The Count Of Monte Cristo (1958)

A young sailor (Hurd Hatfield) is falsely accused of treason and unjustly imprisoned for 18 years. He escapes and flees to the island of Monte Cristo to recover a hidden treasure told to him by a fellow prisoner (George Voskovec). Now wealthy, he returns to Paris to get his revenge on those who conspired to send him to prison. Based on the novel by Alexandre Dumas and directed by Sidney Lumet (NETWORK). A compressed one hour and 17 minute version of the Dumas classic performed live on CBS. It can never capture the richness and details of the thousand plus pages of the novel. But for what it is, it moves along swiftly (too swiftly) and it all seems rushed but it's such a compelling story that it continues to hold your attention. The acting is quite good especially Torin Thatcher and Colleen Dewhurst as a royal prosecutor and his ambitious wife. With Elizabeth Sellars, Ina Balin, John Colicos and Max Adrian.

The Voices (2015)

A factory worker (Ryan Reynolds) struggles with schizophrenia and is under the care of a psychiatrist (Jacki Weaver). However, he refuses to take his medications which causes him to hear voices. Two voices in particular, his amiable dog and his malicious cat who represent his good side and his evil side. Directed by Marjane Satrapi (PERSEPOLIS). An unnerving black comedy about a batshit crazy serial killer. I think I have a decent sense of humor yet somehow I couldn't find anything comical about serial killers and a lot of the scenes are downright distasteful. All that aside, I can appreciate what director Satrapi was aiming for and she hits it more often that not. Ryan Reynolds is excellent, managing to make his schizo both skin crawling and empathetic. The movie does a disservice to the women in the film. They're either deceptive, gullible or dumb. But if they weren't, there wouldn't be any movie, would there? The serial killer and the talking pets seems to be ripped off from Spike Lee's SUMMER OF SAM (1999), a far better film. My main complaint is the musical number that ends the film, it's misguided and silly and not as clever as it thinks it is. With Anna Kendrick, Gemma Arterton and Ella Smith.

Rich In Love (1992)

Set in South Carolina, a housewife (Jill Clayburgh) up and leaves her family to start a life of her own. Her husband (Albert Finney) has difficulty at first adjusting but eventually moves on while the youngest daughter (Kathryn Erbe) wants things to go back the way they were. Based on the novel by Josephine Humphreys and directed by Bruce Beresford (DRIVING MISS DAISY). A coming of age story that has a bit more bite than the usual type although its "happy" ending seems too pat to be credible. But I like how the film let Jill Clayburgh hold on to what she wanted rather than sacrifice her personal happiness for her family. The acting is quite good with Albert Finney especially plausible as a retired man clinging to the past but eventually opening up to a new relationship. The discreet score is by Georges Delerue in his final film score, he died before the movie was released. With Ethan Hawke, Alfre Woodard, Piper Laurie, Suzy Amis and Kyle MacLachlan.

Il Magnifico Cornuto (aka The Magnificent Cuckold) (1964)

A happily married businessman (Ugo Tognazzi) succumbs to the sexual advances of one of his more open minded female friends (Michele Girardon). Having committed adultery, he now becomes paranoid with the notion that his wife (Claudia Cardinale) is also committing adultery. This obsession consumes him and his jealousy threatens to destroy his marriage. Based on the play LE COCU MAGNIFIQUE by Fernand Crommelynck and directed by Antonio Pietrangeli (ADUA ET LE COMPAGNE). A diverting Italian comedy that eventually turns sour as it heads past the two hours plus finish line. Jealousy is an ugly emotion and while it can be mildly amusing in a comedy for awhile, watching a man destroying his once happy marriage because of his unfounded suspicions soon becomes highly unpleasant. The movie never addresses his hypocrisy as his own adulterous affair is somehow seen as a "men will be men" moment. Tognazzi is fine and Claudia Cardinale is movie goddess-y beautiful. With Gian Maria Volonte, Bernard Blier, Jose Luis De Vilallonga and Brett Halsey.

Give Me A Sailor (1938)

Two brothers (Bob Hope, Jack Whiting), both in the Navy, are in love with the same girl (Betty Grable). But her quirky sister (Martha Raye) is in love with Whiting so Hope schemes with the wallflower sister to get Whiting to notice her and get Grable for himself. Chaos ensues. Based on the play LINGER LONGER LETTY by Anne Nichols and directed by Elliott Nugent (THE CAT AND THE CANARY). One of Hope's lesser vehicles but the real "star" of the movie is Martha Raye, who gets top billing over Hope. The wise cracking Hope persona hadn't been fully developed yet and he's only fitfully amusing. There's a few musical numbers sung by Raye and Grable (who had to wait two more years for her own superstardom) but they're forgettable and seem there mostly to pad the movie's running time. For Hope completists (like me) only. With Clarence Kolb and Nana Bryant.

Far North (1988)

Set in rural Minnesota. After her father (Charles Durning) is injured in an accident and hospitalized, his daughter (Jessica Lange) returns home from New York. Not only must she deal with her dysfunctional family but her father insists she shoot the horse that caused the accident. Written and directed by Sam Shepard (SILENT TONGUE). An all around misfire. The best I can say about it is that it's well acted for what it is. Shepard is a Pulitzer Prize winning playwright and this might have made for a good play (it's dialog driven) but as cinema, Shepard (he only directed two movies) doesn't have a filmmaker's soul and the movie's characters rail at each other at a fever pitch but all we get are cliches. The only character I had any empathy for was the poor horse! In short, this is no AUGUST OSAGE COUNTY. With Patricia Arquette, Tess Harper, Donald Moffat and Ann Wedgeworth.

