Alex & The Gypsy (1976)

An aging bail bondsman (Jack Lemmon) stands bail for a gypsy (Genevieve Bujold) when she is accused of stabbing her husband. Even though they had an affair several years ago, he suspects she will skip out on him. Based on the novel THE BAILBONDSMAN by Stanley Elkin and directed by John Korty (THE AUTOBIOGRAPHY OF MISS JANE PITTMAN). Something happened to Jack Lemmon's acting in the 1970s and it continued through the rest of his career. He began intensely overacting. This often worked in his comedic roles like THE OUT OF TOWNERS and PRISONER OF SECOND AVENUE but it was a mess in most of his dramatic roles and that included his Oscar winning turn in SAVE THE TIGER. When he was reined in, he could still be wonderful (CHINA SYNDROME, MISSING) but he's just awful here. I've not read the Elkin source material but it seems the film doesn't resemble it much nor the racist and misogynistic protagonist of that book. Bujold's character which is a major character in the film is an invention of the screenwriter, she's not in Elkin's book. The film is a mess and I've seen it described as a comedy ... you could have fooled me. A misguided misfire! With James Woods, Robert Emhardt and Eddra Gale.

Last Summer (1969)

Set during a languid summer on Fire Island, three privileged bored white teenagers (Barbara Hershey, Bruce Davison, Richard Thomas) form a close knit bond. When an awkward teenage girl (Catherine Burns in an Oscar nominated performance) attempts to join in the group, it intensifies their cruel streak. Based on the novel by Evan Hunter and directed by Frank Perry (MOMMIE DEAREST). When a film drops out of the public eye for whatever reason (a rights problem, original negatives lost, poor quality of surviving prints, etc.), it often receives an aura of "missing masterpiece" that enhances its reputation. For over 30 years, LAST SUMMER was known as a lost film until a 16 millimeter print was found in 2001 and eventually a 35 millimeter print was discovered last year and now the film has been restored to its original sheen. So was it a lost "masterpiece"? No but it's still a very good film. It's an unpleasant film, intentionally so. Aimless, bored privileged white kids with a streak of superiority that manifests itself in cruelty. Richard Thomas's character appears to have a moral backbone but it's made of rubber as he gives in to the demands of Hershey's bitch and Davison's mindless narcissist. All of them are excellent but the film's moral center is Catherine Burns' outsider. She has one acclaimed scene, a monologue on her mother's death and while she aces it, I wish it weren't so obviously incorporated for our sympathy. Then again, Frank Perry was never known for his subtlety. With Conrad Bain and Ernesto Gonzalez.

The Man With Two Faces (1934)

When his sister (Mary Astor) falls under the spell of her Svengali like, sadistic husband (Louis Calhern), an acclaimed stage actor (Edward G. Robinson) decides he'll do whatever it takes to save her ..... even if it takes murder. Based on the play THE DARK TOWER by George S. Kaufman and Alexander Woollcott and directed by Archie Mayo (THE PETRIFIED FOREST). Despite its illustrious theatrical roots, this is a rather static and stage bound effort for a film made some seven years after the first talking movie. Fortunately, at its center, there's a marvelous turn by the great Edward G. Robinson playing two roles. Alas, it's not a pre code film or perhaps the ending would have allowed the murderer to get away. The victim is a despicable prick and everybody in the film hates him but the ending is still ambiguous enough to encourage the idea that although the murderer is caught perhaps a jury would be on his side. With Ricardo Cortez, Mae Clarke and Margaret Dale.

Haunted Summer (1988)

Set in the summer of 1816, the poet Lord Byron (Philip Anglim) invites fellow poet Percy Shelley (Eric Stoltz), his lover Mary (Alice Krige) and her stepsister Claire (Laura Dern) to spend the summer with him at his villa in Switzerland. Based on the novel By Anne Edwards and directed Ivan Passer (BORN TO WIN). The previous year (1987), Ken Russell had taken the same story under the title of GOTHIC and being Russell, he made an over the top hallucinatory film. It wasn't a good movie at all but it was still superior to this pretentious effort. The two American actors (Dern, Stoltz) have British accents so inadequate that it took quite awhile until I figured out that they were even attempting accents! But the screenplay by Lewis John Carlino (RESURRECTION) is so inept that I can't blame any of the actors for coming across as nitwits or their inferior performances. Lousy as Russell's movie was, at least it was never dull. With Alex Winter.

