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.

The Tiger Makes Out (1967)

A frustrated misogynist (Eli Wallach) realizes the only way he could get a woman is to kidnap her. When he tries to abduct a beautiful young woman, he accidentally kidnaps a suburban housewife (Anne Jackson) instead. Based on the play THE TIGER by Murray Schisgal (who adapted his play for the screen) and directed by Arthur Hiller (THE OUT OF TOWNERS). Schisgal's THE TIGER is a one act play with only two characters. It was probably a mistake to open it up and fill it with dozens of other characters. The entire play took place in a seedy basement apartment with the two characters. The film opens up so we meet the female protagonist's unhappy husband, her best friend and the male protagonist's neighbors and landlord as well as other various characters. It just doesn't work. I enjoyed seeing the talented Anne Jackson (ill used by the movies) in a leading role but the material is thin and while the comedy pitch is hysterical, it's not hysterically funny. The huge supporting cast includes Dustin Hoffman (in his film debut), Charles Nelson Reilly, Elizabeth Wilson, Frances Sternhagen, Bob Dishy, Bibi Osterwald, Ruth White, David Doyle, John P. Ryan and Rae Allen.

Short Cut To Hell (1957)

A cold blooded hitman (Robert Ivers) is hired to commit two murders, only to be double crossed by his employer (Jacques Aubuchon). On the lam and seeking revenge, he kidnaps a nightclub singer (Georgann Johnson), the girlfriend of the police detective (William Bishop) in charge of his pursuit. Based on the novel A GUN FOR SALE by Graham Greene (THE THIRD MAN) and directed by actor James Cagney. Greene's novel had previously been filmed in 1941 under the title THIS GUN FOR HIRE. This adaptation of the Greene novel is very good and Cagney's direction is tight and taut. Alas, like Charles Laughton and NIGHT OF THE HUNTER, Cagney never directed another movie. The 1941 version had one advantage over this film. Robert Ivers and Georgann Johnson are good actors and their performances more than decent. But they lack a strong screen presence and the 1941 film had Alan Ladd and Veronica Lake in their roles. Their acting talents aside, Ladd and Lake weren't movie stars for nothing and their charisma was an enormous asset to the film. Film noir fans should be pleased with this one though. With Yvette Vickers and Murvyn Vye.

Tempest (1982)

Trapped in a life that he despises, a well known New York architect (John Cassavetes) sets off on a quest to find himself. Leaving his wife (Gena Rowlands) who's having an affair and taking his daughter (Molly Ringwald in her film debut) with him, he sets off to Greece. Inspired by the play THE TEMPEST by William Shakespeare and directed by Paul Mazursky (BOB & CAROL & TED & ALICE). A misfire. I run hot and cold with Mazursky as a filmmaker. When he's on point, he's wonderful but he's directed more duds than good movies. The film (justifiably) received poor reviews and it tanked at the box office. The film is needlessly overlong at two and a half hours and needed some editing shears taken to it. For example: there's a scene with Raul Julia as a creepy lech lusting after a 15 year old Ringwald dancing with his goats to New York New York sung by Liza Minnelli but it has nothing to do with the narrative and just takes up time. Cassavetes' neurotic and narcissistic architect is an unpleasant protagonist and Mazursky's phony ending is a sop to bourgeois audiences. The film's only asset is Donald McAlpine's (MY BRILLIANT CAREER) attractive lensing of  Greece's Mani Peninsula. A pointless film. With Susan Sarandon, Vittorio Gassman, Paul Stewart, Sam Robards and Jerry Hardin.