among them. Certainly not his worst film (that would be WHATEVER WORKS) but there's some compensation from Darius Khondji's (MARTY SUPREME) loving wide screen (one of Allen's few films in the scope format) lensing of Manhattan. With Stockard Channing, Danny DeVito, Jimmy Fallon and Diana Krall.

Le Fauve Est Lache (aka The Beast Is Loose) (1959)

An ex gangster (Lino Ventura) who became a hero of the French resistance has now settled down to a quiet life. He operates a small restaurant and has a wife (Nadine Alari) and two children. But the French Secret Service need him for one more mission and when he refuses, they frame him and set him up to escape from the police. Directed by Maurice Labro (CODE NAME: JAGUAR). A terrific noir thriller that should be better known. Co-written by Claude Sautet (LES CHOSES DE LA VIE), who was also the assistant director on the film. It's compelling and intense as Ventura's protagonist is pushed by both sides into a murderous rage and who could blame him? If you're into film noir, especially French noir, you have to check this one out. With Estella Blain, Paul Frankeur, Francois Chaumette and Eugene Deckers.

Wonderful Life (aka Swingers Paradise) (1964)

A band is stranded on the Canary Islands without funds. When they run into a film company shooting a movie, the band's lead singer (Cliff Richard) gets a job as a stunt man for the film's male star (Derek Bond). His attraction to the movie's young leading lady (Susan Hampshire) leads to complications. Directed by Sidney J. Furie (THE IPCRESS FILE). The majority of movies starring pop stars during this period are a bland lot yet audiences seemed to eat them up. Honestly, most of Elvis Presley's 1960s movies were inane and England's number one pop star Cliff Richard is no exception. The plot is silly. Instead of those "Hey gang, let's put on a show" Garland & Rooney flicks, we get "Hey gang, let's make a movie!". Cliff Richard showed some ability and a sexual heat before he became a big pop star in films like EXPRESSO BONGO and SERIOUS CHARGE, both 1959 but here he's fresh scrubbed and asexual (even Pat Boone had more sex appeal). The songs are forgettable and while Gillian Lyne's energetic choreography is very good, it's wasted here. With Walter Slezak, Una Stubbs and The Shadows (Hank Marvin, Bruce Welch, Brian Bennett, John Rostill).

Cousins (1989)

At a wedding, the groom's nephew (Ted Danson) and the bride's daughter (Isabella Rossellini) find their spouses missing. When his wife (Sean Young) and her husband (William Petersen) return late, it's clear they had sex. Thus begins, at first, a platonic friendship between the nephew and the daughter. Based on the French film COUSINN COUSINE (1975) and directed by Joel Schumacher (THE LOST BOYS). I wasn't COUSIN COUSINE's biggest fan and this remake follows the 1975 film's narrative closely except it's more sentimental and its ending, less harsh and more "romantic". The film's leads, Danson and Rossellini, are immensely likable so manage to keep the movie on track for most of its running time. But ultimately, it's not a very good film. With Lloyd Bridges, Norma Aleandro, Gina DeAngeles and Keith Coogan in an annoying performance as Danson's son.

Nightmare At 43 Hillcrest (1973)

A "typical" American family has their home invaded by police looking for drugs. When the ambitious cop (Peter Mark Richman) in charge of the drug bust discovers he's at the wrong house, instead of admitting his mistake, he plants drugs in the home and arrests the father (Jim Hutton), mother (Emmaline Henry) and daughter (Linda Curtis). Directed by Lela Swift (TV's DARK SHADOWS). Based on an actual case, this telefilm suffers from being shot on videotape rather than film but other than that, it's extremely well done and director Swift speeds it along with an immediacy that keeps one glued to the screen. With the exception of Richman whose performance is a bit over the top, the acting is solid. This is something that could use a big screen remake with a larger budget. With Mariette Hartley, John Karlen, Walter Brooke, Don Dubbins and Richard Stahl.

Stronger Than Desire (1939)

Believing her workaholic lawyer husband (Walter Pidgeon) is seeing another woman (Rita Johnson), a wife (Virginia Bruce) is consoled by a married gigolo (Lee Bowman). When she attempts to break off the relationship, he blackmails her. Based on the novel EVELYN PRENTICE by W.E. Woodward and directed by Leslie Fenton (WHISPERING SMITH). Woodward's novel had previously been filmed in 1934 under the book's original title. This version is a solid remake and if Walter Pidgeon (not yet the star he would become in a few years) and Virginia Bruce lack the chemistry of the 1934 movie leads (William Powell, Myrna Loy), they still account themselves well in this courtroom melodrama. The movie was a modest hit for MGM. With Ann Dvorak, Ilka Chase and Richard Lane.

My Friend Irma (1949)

A secretary (Diana Lynn) with plans to marry her wealthy boss (Don DeFore) is roommates with a ditzy blonde airhead (Marie Wilson). Her plans to marry a rich man hits a snag when she meets a good looking singer (Dean Martin). Based on the radio show of the same name and directed by George Marshall (THE BLUE DAHLIA). The movie debut of the comedy team, Dean Martin and Jerry Lewis, who would go on to make 16 films together from 1949 to 1956. It's not particularly an auspicious film debut (they would go on to make better comedies) but they provide some zany comedy bits that alleviates the tedium of this so-so venture. The public liked it enough to make it a hit and a sequel (MY FRIEND IRMA GOES WEST) turned up the following year. With John Lund, Kathryn Givney, Hans Conreid and Margaret Field.