Step Lively (1944)

A Broadway producer (George Murphy) has a potential hit in the works, especially since he latched onto a playwright (Frank Sinatra) whose real talent is singing. Now, all he has to do is put his musical revue on the stage before the rubber check underwriting it bounces. Based on the play ROOM SERVICE (previously filmed in 1938) by Allen Boretz and John Murray and directed by Tim Whelan (THE THIEF OF BAGDAD). In order to work, a sense of madness needs to be rampant in a farce like this. The 1938 film version had the Marx Brothers so that madness was guaranteed. The stolid George Muprhy and the fledgling Sinatra (in his first leading role) don't have it so what we get is a lot of hysterical actors flapping their arms and shouting in an attempt to convince the audience that they're funny. It's a musical version of ROOM SERVICE with songs by Jule Styne and Sammy Cahn, wonderful songwriters but not here. With Gloria DeHaven, Adolphe Menjou, Walter Slezak, Anne Jeffreys, Eugene Pallette, Wally Brown and Dorothy Malone.

The House On Telegraph Hill (1951)

Shortly after WWII, a Polish immigrant (Valentina Cortese) emigrates to San Francisco. She marries a wealthy businessman (Richard Basehart) and lives in a mansion overlooking San Francisco Bay. But she is not who she seems. She has taken on the identity of a woman (Natasha Lytess) who died in a German concentration camp. Based on the novel THE FRIGHTENED CHILD by Dana Lyon and directed by Robert Wise (THE SAND PEBBLES). An excellent thriller with film noir atmosphere. Although the movie is referred to as film noir, I found it to be more of a damsel in distress thriller. The movie benefits from its San Francisco location shooting and the stylish B&W cinematography of Lucien Ballard (THE WILD BUNCH). As the beleaguered heroine, Cortese is attractively sympathetic and quite believable going from the happy emigrant wife to the distressed spouse fearing for her life. With William Lundigan, Fay Baker (in a nice ambiguous performance) and Steven Geray.

Obsession (2026)

After breaking the mysterious "One Wish Willow" to win the love of the girl (Inde Navarette) he loves, a hopeless romantic (Michael Johnston) finds himself getting exactly what he wished for but soon discovers that some desires come at a sinister price. Written and directed by Curry Parker. A phenomenon of sorts because it cost only $800,000 to make but has grossed $460 million globally and received critical acclaim. To put it mildly, I found it a major disappointment. I found the the movie more silly than scary and after awhile, I just couldn't wait for it to end. Johnston's nerd is a cipher as a character and after his dream girl goes batshit crazy, he's a milquetoast when most anybody else would freak out and get out of the situation immediately rather than enabling it. I admired Navarette's performance, she was able to show flashes of depth amid all the ranting and raving but not enough to salvage the foolishness of the project. With Andy Richter, Cooper Tomlinson and Megan Lawless.

Flying Tigers (1942)

Set in China prior to the Japanese attack on Pearl Harbor, a small band of American mercenaries led by an ace pilot (John Wayne) battle against the Japanese in defense of China's freedom. Directed by David Miller (LONELY ARE THE BRAVE). Although the film is fictional, there was a unit known as the American Volunteer Group that fought the Japanese in China during WWII. However, the movie has them fighting the Japanese prior to WWII when, in fact, they did not see action until after Pearl Harbor. It's a hackneyed war propaganda film (and not one of the better ones) that proliferated in U.S. cinemas during WWII. The aerial sequences are fine but the pedestrian narrative is hokey and predictable. Ironically (or maybe not), the film is set in China but the main cast are all Caucasian with the Chinese characters reduced to bit parts or background atmosphere on the periphery of the action. Unintentionally, it comes across as one of those "white savior" movies where Caucasians save people of color because they are unable to do so themselves. The film received three Oscar nominations including one for Victor Young's score. With Anna Lee, John Carroll, Paul Kelly, Mae Clarke and Richard Loo.

