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.

Man About Town (1939)

A Broadway producer (Jack Benny), who's brought his show to London, is in love with his glamorous star (Dorothy Lamour) but she won't take him seriously. To show her, he picks up an aristocratic stranger (Binnie Barnes), whose financier husband (Edward Arnold) neglects her. Directed by Mark Sandrich (SO PROUDLY WE HAIL). As a movie star, Jack Benny lacks something and for most of the film's running time, I couldn't help thinking how wonderful Bob Hope would be in the part. The film's first 45 minutes are pretty amusing but then the movie fumbles and never quite recovers. Still, many consider this the best of Benny's film efforts though I'd give that honor to GEORGE WASHINGTON SLEPT HERE. With Betty Grable, Edward Arnold, Monty Woolley, Isabel Jeans, Phil Harris and stealing the movie, Eddie Anderson as Rochester.

Spirited Away: Live On Stage (2022)

A young teenage girl (Kanna Hashimoto) is moving to a new town along with her parents (Kenya Osumi, Miyu Sakihi). Along the way, they enter a tunnel that takes them into a different world, one of Japanese spirits and it is there that her parents are turned into pigs. Directed by the British theatre and opera director John Caird. A stage version of Hayao Miyazaki's Oscar winning 2001 animated film done for the Japanese stage. Caird makes no attempt at hiding the theatricality of the piece. We clearly see the puppet masters moving the marionettes and speaking for them and several actors wear face masks. While not a musical, song and dance (or movement) are an important element in the production. As for the human actors, they're fine with some standouts, notably Mari Natsuki playing the twin sisters. Was this production really necessary? No but I appreciate the inventiveness of the production with its roots in Bunraku (Japanese puppet theatre). After its Japanese production, the play opened in London a year later and a production is scheduled to open in Los Angeles in 2027 in the original Japanese (with surtitles). With Kotaro Daigo, Koharu Sugawara and Tomorowo Taguchi.

The Street With No Name (1948)

An FBI Inspector (Lloyd Nolan) is baffled by the murder of a housewife and a bank teller with no connection between the victims ... except the murder weapon. He sends his best agent (Mark Stevens) undercover to penetrate the inner circle of a notorious gang run by an ambitious crime boss (Richard Widmark). Directed by William Keighley (THE MAN WHO CAME TO DINNER). Filmed in a semi documentary style which was popular in the late 1940s with films like BOOMERANG, THE HOUSE ON 92ND STREET and CALL NORTHSIDE 777. Shot on the streets (and buildings) of Los Angeles, it has a pseudo gritty environment that contrasts with the stage bound sets at the studio. I found it entertaining it enough but there was still a melodramatic (but not in a good way) artificial quality about it. However, I did find Widmark's performance superior to his debut performance the previous year in KISS OF DEATH. Not so over the top, he's much more believable in a movie of this type. With Barbara Lawrence, Ed Begley, John McIntire and Joseph Pevney (who would later turn to directing).

Gycklarnas Afton (aka Sawdust And Tinsel)

Set during the turn of the century, the owner (Ake Gronberg) of a traveling circus has an intense relationship with his mistress (Harriet Andersson), a horseback rider in the show. When he returns to the town where his estranged wife (Annika Tretow) resides, their relationship is put to the test. Written and directed by Ingmar Bergman (WILD STRAWBERRIES). A complex look at the darker side of the psyche of sex and love and the depths of degradation it drags us into. It's not a pleasant journey. Dismissed by Swedish critics when first released, the film found more favor with international critics. Beautifully shot in B&W, it was the first collaboration between Bergman and the cinematographer Sven Nykvist and they would go on to make over twenty films together. Not one of my favorite Bergmans but essential if you're a Bergman fan. With Hasse Ekman, Anders Ek, Gudrun Brost and Gunnar Bjornstrand.

The Walking Target (1960)

After serving five years in prison for a payroll heist, an ex-convict (Ronald Foster) still refuses to tell law enforcement where the money is hidden. As he plots to recover the money from its hidden place, it's not only the cops who want the money but an ex-girlfriend (Merry Anders) and her new boyfriend (Robert Christopher) have plans for that money themselves. Directed by Edward L. Cahn (IT! THE TERROR FROM BEYOND SPACE). A moderately entertaining B programmer that's compromised by a tiresome romantic subplot between the "bad" ex-con and a "good" girl (Joan Evans) and we all know how that's going to turn out. Nothing out of the ordinary here but it's watchable enough to pass the time. With Norman Alden and James Callahan.

Predator: Badlands (2025)

A young exiled creature (Dimitrius Schuster Koloamatangi) of the Yautja race is exiled to a dangerous and hostile planet. In order to survive, he reluctantly joins forces with a damaged synthetic android (Elle Fanning). Directed by Dan Trachtenberg (PREY). This is the seventh entry in the PREDATOR franchise. This time around, the predator is not the bad guy but the hero. Heavily laden with its CGI effects, the film takes awhile to kick in but when it does, it becomes a thrilling sci-fi action piece. Even though she's playing an android, Elle Fanning infuses the movie with some much needed humanity, something missing in its other characters. While I'm a big fan of the original PREDATOR (1987), its subsequent spawn didn't interest me but I liked this well enough.The film's final image assures us that a sequel is on the way. With Reuben De Jong and Mike Homik.