The Turn Of The Screw (1974)

A governess (Lynn Redgrave) is hired by the guardian (John Barron) of two orphaned children (Jasper Jacob, Eva Griffith) to tend them in the country manor where they reside. Once there, she believes the estate is haunted by the spirits of a former governess (Kathryn Leigh Scott) and her lover (James Laurenson). Her pursuit of the truth leads her to the brink of insanity. Based on the novella by Henry James and directed by Dan Curtis (DARK SHADOWS). Henry James' classic ghost story has been made into films, TV shows, stage plays and even an opera. Perhaps, the definitive version is Jack Clayton's 1961 film version called THE INNOCENTS with Deborah Kerr as the governess. This version done for television is surprisingly good with a solid performance by Lynn Redgrave. Shot on videotape instead of film, it doesn't look particularly good but that is compensated by the quality of the performances and the sense of dread created by director Dan Curtis. With Megs Jenkins (repeating the role of the housekeeper she played in the 1961 film), Anthony Langdon and Benedict Taylor.

The Barbarian (1933)

An Egyptian gigolo (Ramon Novarro) sets his sights on a British socialite (Myrna Loy) recently arrived in Cairo. So he steals her dog and later "finds" it and returns it to her to get in her favor. He continues to pursue her even though she is engaged to another man (Reginald Denny). Based on the 1911 play THE ARAB by by Edgar Selwyn and directed by Sam Wood (A NIGHT AT THE OPERA). Apparently in the 1920s and early 30s, it was every woman's dream to be carried off to an oasis and ravished by a sheik hence the popularity of Rudolph Valentino's sheik films and movies like this! Alas, this scenario doesn't play well in the 21st century. I found it downright offensive as Novarro's Arabian gigolo/prince degrades Loy (in the desert, he rides while she walks and when they reach an oasis, he insists his horse then he drink water before her). But, of course, in the end they ride off happily into the sunset together! Novarro is billed above the title and Loy below the title but their cinematic fortunes would soon change as Novarro's popularity took a nose dive in the mid thirties while Loy would join the Hollywood A list a year later with THE THIN MAN. With C. Aubrey Smith, Edward Arnold, Louise Closser Hale and Hedda Hopper.

The Crooked Way (1949)

After receiving a head wound in combat, a decorated WWII veteran (John Payne) has a permanent case of amnesia. With no idea of his former life, he moves back to Los Angeles where he lived with the hope that he might find people who can tell him who he is or rather was. Based on the play NO BLADE TOO SHARP by Robert Monroe and directed by Robert Florey (MURDERS IN THE RUE MORGUE). Just two years previously, there was another ex-soldier returns from the war with amnesia movie, SOMEWHERE IN THE NIGHT (1947) so this film suffers from deja vu. It also suffers from the contrivance of having Payne return to a large city like Los Angeles and bingo! He's meeting people from his past left and right on the day he arrives! If you can get past that "coincidence", there's a lot to enjoy for noir fans. Notably, the excellent B&W cinematography of John Alton (THE BIG COMBO). Filmed on the streets of L.A. rather than a studio, it adds a touch of realism. With Ellen Drew, Sonny Tufts, Rhys Williams, Percy Helton and John Doucette.

Roofman (2025)

A former Army Ranger and struggling father (Channing Tatum) turns to robbing McDonald's restaurants by cutting holes in their roofs, earning him the nickname, Roofman. After being sentenced to prison, he escapes and lives undetected inside a Toys"R" Us. Directed by Derek Cianfrance (BLUE VALENTINE). The saying "truth is stranger than fiction" applies here. This is based on the life of Jeffrey Manchester, a criminal caught in 2005 and currently serving time in prison with a projected release date of 2036. If I didn't know it was a true story, I'd more than likely call the narrative preposterous! Clearly, the "Roofman" definitely has some psychological problems and as played by Tatum, he doesn't disguise them but Tatum's likability gives the Roofman some charm. A quirky, offbeat crime comedy with a poignant romance (Kirsten Dunst as a single mother raising two daughters) at its center. With LaKeith Stanfield, Juno Temple, Peter Dinklage, Ben Mendelsohn and Uzo Aduba.

