All That Money Can Buy (aka The Devil And Daniel Webster) (1941)

A hard working farmer (James Craig) is trying to make an honest living but a streak of bad luck tempts him to do the unthinkable bargain with the Devil (Walter Huston) himself. In exchange for seven years of good fortune, he sells his soul to Satan. Based on the classic short story by Stephen Vincent Benet (who co-wrote the screenplay) and directed by William Dieterle (STORY OF LOUIS PASTEUR). While there's some rustic charm to the movie, ultimately I found it a heavy handed morality tale. The "good" characters aren't all that interesting, notably Anne Shirley as the goody two shoes wife and Jane Darwell's bible spouting mother. Much more fun are Walter Huston's sly and wicked Devil and Simone Simon as the seductress who steals Craig away from his wife. The two give the best performances in the film. The Oscar winning score is by Bernard Herrmann. With Edward Arnold as Daniel Webster, Gene Lockhart, H.B. Warner and Jeff Corey.

Folle A Tuer (aka Mad Enough To Kill) (1975)

A wealthy industrialist (Michael Lonsdale) hires a former psychiatric patient (Marlene Jobert)  to look after his recently orphaned nephew (Thomas Waintrop). But when the woman and the boy are kidnapped at gunpoint by a hitman (a sour faced Tomas Milian), it's a race against time to survive. Based on the novel O DINGOS, O CHATEAUX by Jean Patrick Manchette and directed by Yves Boisset (PURPLE TAXI). A mess of a thriller that shouldn't work but somehow does. It's implausible plot is loopy and none of the characters are very appealing including the obnoxious brat and frightened doormat that are kidnapped. Yet it's persuasive enough to keep you invested in what's going to happen next. The revelation of the mastermind behind the plot is supposed to be a surprise but its pretty obvious when you get down to it. The score consists of blasts of music by Giuseppe Verdi adapted by Philippe Sarde which adds nothing to the suspense. With Victor Lanoux and Michel Peyrelon.

Imitation General (1958)

Set during WWII France. Surrounded by Germans and with his commanding officer (Kent Smith) dead, a Sergeant (Glenn Ford) and a Corporal (Red Buttons) wonder what to do next. When a Corporal (Dean Jones) mistakes the Sergeant for a General, the Sergeant decides to pretend to be a General and lead a counterattack. Based on a short story by William Chamberlain and directed by George Marshall (DESTRY RIDES AGAIN). I'm not a fan of military comedies and I found this effort extremely vapid. Its plot is absurd and not sufficiently written to compensate for the preposterousness of the scenario. 1958 audiences however didn't agree, the movie was a big hit. Curiously, the film has its lone female character (Taina Elg) speak only French because she can't speak English yet she seems to understand everything that is going on! With Tige Andrews and John Wilder.

Roxie Hart (1942)

Set in 1920s Chicago, an ambitious showgirl (Ginger Rogers) confesses to a murder just for the publicity. After her husband (George Chandler) shoots a "burglar" in their apartment, she is convinced by a theatrical agent (Nigel Bruce) to claim she did it. As she becomes the center of a sensational trial, she gains the fame she has always sought. Based on the play CHICAGO by Maurine Dallas Watkins (previously filmed in 1927) and directed by William A. Wellman (THE HIGH AND THE MIGHTY). A cynical but wickedly funny look at the lengths people will go to for publicity and America's obsession with sleazy crimes. Next to her movies with Fred Astaire, this is my favorite Rogers performance. This is the film she should have gotten her Oscar for, not the mundane KITTY FOYLE (1940). With one exception, the cast is splendid down to the smallest roles. The exception is George Montgomery as a reporter. Granted it's an uninteresting part but he brings nothing to the party except his good looks. The original play and this film formed the basis for the Oscar winning musical CHICAGO (2002). With Adolphe Menjou, Lynne Overman, Phil Silvers, Sara Allgood, Spring Byington, Helene Reynolds and Iris Adrian.

