Jewel Robbery (1932)

Set in Vienna, a Baroness (Kay Francis) relieves the boredom of her marriage to an older man (Henry Kolker) with love affairs but even the adultery is beginning to bore her. However, when she is in a jewelry store and a gentleman thief (William Powell) and his gang break in and rob the place, he takes the time to flirt with her and she finds herself attracted to him. Based on the Hungarian play EKSZERRABIAS A VACI-UTCABAN by Ladislas Fodor (and its English adaptation by Bertram Bloch) and directed by William Dieterle (HUNCHBACK OF NOTRE DAME). A thin pre code romantic comedy and heist movie hybrid that does little to hide its theatrical origins. Still, there's the star power of William Powell showing off the charm that would make his Nick Charles in THE THIN MAN a hit two years later and Kay Francis modeling her Orry Kelly frocks. This was Powell's and Francis's fifth movie together and they play off each other nicely which compensates for the stilted screenplay. This being a pre code movie, adultery is treated quite casually (somehow in these movies, it seemed acceptable among the rich) and marijuana cigarettes passed around like candy! With Helen Vinson and Alan Mowbray.

The Boob (1926)

A meek young country boy (George K. Arthur) is in love with his childhood sweetheart (Gertrude Olmstead) but she's in love with a city slicker (Tony D'Algy). In order to impress her and win her back, he sets out to catch some bootleggers! Directed by William A. Wellman (THE HIGH AND THE MIGHTY), this minor silent comedy is watchable but lacks the originality and wit that make the Keaton and Chaplin silent comedies such classics. In fact, George K. Arthur comes across as a poor imitation of Buster Keaton. The movie is stolen by two supporting players, a black child actor who shockingly is not credited even though he has an important role and a mutt by the name of Benzine! The film is also notable for an early appearance by a young Joan Crawford in a minor role as a government revenue agent. Wellman's career would make a major leap the following year when he directed the Oscar winning WINGS. With Charles Murray and Edythe Chapman.

Thelma And Louise (1991)

Two best friends, Thelma (Geena Davis) and Louise (Susan Sarandon) set out for a weekend getaway in the mountains. But a stop at a country and western bar turns ugly when a man (Timothy Carhart) attempts to rape Thelma and is shot and killed by Louise. Directed by Ridley Scott (ALIEN). There had been a smattering of mainstream feminist movies in the 1970s (ALICE DOESN'T LIVE HERE ANYMORE, AN UNMARRIED WOMAN etc.) but nothing like the controversy and attention that made THELMA AND LOUISE one of the most talked about movies of the year. It wasn't a small intellectual film but a female road film that had as much action as a Charles Bronson movie and encompassed the anger, rage and frustration toward a male driven society that still treated women as second class citizens. While many feminists decried the violence in the film, audiences cheered the two women as they blew up a sexist trucker's vehicle. I think it's Sarandon's best performance and Geena Davis gives a trajectory to her ditzy housewife's journey of discovery till she realizes she can never go back to the way it was. In many ways, a landmark film. With Brad Pitt (in his breakthrough role), Harvey Keitel, Michael Madsen, Christopher McDonald and Lucinda Jenney. 

怪物 (aka Monster) (2023)

A single mother (Sakura Ando) raising a son (Soya Kurokawa) is alarmed by her son's disturbing behavior and suspects he is being abused by a teacher (Eita Nagayama) and she goes to the school to confront him but is unsatisfied with the school's response. Directed by Hirokazu Kore-eda (SHOPLIFTERS), the film won the best screenplay at the Cannes film festival. The film is a complex puzzle told from three different views and it takes awhile to get used to the fragmented narrative but slowly it emerges into a shattering but empathetic rumination on understanding and accepting who you are. Other themes show themselves: homophobia, bullying, parental abuse, guilt but they are secondary to the film's emotional core. The two central child performers (Hinata Hiiragi is the other boy) are amazing. Not an easy viewing but be patient, the reward is great. With Yuko Tanaka and Mitsuki Takahata.

Tarzan The Ape Man (1932)

Two hunters (C. Aubrey Smith, Neil Hamilton) travel in Africa searching for a sacred elephant burial ground where they expect to find a wealth of ivory. They take along the older hunter's daughter (Maureen O'Sullivan) in their quest. But they come across a primitive white man (Johnny Weissmuller), almost ape like in his demeanor. Based on the 1912 novel by Edgar Rice Burroughs and directed by W.S. Van Dyke (SAN FRANCISCO). Not the first Tarzan feature film made but the most successful. It spawned 12 more movies with Weissmuller as Tarzan and the character would continue with Lex Barker and Gordon Scott playing the jungle hero among many others. It's a primitive film in more ways than one. I found much of it difficult to watch what with its indigenous people being whipped because they didn't move fast enough for their white bwanas and the random slaughter of animals in their native habitat because they were in the way. Weissmuller doesn't have to act, just look good in a loin cloth (which he does) and he doesn't come in until a half hour into the movie. The movie really belongs to O'Sullivan as Jane who carries most of the movie. For me, it was of interest for its historical aspect but not much else. I much preferred the Lex Barker Tarzan movies.