Flight Of The Lost Balloon (1961)

Set in 1878, a young explorer (Marshall Thompson) sets off to Africa in a hot air balloon in search of a missing explorer (Douglas Kennedy). He is accompanied by the missing explorer's fiancee (Mala Powers) and a Hindu guide (James Lanphier). "Inspired" by FIVE WEEKS IN A BALLOON by Jules Verne (although the film doesn't credit Verne) and directed by Nathan Juran (THE 7TH VOYAGE OF SINBAD). Shot in 10 days in Puerto Rico, the location is the only attractive thing about the movie. The special effects are shoddy, the African natives are portrayed as superstitious "ooga booga" savages, we have men in obvious gorilla suits, etc. The characters are supposed to be British but are played by American actors who don't even bother with an English accent. With Robert W. Gillette and Felipe Birrie.

Rebel In Town (1956)

Post Civil War, a group of ex-Confederate soldiers enter a town where one of them (John Smith) accidentally kills a child (Bobby Clark). The soldiers flee the town but the boy's father (John Payne) is bent on revenge. Directed by Alfred L. Werker (ADVENTURES OF SHERLOCK HOLMES). Westerns were prolific in the 1950s, both in cinemas and on television. So popular that there were a lot of B westerns. Every once in awhile, you'll come across a western that transcends its B roots, this is one of them. It's not a great western but a solid and efficient one with a strong narrative and complex characters. The only negative (and it's a minor one) is a dreadful title song played over the credits. With Ruth Roman, J. Carrol Naish, Ben Cooper, Ben Johnson and James Griffith.

Bullets Over Broadway (1994)

Set in 1920s Manhattan, an idealistic young playwright (John Cusack) will do anything necessary to get his first Broadway play produced. So when a notorious mobster (Joe Viterelli) backs his play with the condition his untalented mistress (Jennifer Tilly) get a part in the play, he agrees. Written and directed by Woody Allen (ANNIE HALL). One of Allen's best liked films, both critically and commercially. He's not in this one, instead with have John Cusack as his stand in. Fortunately, unlike many actors who stand in for Allen (like Kenneth Branagh in CELEBRITY), Cusack doesn't mimic Allen's tics and verbal mannerisms. But Cusack's playwright isn't the most interesting character in the film. Far more fun are Dianne Wiest (in an Oscar winning performance) as a vain aging actress, Tilly as a shrill untalented actress (one can't help but think of SINGIN' IN THE RAIN's Lina Lamont) and Chazz Palminteri as a thug who finds he has a talent for writing. There's a moral question at its core, similar to CRIMES AND MISDEMEANORS, but unlike that movie, not to be dwelled on with much seriousness. With Mary Louise Parker, Jack Warden, Jim Broadbent, Tracey Ullman, Rob Reiner, Harvey Fierstein, Debi Mazar, Edie Falco and Benay Venuta.

Les Salauds Vont En Enfer (aka The Wicked Go To Hell) (1955)

In a tough penitentiary, two inmates (Henri Vidal, Serge Reggiani) fend off rumors that one of them betrayed a recently executed prisoner. They join forces and escape, hiding out in a beach cabin where they take the young occupant (Marina Vlady) hostage after killing her lover (Guy Kerner). Based on the novel by Frederic Dard and directed by actor Robert Hossein (NUDE IN A WHITE CAR), who also has a small role in the movie. A strange little movie that I found rather pointless although I was caught up in its story. The two main protagonists are vicious criminals without any redeeming value so why should we care about them at all? Marina Vlady's ambiguous beauty brings some needed conflict to the story. It's clear she plans to avenge her murdered lover but we're never sure if she's stringing the escaped convicts along or if she's sexually attracted to them. It all comes down to when is she going play her winning hand. With Jacques Duby and Marthe Mercadier.