The Rookie (1959)

Immediately after the end of WWII, a radio station page (Tommy Noonan) receives his draft notice. Although the war is over, he insists on fulfilling his military duty. Meanwhile, an ambitious actress (Julie Newmar) sees an opportunity for publicity by wooing the naive young man. Directed by George O'Hanlon, a screenwriter whose only feature film as a director this is. I don't think there are words in the English language to describe how woefully unfunny this is! This was an attempt to make the then comedy team of Peter Marshall and Tommy Noonan movie stars but they come across as a poor man's version of Martin and Lewis and after this, you'll appreciate the talents of Martin and Lewis even more. Marshall would later find TV fame as the host of THE HOLLYWOOD SQUARES. There's a cringe inducing segment where Marshall and Noonan play Japanese sailors who don't know the war is over. With Jerry Lester, Joe Besser and Peter Leeds.

The Delta (1996)

Set in Tennessee, a closeted white teenager (Shayne Gray) leads a double life. He has a girlfriend (Rachel Zan Huss) but he also cruises after dark gay spots like bars, video arcades and cruising areas for sex. He meets a biracial (black/Vietnamese) immigrant gay hustler (Thang Chan) and they embark on a nighttime journey down the Mississippi river. Co-written and directed by Ira Sachs (FORTY SHADES OF BLUE). Shot in 16 millimeter with non professional actors, I found it interesting but also muddled. The intention of the film is to show the divide between racial privilege and class and although both young men are hungry for a human connection, their social status prevents that very thing they are seeking. Unfortunately, Chan's hustler comes across as stalking and creepy, intentionally playing mind games with his pickups. He apparently sees himself as a victim thereby allowing himself his obnoxious behavior. Gray's teen seems more intent on just the sexual aspect of it and we're never very sure if he's gay or just experimenting. As a movie, it's too fragmented to make it coherent. Worth seeing but I just wish it were a whole lot better. With Colonious Davis and Charles J. Ingram.

The Case Of The Scandalous Scoundrel (1987)

The editor (Robert Guillaume) of a sleazy tabloid has dirt files on an army general (Yaphet Kotto), a banker (Rene Enriquez), a doctor (George Grizzard) and his ex-wife (Morgan Brittany). But after he is murdered, it's a reporter (Susan Wilder) that he recently fired that is arrested for his murder. Perry Mason (Raymond Burr) comes to the rescue as her attorney. Directed by Christian Nyby II (THE CASE OF THE WICKED WIVES). The seventh entry of the thirty Perry Mason telefilms made after the end of the Perry Mason TV series (1957-1966). This one is a very middling effort that feels padded out and probably would have been served better as a one hour episode rather than a 90 minute TV movie. Not enough time is given to the suspects (or the actual murder trial) and too much time is given to the private detective (William Katt) assisting Mason. With Barbara Hale, Wings Hauser and David Ogden Stiers.

Le Secret (1974)

Set in what appears to be a possible police state, a man (Jean Louis Trintignant) in what appears to be a mental asylum strangles a guard and escapes. In the secluded countryside, a couple take him in and while the man (Philippe Noiret) believes the escapee's story of being a political prisoner, the woman (Marlene Jobert) is not so convinced. Based on the novel LE COMPAGNON INDESIRABLE by Francis Ryck and directed by Robert Enrico (AN OCCURENCE AT OWL CREEK BRIDGE). Conspiracy thrillers (Z, THE PARALLAX VIEW, 3 DAYS OF THE CONDOR) are often compelling. This effort keeps you on the edge because you don't know if Trintignant is a political prisoner on the run or if he's a batsh*t crazy killer on the loose. You even begin to suspect that Noiret's sympathetic writer isn't mentally stable either. You begin to expect the worst and when it comes, it's every bit as depressing as you thought it would be! There's only Jobert's suspicious partner (she and Noiret aren't married) to reflect the viewer's uneasiness about the situation. The score is typical Ennio Morricone. With Jean Francois Adam and Solange Pradel.