Gentle Monster (2026)

A successful composer and singer (Lea Seydoux) moves from Berlin to the countryside to help support her husband (Laurence Rupp) after he suffers burnout. Her world turns upside down when police show up at her door with a warrant to search the property, looking for computers and electronic devices when her husband is charged with distribution and possession of child pornography. Written and directed by Marie Kreutzer (CORSAGE). A disturbing subject matter focusing on the wife of the perpetrator is handled with aplomb with a terrific performance by Seydoux at its core. Like her, we have doubts about the husband's guilt until layers are peeled away and we can confront the inevitable truth even if its a dark gray rather than black and white. While Seydoux commands the film, there's a subtle and complex performance by Jella Haase as the police investigator who must deal with her dementia ridden father (Sylvester Groth) who sexually assaults his caregiver. Hopefully, Seydoux's performance will get some consideration this award season. In English, German and French. With Catherine Deneuve as Seydoux's mother, Malo Blanchet and Nils Strunk.

Let Us Be Gay (1930)

A devoted if frumpish wife (Norma Shearer) is shocked to discover her husband (Rod LaRocque) is having an affair with another woman and kicks him out of the house. Three years later, they meet again but this time she is no longer the dowdy housewife but a sophisticated jet setter. Based on the play by Rachel Crothers (which starred Tallulah Bankhead) and directed by Robert Z. Leonard (THE GREAT ZIEGFELD). Shearer is interesting when playing the plain Jane wife but once she gets her glamour makeover, she turns into the "great lady" of MGM lounging around in her Adrian gowns and my enthusiasm faded. Marie Dressler as the society doyenne brings some welcome comedic acidity to the proceedings but other than that, it's strictly routine stuff and you know exactly how the journey will end. With Gilbert Emery and Hedda Hopper.

Ink (2026)

Set in 1969 England, Larry Lamb (Jack O'Connell) is the editor of the Daily Mail newspaper. He is recruited by Rupert Murdoch (Guy Pearce) to take over the failing The Sun and turn it into a profitable newspaper which he does by turning it into a sensationalistic tabloid. Based on the play by James Graham and directed by Danny Boyle (SLUMDOG MILLIONAIRE). An intense and riveting look at how reputable journalism is turned into a lurid scandal sheet and how the ramifications of Lamb and Murdoch's machinations paved the way for misinformation and agenda journalism that we have today rather than impartial fact reporting. The first two thirds of the film is done at a rapid fire pace that leaves you breathless just trying to keep up with it. It has a kinship in that way with Hawks' HIS GIRL FRIDAY (1940) as well as that movie's "make the news" rather than just report the news observance. A tragedy in the film's last third slows down the pace but not the intensity. The performances of O'Connell and Pearce are superb and if there's any justice, should get attention in the coming awards season and its release date for December places it for prime consideration. With Claire Foy, Jonathan Hyde and Bertie Carvel.

The Bubble (aka Fantastic Invasion Of Planet Earth) (1966)

A plane carrying two passengers, a man (Michael Cole) and his pregnant wife (Deborah Walley), is forced to land in a mysterious remote town. The locals shuffle through the streets like brain dead automatons, captive within an impenetrable dome that encapsulates the town. Written and directed by Arch Oboler (BWANA DEVIL). The first 3D film in 12 years (the last was released in 1954), It was filmed in the new Space Vision 3D system which used a one camera system rather than the old two camera, two projectors system of the old 3D. Overlong at an almost two hour running time because of the 3D gimmicks used that padded out the movie while the narrative stopped in its tracks. The 3D is very effective but 3D hurts my eyes and I switched to 2D after about 20 minutes. The script itself is pedestrian with cliched dialogue and characters. Characters roaming around town gets boring after awhile. It takes them awhile to figure out what's going on (the audience is ahead of them) and finally do something about it. For 3D junkies only. With Johnny Desmond, Barbara Eiler and Virginia Gregg.

