The Hard Way (1943)

An ambitious woman (Ida Lupino) in a small steel town is determined to push her younger sister (Joan Leslie) toward a better life. To that end, she manipulates, lies and backstabs anyone who stands in her way. Directed by Vincent Sherman (MR. SKEFFINGTON). Ida Lupino never got an Oscar nomination but she did receive the New York Film Critics award for best actress for this film. The movie itself is nothing special, a standard melodrama about clawing your way to the top of the show business heap only to find when you get there that it's pretty lonely (in that respect, one could call it the VALLEY OF THE DOLLS of its day). What is special is Ida Lupino's performance, who always seemed to inherit Bette Davis's hand me downs. Here she gets an opportunity to sink her teeth in a juicy role that's all hers (though reputedly Davis turned this down, too). I have to say I think the film lets Leslie's sister off the hook too easily. She's every bit as ambitious as her sister, at least in the beginning. Well done of its kind but not entirely persuasive. With Dennis Morgan, Jack Carson, Faye Emerson, Gladys George, William Hopper, Jody Gilbert and Dolores Moran.

Sixth And Main (1977)

A wealthy woman (Beverly Garland), who dabbles as a writer visits Skid Row in downtown Los Angeles to soak up the atmosphere for a book she plans to write about the homeless. One mysterious homeless man (Leslie Nielsen) in particular catches her eye and she seeks him out. Written, produced and directed by Christopher Cain (THE NEXT KARATE KID). Filmed on the streets of L.A., what the movie gets right is the atmosphere, the feel and look of L.A.'s skid row and its homeless population. I'm just guessing but I suspect that those weren't background actors but real homeless people used in the background, they look authentic and not out of Central Casting. Alas, the film is saddled with a heavy handed and poorly written script that sabotages whatever authenticity the movie displays. The casting goes against type what with an unshaven and disheveled Leslie Nielsen as a homeless man and Roddy McDowall as a legless junkie scooting around on a skateboard but both to very nicely in their roles given the severe limitations of the script. With Leo Penn (Sean's father and overacting abominably), Joe Maross and in the film's best performance, Gammy Burdett as a pregnant hooker.

Fried Green Tomatoes (1991)

While visiting a nursing home, an unhappy housewife (Kathy Bates) befriends an elderly resident (Jessica Tandy), who regales her with stories from her past in a small Alabama town, specifically the tomboy Idgie (Mary Stuart Masterson) and her friend Ruth (Mary Louise Parker). Based on the novel FRIED GREEN TOMATOES AT THE WHISTLE STOP CAFE by Fannie Flagg (who has a small role in the film) and directed by Jon Avnet (UP CLOSE AND PERSONAL). A sentimental tearjerker that shamelessly manipulates its audience but done so skillfully and with good intentions that one can't help but give it a pass. And the performances! The four leads are impeccable as the narrative shifts back and forth between the 1920s and the present day. At the time of the film's release, there was some criticism over the film downplaying the lesbian aspects which were in the novel but I found it very obvious in the movie, subtle but it's there. With Cicely Tyson, Chris O'Donnell, Lois Smith, Stan Shaw, Gary Basaraba and Grace Zabriskie.

The Fourth Protocol (1987)

An M15 officer (Michael Caine) finds himself caught between the acting director (Julian Glover) of M15, who dislikes him, and a high ranking British Secret Service official (Ian Richardson) when he suspects that the Soviets may be smuggling an atomic bomb into Great Britain. Meanwhile, a Soviet agent (Pierce Brosnan) is sent to do just that ..... smuggle an atom bomb to go off near an American airbase. Based on the novel by Frederick Forsyth (who adapts his novel for the screen) and directed by John Mackenzie (THE LONG GOOD FRIDAY). A well done but conventional cold war thriller that maintains a taut pacing throughout but fizzles its denouement. The acting is better than average for a movie like this especially Pierce Brosnan, who brings a chilly demeanor to his cold blooded assassin. There are some notable changes from the novel including a gender change for the assembler but as it's Joanna Cassidy, it's a welcome change. With Ned Beatty, Michael Gough, Ray McAnally and Betsy Brantley.

