An international secret formula, microfilmed and hidden on the massive skeleton of a museum dinosaur spawns a race between London based Chinese intelligence agents and a battalion of British nannies. Based on the novel THE GREAT DINOSAUR ROBBERY by David Forrest and directed by Robert Stevenson (MARY POPPINS). With Caucasian actors Peter Ustinov and Clive Revill playing Chinese villains in "yellowface", the film is embarrassing in 2026. I think the Disney organization knows this hence the film is unavailable (to the best of my knowledge) on streaming or physical media in the U.S. For some reason, all the actors including Helen Hayes as the leader of the nannies play their roles in annoying high pitched voices. The novel was aimed at adults but Disney has "disneyfied" it for the family market. The humor is silly (and not in a good way). With Derek Nimmo, Joss Ackland, Natasha Pyne, Jane Lapotaire, Roy Kinnear and Kathleen Byron.
Fired from his job as a carnival barker by his jealous female boss (Florelle), the barker (Charles Boyer) moves in with a young girl (Madeleine Ozeray). They're penniless and he's abusive to her. Based on the play by Ferenc Molnar (THE SWAN) and directed by Fritz Lang (METROPOLIS). The play was previously filmed by Frank Borzage in 1930 and Rodgers & Hammerstein used Molnar's play as the basis for their 1945 musical, CAROUSEL. Frankly, I've never warmed to LILIOM in any of its incarnations though if I had to choose a favorite, it would be CAROUSEL because of the wonderful Rodgers & Hammerstein songs. The movie's romanticization of domestic violence doesn't sit well to 21st century sensibilities. The movie's ace is Charles Boyer, who's excellent. With Pierre Alcover and Antonin Artaud.
Working as a tutor to pay his family's debt, William Shakespeare (Paul Mescal) is bewitched by a young woman (Jessie Buckley), who is rumored to be the daughter of a witch. They marry and he goes off to London to work in theatre while she stays at home to take care of the children. Based on the novel by Maggie O'Farrell (who co-wrote the screenplay) and directed by Chloe Zhao (NOMADLAND). Anchored by a remarkable performance by Jessie Buckley, HAMNET is about grief and how Art has the ability to heal. Buckley's performance is so powerful that it relegates Mescal's Shakespeare to a supporting character. Buckley inhabits her Agnes (aka Anne) Hathaway while Mescal just skids on the surface of his William Shakespeare. There's another performance that must be mentioned: 11 year old Jacobi Jupe as their son. It's rare to see a child performance this textured and completely believable. With Emily Watson and Joe Alwyn.
A once great stage actor (John Barrymore), now an alcoholic womanizing ham actor, finds his career in tatters. But when a pretty young girl (Anne Baxter) brings him a play written for him, he attempts a comeback. Directed by Walter Lang (THE DESK SET). Nicknamed The Great Profile for his aristocratic side profile, John Barrymore appears to be having great fun satirizing his image or at least his perceived image. A wacky comedy that hits too close to home for Barrymore. But he's not the whole show. The film is almost stolen by Gregory Ratoff (ALL ABOUT EVE) as Barrymore's gambling Russian manager. It's all done at a frantic pace but the running time is brief so the movie doesn't exhaust you. I had a good time with it. With John Payne, Mary Beth Hughes, Lionel Atwill and Marc Lawrence.
When a trio of bandits (Tom Santschi, J. Farrell MacDonald, Frank Campeau) discover a young woman (Olive Borden) whose father was murdered by a ruthless gang, they go from being outlaws to comrades in chivalry. Based on the novel OVER THE BORDER and directed by John Ford (STAGECOACH). An amiable good natured western that many consider one of Ford's best silent films. The three outlaws aren't saints, they're wanted by the law in several states and they intend to kill Borden and steal her horses when they think she's a man and only spare her because she's a girl. But the film's theme is their redemption as they go from hard drinking bandits to surrogate fathers protecting the girl. The film is free of some of the faults of Ford's later westerns (Victor MacLaglen, barroom brawls, overdoing the Irishness) and I quite enjoyed it. The transfer I saw I a nice newly composed score by Dana Kaproff. With the likable George O'Brien as Borden's romantic interest, Lou Tellegen and Priscilla Bonner.
Set in Cuba, a croupier (Errol Flynn) in a Havana casino is falsely accused of counterfeiting pesos. As self protection, he is forced to uncover a racket involving highly respected banking officials. Based on the novel by Robert Sylvester and directed by Richard Wilson (INVITATION TO A GUNFIGHTER). An often confusing noir-ish thriller without much excitement or tension. It doesn't help that its star is lethargic and looks dissipated. Flynn just seems tired and during some of the action scenes, his stunt double is obvious. It worked in some of his later movies like THE SUN ALSO RISES and THE ROOTS OF HEAVEN because those characters were tired but BOODLE needed a younger and more energetic leading man though to be fair, I doubt it would have made the movie any better. However, it would make the matter less of a distraction. With Gia Scala, Pedro Armendariz, Rossana Rory, Carlos Rivas and Jacques Aubuchon.
Set in 1943, lyricist Lorenz Hart (Ethan Hawke) sits in Sardi's bar during the opening night of OKLAHOMA!, a groundbreaking musical with music by his longtime collaborator Richard Rodgers. Directed by Richard Linklater (BOYHOOD). Although based on an original screenplay Robert Kaplow, the film plays out like a stage play. There's just one set (the Sardi bar) and although there are other characters, it's essentially a one man show with a bravura performance by Ethan Hawke meandering about the "stage" baring his soul. It's not cinematic in the least but the knockout performance by Hawke justifies its existence as a movie. Not a film I'd recommend to the casual moviegoer. With Margaret Qualley, Bobby Cannavale and Andrew Scott, excellent as Richard Rodgers.
Recovering from a broken leg in the desert, alcoholic screenwriter Herman J. Mankiewicz (Gary Oldman) writes the screenplay for CITIZEN KANE to be directed by wunderkind Orson Welles (Tom Burke). Directed by David Fincher (ZODIAC). I have no idea how much of the film is accurate. There's been much disagreement about how much of KANE's screenplay is Mankiewicz and how much is Welles with Pauline Kael suggesting that Mankiewicz is the primary author and Peter Bogdanovich debunking that as false. But when it comes to MANK, that's irrelevant. I quite liked it. Handsomely shot in B&W by Erik Messschmidt (FERRARI), who won the Oscar for his splendid work here, it's a fascinating look at the behind the scenes machinations of Hollywood film making in the 1930s and 40s. Poignant yet great fun. With Amanda Seyfried (in an Oscar nominated performance as Marion Davies), Charles Dance, Lily Collins, Arliss Howard, Tuppence Middleton and Tom Pelphrey.