Hearts Of The West (1975)

Set in the 1930s, an Iowa farmboy (Jeff Bridges) has aspirations to be a writer of western novels like his idol, Zane Grey. He heads out west only to discover the correspondence "University" he enrolled in is a scam. But as luck would have it, he ends up in the movies as a stunt man. Directed by Howard Zieff (PRIVATE BENJAMIN). A charming comedy with an impeccably burnished glow courtesy of cinematographer Mario Tosi (CARRIE). In one of his most irresistible performances, Jeff Bridges is perfectly cast as the naive babe in the woods. We're immediately protective of him and rooting for his success. Rich in atmosphere, the film moves along seamlessly thanks to Zieff's direction. The only fly in the ointment is a subplot with two scammers (Richard B. Shull, Anthony James) chasing Bridges that drags the movie down. The reviews were favorable but unfortunately, audiences stayed away. The excellent supporting cast includes Alan Arkin, Blythe Danner, Andy Griffith, Donald Pleasence, Marie Windsor, Matt Clark, Herbert Edelman and Candice Azzara.

The Glass Mountain (1949)

Wounded in WWII, a British soldier (Michael Denison) is nursed back to health by a beautiful Italian girl (Valentina Cortese). He can't forget her which causes a problem when he returns home after the war and tries to reestablish relations with his loving wife (Dulcie Gray). A composer, he writes an opera based on a legend told to him by the Italian beauty and when he returns to Italy for the opera's premiere, he renews his relationship with her. Directed by Henry Cass (LAST HOLIDAY) and Edoardo Anton. A huge hit in Great Britain, I found this piece of hokey schmaltz grating. First off, I couldn't see what the two women saw in the block of blandness named Michael Denison (though apparently Gray did, they were married in 1939). It's 94 minutes of Gray and Cortese pining for Denison to make up his mind which of them he loves. Filmed in the majestic Italian Alps, the movie would have benefited by being shot in color rather than B&W. On the plus side, there's a nice score by Nino Rota, who wrote both the underscore and the opera (sung by Tito Gobbi and Elena Rizzieri). With Sebastian Shaw (overacting) and Antonio Centa.

My Friend Irma Goes West (1950)

An aspiring singer (Dean Martin) is spotted by a movie producer (Charles Evans) on a local TV show and offers him a Hollywood contract. The singer and his friends board a train heading from Manhattan to Los Angeles but before they reach their destination, they find out the producer is actually an escapee from a mental asylum. Directed by Hal Walker (ROAD TO UTOPIA). A sequel to MY FRIEND IRMA (1949) in which Dean Martin and Jerry Lewis made their film debut. They were the breakout stars of that film so they have bigger parts here but alas, the script is a dud. It's not their finest hour and but their lot would improve when they began starring in their own movies and had more control. It's a monotonous movie with too much extraneous plot (like John Lund forced to work in a crooked casino) that drag the movie down. As the dingbat of the title, Marie Wilson manages to to provide some laughs. With Diana Lynn, Corinne Calvet, Lloyd Corrigan and Kenneth Tobey.

The Rich Are Always With Us (1932)

A wealthy woman (Ruth Chatterton) has everything money can buy. But with her heart torn between her unfaithful husband (John Miljan) and an ardent writer (George Brent), she can't have what every woman wants ..... happiness. Based on the novel by Ethel Pettit and directed by Alfred E. Green (THE JOLSON STORY). It starts off promisingly and I thought it might be an amusing look at the romantic foibles of Manhattan society but it quickly becomes tedious as Chatterton clings to her husband even after he leaves her for another woman (Adrienne Dore) while keeping the lovestruck writer who adores her dangling. Her waffling is irritating and you want to scream at her, "He's left you! Move on with your life!". The ending is sickly as Chatterton goes the noble route and we're all supposed to admire her sacrifice. The movie is stolen by the young Bette Davis in a supporting role as Chatterton's best friend who has the hots for Brent. She's snappier and so much more fun than anybody else in the movie. With John Wray and Robert Warwick.

The Picture Of Dorian Gray (1961)

A painter (Louis Hayward) is infatuated with the beauty of a young man called Dorian Gray (John Fraser) whose portrait he is painting. It is through the painter that Dorian meets the hedonistic aristocrat Sir Henry Wotton (George C. Scott) whose narcissistic pleasure seeking ways influences his future. Supernaturally, he remains eternally youthful while his portrait ages and displays his debauchery. Based on the novel by Oscar Wilde and directed by Paul Bogart (EVENING PRIMROSE). Wilde's novel has been adapted multiple times for film and television, the most famous version being the 1945 film directed by Albert Lewin. This version is unexceptional and seems rushed, sort of a Readers Digest version of the novel. The most interesting aspect is George C. Scott's atypical performance as Sir Henry played by George Sanders in the 1945 movie. One doesn't think of the gruff Scott in such an effete role but he does surprisingly well. With Susan Oliver, Carrie Nye, Margaret Phillips and Robert Walker Jr.

The Left Handed Gun (1958)

A drifter (Paul Newman) known as Billy The Kid befriends a cattle boss (Colin Keith Johnson) known as the Englishman. When he is killed by rival cattlemen, Billy takes it upon himself to avenge the Englishman's death. Based on the television play by Gore Vidal (MYRA BRECKINRIDGE) and directed by Arthur Penn (BONNIE AND CLYDE). A highly fictionalized account of the events and an attempt to deconstruct the legend of Billy The Kid by portraying him as a misunderstood youth with Newman (who originated the role on TV) going full tilt method in his performance. The movie was dismissed by both audiences and critics upon its initial release but the French loved it! I found the whole thing anachronistic and tiresome. With Hurd Hatfield, John Dehner, Lita Milan, James Best and James Congdon.