La Mort De Belle (aka The Passion Of Slow Fire) (1961)

Set in Switzerland, a sexually repressed school teacher (Jean Desailly) lives quietly with his wife (Monique Melinand). They take in a visiting American girl (Alexandra Stewart) for two weeks, the daughter of the wife's American friend (Louisa Colpeyn). When the girl is found murdered, their lives are turned upside down. Based on the novel by Georges Simenon with a screenplay by Jean Anouilh (THE MADWOMAN OF CHAILLOT) and directed by Edouard Molinaro (LA CAGE AUX FOLLES). I love coming across a terrific film that I had very little knowledge of and this dark crime drama is a real jewel. A succinct, self examining narrative that keeps us on the edge before it suddenly spirals down the rabbit hole and our worst suspicions are confirmed. Desailly's ambiguous performance is superb and he's supported by a perfect supporting cast. The score is by George Delerue (JULES AND JIM). Worth seeking out! With Jacques Monod, Marc Cassot, Yvette Etievant and Yves Robert.

Do You Love Me (1946)

A prim and proper dean (Maureen O'Hara) of a music academy travels by train to New York where a fellow passenger (Harry James) refers to her as an ice queen that is unattractive to men. She gets her revenge when she transforms herself into a glamour girl and he pursues her but she prefers the popular band singer (Dick Haymes) also pursuing her. Directed by Gregory Ratoff (INTERMEZZO). A contrived Technicolor musical where the "musical" portions consist of Dick Haymes crooning and Harry James playing his trumpet although there is one lively dance number, Moonlight Propaganda when you suddenly feel you're in a real musical. Surprisingly, Maureen O'Hara who can sing isn't given any songs. Frankly, I thought none of the three men (the third is Richard Gaines as her fiance) were good enough for her. With Betty Grable, Reginald Gardiner, Stanley Prager, Alma Kruger and Lex Barker.

Hard To Get (1938)

A society girl (Olivia De Havilland) roars off in the family valet's (Melville Cooper) car without a cent in her pocket.  When she fills up the car with gas but can't afford to pay, the gas station attendant (Dick Powell) insists she pay by cleaning rooms in the station's adjoining motel. She concedes against her will, then plots her revenge. Based on the short story STUFFED SHIRT by Stephen Morehouse Avery and directed by Ray Enright (HAVANA WIDOWS). A minor romantic comedy that's a pleasant enough watch. As the mismatched pair, Dick Powell and Olivia De Havilland are up for the antics. Still in the crooner phase of his career, Powell sings four songs including You Must Have Been A Beautiful Baby which debuts here and went on to become a standard in the American songbook. Fans of 1930s comedies should have some fun with this one. With Bonita Granville, Penny Singleton, Allen Jenkins, Charles Winninger Isabel Jeans and Thurston Hall.

The Picture Of Dorian Gray (1973)

A handsome aristocrat (Shane Briant) has his portrait painted by a friend (Charles Aidman). He is pushed into a decadent lifestyle by a hedonistic nobleman (Nigel Davenport). Curiously, his depravity has no effect on him through out the years but his portrait shifts and displays his every sin on his face. Based on the classic novel by Oscar Wilde and directed by Glenn Jordan (ONLY WHEN I LAUGH). A dull adaptation of the Wilde novel. Granted, it would be hard to best the 1945 film version but this made for television version is listless. As Dorian Gray, the expressionless Shane Briant seems bored and that ennui is passed on to the audience. No genuine sense of a degenerate or corrupt atmosphere is provided, we're just told about it through Briant's narration. With Vanessa Howard, Linda Kelsey, Fionnula Flanagan and John Karlen.