M (1951)

Set in Los Angeles, a compulsive child murderer (David Wayne) is the target of a mass manhunt. The police are disturbing the operations of a large crime syndicate in their search for the killer so the head (Martin Gabel) of the syndicate decides to send his men in search of the serial killer. Directed by Joseph Losey (THE SERVANT). A remake of the classic 1931 Fritz Lang masterpiece although the film isn't acknowledged in the opening credits. Although the movie follows the Lang film closely, it gives a psychological background to the murderer that's straight out of Freud and not entirely convincing. While all the murdered children are girls, the movie goes out of its way to say that the children were not "violated". Shot on location on the streets of L.A., cinematographer Ernest Laszlo (SHIP OF FOOLS) gives the film a striking noir-ish look and atmosphere as well as a semi documentary feel to the proceedings. Contemporary reviews have been very kind to Losey's remake. If there had been no M (1931), I might have appreciated it more. Curiously, many of those associated with the movie like director Losey, screenwriter Waldo Salt and actors Howard Da Silva and Karen Morley were eventually blacklisted by HUAC. With Luther Adler, Raymond Burr, Steve Brodie, Glenn Anders, Norman Lloyd, Jorja Curtright and Jim Backus.

Their Own Desire (1929)

After her father (Lewis Stone) leaves her mother (Belle Bennett) for another woman (Helene Millard), a young woman (Norma Shearer) becomes bitter toward men and vows never to get married. That is, until she falls in love with a polished charmer (Robert Montgomery) ..... who just happens to be the son of the woman her father left her mother for! Based on the novel by Sarita Fuller and directed by E. Mason Hopper (PARIS AT MIDNIGHT). An interesting narrative full of potential complications are fleetingly examined until we reach a hokey ending that will please no one and leaves several questions unanswered and one character nowhere to be found. Norma Shearer gives one of those actress-y performances full of indicating but little resemblance to actual human emotion. With Cecil Cunningham and Henry Hebert.

Society Lawyer (1939)

An attorney (Walter Pidgeon) takes on a case defending the boyfriend (Lee Bowman) of his ex-girlfriend (Frances Mercer), who is accused of murdering a showgirl (Ann Morriss) on the terrace of an exclusive high rise apartment. Based on the novel PENTHOUSE by Arthur Somers Roche and directed by Edwin L. Marin (TALL IN THE SADDLE). Roche's novel had previously been filmed by MGM in 1933 and only six years later, they dusted it off as a B vehicle for Walter Pidgeon. It remains an absorbing murder mystery and at a tight running time of one hour and 17 minutes, director Marin zips through at a galloping pace. A fine example of how well crafted a B movie can be. Audiences liked it enough to that it turned a modest profit. With Virginia Bruce, Leo Carrillo (murdering the English language), Eduardo Ciannelli and Herbert Mundin.

So Well Remembered (1947)

Spanning the years from WWI to WWII and told in flashback, a dedicated newspaper editor (John Mills) falls in love and marries the headstrong daughter (Martha Scott) of a corrupt mill owner (Frederick Leister). But love has blinded the newspaper man to her true nature. Based on the novel by James Hilton (GOODBYE MR. CHIPS) and directed by Edward Dmytryk (CROSSFIRE). The tale of a good man in love with a manipulative and ambitious Lady MacBeth like wife, it's an old fashioned (in the good sense) literate/literary movie that has a solid story that holds you in its grip to the very end. In her best performance, Martha Scott carries the ball and runs with it, not afraid to show us what a monster her calculating wife and mother is. The kind of well crafted studio (in this case, RKO) film making that no longer exists today. The cinematic equivalent of a good page turner. With Trevor Howard (excellent as an alcoholic doctor), Richard Carlson, Patricia Roc, Reginald Tate and Juliet Mills.