The Scarlet Pimpernel (1960)

Set in 1792 during the French revolution, a French actress (Maureen O'Hara) is married to a British fop (Michael Rennie). Their marriage is strained because she resents her husband's shallow, dandyish lifestyle and he has become estranged because of her part in the death of a French aristocrat. Based on the classic novel by Baroness Orczy and directed by Marc Daniels (THE POWER AND THE GLORY). A faithful if drab rendering of the oft filmed Orczy novel. The best known version is the 1934 movie with Leslie Howard in the title role. Broadcast live for television over two nights, this earnest version doesn't have the budget or resources for a proper swashbuckler. Still, the performances of Maureen O'Hara and Michael Rennie are imposing. With William Shatner, Zachary Scott, Tim O'Connor and Reginald Denny.

25th Hour (2002)

Set in the aftermath of 9/11, a drug dealer (Edward Norton) has 24 hours before he is sent to prison for seven years. In his last day on the outside, he tries to reconnect with his father (Brian Cox) and his two best friends (Philip Seymour Hoffman, Barry Pepper) and then there's his girlfriend (Rosario Dawson), who may or might not have tipped off the cops. Based on the novel by David Benioff (who adapted his novel for the screen) and directed by Spike Lee (SUMMER OF SAM). Lee's DO THE RIGHT THING may be his CITIZEN KANE but 25TH HOUR may be its equal. It's a beautifully sustained piece of work that is a love letter, warts and all, to Lee's beloved New York City. Benioff's novel was written before the 9/11 tragedy but Lee has added the resonance of that event to the movie. There's an achiness that weaves itself throughout the film and not just with Norton's protagonist. Norton is wonderful here and his unfiltered "f*ck" diatribe is a standout piece of acting. Raw and intense, both ugly and beautiful, it's sticks with you. With Anna Paquin and Tony Siragusa.

The Fatal Hour (1940)

The body of an undercover policeman is recovered in the San Francisco Bay, the victim of an executions style murder. His good friend, a police captain (Grant Withers), asks a famous local detective Mr. Wong (Boris Karloff) for help in solving the killing. But there will be several more murders before the case is solved. Based on the Mr. Wong character created by Hugh Wiley in a series of short stories and directed by William Nigh (STRANGE CASE OF DR. RX). The fourth entry in the Mr. Wong detective franchise. Asian detectives were popular in the 1930s and if Mr. Wong wasn't as notable as Charlie Chan or Mr. Moto, it might be because they were poverty row productions courtesy of Monogram pictures. This one isn't too bad and the mystery is interesting enough to hold the attention of diehard murder mystery fans. Curiously, unlike the Chan and Moto movies, very little attempt is made to have Karloff look Asian. With Marjorie Reynolds, Frank Puglia, Lita Chevret and Charles Trowbridge.

Battle Beyond The Stars (1980)

A young man (Richard Thomas) scours the cosmos to recruit mercenaries from different planets and cultures in order to save his peaceful home planet from the threat of an evil tyrant (John Saxon). Directed by Jimmy T. Murakami (WHEN THE WIND BLOWS). If the plot sounds familiar, it's because it's an uncredited version of Kurosawa's SEVEN SAMURAI (1954) which was previously remade as a western THE MAGNIFICENT SEVEN (1960). It's low budget science fiction that was spawned in the wake of the massive success of STAR WARS (1977). On its own derivative terms, it's an amiable Saturday matinee action/adventure movie. Just don't expect any originality or style. The film was a beginning for many talents that would go on to bigger things: James Cameron (AVATAR) did the art direction, John Sayles (LONE STAR) did the script and James Horner (TITANIC) did the faux John Williams score. The large cast includes George Peppard, Robert Vaughn, Sam Jaffe, Lynn Carlin, Jeff Corey, Sybil Danning, Darlanne Fluegel, Marta Kristen and Richard Davalos.