Hell's Island (1955)

A washed up alcoholic bouncer (John Payne) working in a Las Vegas casino is offered a job to retrieve a rare ruby which may be in the hands of the woman (Mary Murphy) who jilted him. Directed by Phil Karlson (5 AGAINST THE HOUSE). Although shot in Technicolor and VistaVision, this is a nifty, gritty film noir. It has all the elements: a down on his luck hero (Payne) over his head, a duplicitous femme fatale (Murphy channeling Mary Astor's Brigid O'Shaughnessy), vicious thugs who like to beat up people and Francis L. Sullivan as a wheelchair bound baddie channeling Sydney Greenstreet. Director Karlson gives the movie an exacting veneer that insures a tale full of color and brittle. An unappreciated noir that should be better known. Curiously, the movie uses stock music rather than an original score but I recognized Miklos Rozsa's music. Worth seeking out for noir fans. With Arnold Moss, Paul Picerni and Eduardo Noriega.

Flame Of The Islands (1956)

A secretary (Yvonne De Carlo) in Manhattan deliberately gives the impression that she was the mistress of a wealthy millionaire. When he dies, his wife (Frieda Inescort) gifts her with a $100,000 check for the "happiness" she brought her late husband. She quits her job and goes off to the Bahamas but her scheme will come back to haunt her. Based on the unpublished novel REBEL ISLAND by Adele Comandini and directed by Edward Ludwig (WAKE OF THE RED WITCH). The 1950s seemed to love the Caribbean which might explain why so many movies were set there. This attractive looking (shot in Trucolor) melodrama is pretty corny but trash has its lure sometimes and I had a good time with this soap opera. The highlights of the movie aren't the dramatics but the two campy musical numbers sung by Yvonne De Carlo, Bahama Mama and Take It Or Leave It. The movie's only surprise is who De Carlo ends up with at the end of the movie! With Howard Duff, Zachary Scott, Kurt Kasznar, James Arness, Barbara O'Neil and Donald Curtis.

Eddington (2025)

Set in a small town in New Mexico in 2020 at the height of the Covid lockdown. There is friction between the town's mayor (Pedro Pascal) and the town's sheriff (Joaquin Phoenix) over the mask mandates as well as the mayor's past relationship with the sheriff's unstable wife (Emma Stone). Written and directed by by Ari Aster (HEREDITARY). An ambitious modern "western" often described as a satire as it pokes at conspiracy theories, MAGA, white privilege and radical leftists. It's the kind of movie that overreaches but so zealous in its drive that one can't help but admire it in spite of its flaws. Honestly, I have no idea what Aster's intentions were but it's done so skillfully that I just sat back and watched and enjoyed. Phoenix is excellent here but the supporting ensemble cast measures up admirably. With Austin Butler, Luke Grimes, Michael Ward and Diedre O'Connell.

Quand Vient L'Automne (aka When Fall Is Coming) (2024)

After a tumultuous life in Paris, an elderly woman (Helene Vincent) has retired to a quiet existence in Burgundy, France. She is estranged from her adult daughter (Ludvine Sagnier) but close to her young grandson (Garlan Erlos). When the son (Pierre Lotin) of her best friend (Josiane Balasko) comes out of prison, everyone's life will be changed. Written and directed by Francois Ozon (8 FEMMES). In the last several years, Francois Ozon has had a run of fine to excellent movies that never quite found the attention in the U.S. that they should have. Movies like THE CRIME IS MINE, BY THE GRACE OF GOD, FRANTZ, DOUBLE LOVER and this one. An often complex look at family dynamics and relationships disguised as a morality thriller. Everyone seems to have a haunted past, sometimes we are (eventually) privy to that past as with Vincent and Balasko and sometimes we're not as with Pierre Lotin, we never find out about what crime he committed to be sent to prison. Just a lovely but slightly disturbing film. With Sophie Guillemin and Paul Beaurepaire.