The Looters (1955)

When a plane crashes in the snow capped Rocky Mountains of Colorado, a mountain climber (Rory Calhoun) and his old Army buddy (Ray Danton) set out on their trail with the intention of rescuing any survivors. But the Army buddy is lured  by the $250,000 in cash they find among the plane's debris. Directed by Abner Biberman (THE NIGHT RUNNER). After a slow expository beginning, the film grows in intensity as the two mountain climbers and the survivors make the perilous trek down the mountain. The movie may be a minor Universal programmer but it does its job well and the acting is more than decent. The film benefits from its mountain locations though I have no idea where the film's exteriors were filmed (interiors shot at Universal) and handsomely shot by Lloyd Ahern (MIRACLE ON 34TH STREET) in B&W. A nifty adventure movie. With Julie Adams, Thomas Gomez, Frank Faylen and Russ Conway.

The Questor Tapes (1974)

An android (Robert Foxworth) created with cutting edge technology sets out on a quest to find his missing creator (Lew Ayres) in an attempt to find out his purpose. To this end, he is helped in his search by a young scientist (Mike Farrell). Directed by Richard Colla (THE UFO INCIDENT) and based on a concept by Gene Roddenberry, the man behind the original STAR TREK series. A fascinating premise poorly executed. The movie plays around with the idea of creation in terms of our own creation and our relation to our "creator" and the android's relation to his own creator but it doesn't explore it in any depth. It plays out like a TV movie of the week (which it was) and this is only amplified by the cipher that is Mike Farrell. The film has a large cult following but I, for one, would love to see it remade by more creative and daring minds. With Dana Wynter, John Vernon, Majel Barrett and James Shigeta whose part seems to have been severely cut.

Speriamo Che Sia Femmina (aka Let's Hope It's A Girl) (1986)

Although married, a woman (Liv Ullmann) lives apart from her husband (Philippe Noiret). She lives in the Tuscan countryside while her husband resides in Rome. She lives with an extended female centric family including her actress sister's (Catherine Deneuve) daughter (Francesca Calo). Directed by Mario Monicelli (BIG DEAL ON MADONNA STREET) who won the David di Donatello award (the Italian Oscar) for best director for his work here. The film is near plotless. Instead, we get a series of incidents that eventually build up to a tale of female bonding and empowerment. However, despite its feminist narrative, it isn't heavy handed. Monicelli slowly lets it grow without us even being aware of it until the very end. The only problem I had with it was the usual Italian dubbing. The Nordic Liv Ullmann and the French Deneuve and Noiret are dubbed into Italian and it took me awhile to get used to the dubbed voices. A simple story that moves amiably along until its strong climax. With Stefania Sandrelli, Bernard Blier (also French), Giuliano Gemma, Giuliana De Sio and Athina Cenci.

Sette Note In Nero (aka The Psychic) (1977)

A recently married woman (Jennifer O'Neill) has visions of an older woman murdered by a limping man and her body buried behind a wall. While her husband (Gianni Garko) is away on a business trip, she decides to renovate an abandoned mansion owned by her husband. It is there she discovers a crack in the wall and eventually a skeleton of a dead woman who had been buried behind the wall. But that's only the beginning as she perseveres in locating the killer. Directed by Lucio Fulci (LIZARD IN A WOMAN'S SKIN), this is a gripping giallo that grows in intensity and even when you realize who the murderer is, you're still riveted. The film's only flaw (and it's a minor one) in my eyes is why the killer would bury a second body behind a wall several years later. Surely, there's an easier way to get rid of a body. Although considered a giallo, I was more taken by the murder mystery "whodunit" aspect of it. Stylish and effective, it's a favorite of Quentin Tarantino who wanted to remake it in the late 1990s. The film wasn't released in the U.S. until 1979. With Gabriele Ferzetti, Ida Galli, Marc Porela and Jenny Tamburi.

Three Strangers (1946)

On the eve of the Chinese New Year, three strangers make a wish to a Chinese goddess for money: a solicitor (Sydney Greenstreet), an alcoholic (Peter Lorre) and a manipulative and obsessive woman (Geraldine Fitzgerald). But what good will the money do them if fate already has their destinies plotted out? Directed by Jean Negulesco (THREE COINS IN THE FOUNTAIN) from an original screenplay co-written by John Huston. It's a nifty film noir with curves and irony. The three leads are very good with Peter Lorre in one of his best roles and the usually docile Fitzgerald getting a chance to play a wicked woman. The film was originally planned with bigger stars in the leads but I'm glad that the trio that normally played supporting roles were put into the starring roles. It gives the movie an intrepid texture. The atmospheric score is by Adolph Deutsch (THE MALTESE FALCON) and the suitably ambient cinematography is by Arthur Edeson (CASABLANCA). A real treat for noir fans. With Joan Lorring, Peter Whitney, Marjorie Riordan and Alan Napier.