Unlikely Angel (1996)

After she dies in an automobile accident, a brassy lounge singer (Dolly Parton, RIP) is prevented from entering the gates of Heaven by St. Peter (Roddy McDowall) because she hasn't done enough good deeds. He gives her a second chance by allowing her to return to earth to accomplish the necessary good deeds by Christmas Eve. Directed by Michael Switzer (FALLEN ANGEL). A Christmas movie made for television, this is a predictable by the numbers telefilm. You know exactly where it's going to go and the outcome is never in question. Hey, it's a Christmas movie! There's only one reason to bother with a movie like this and that's Dolly Parton. Even in a mediocre vehicle like this, she shines. She knows her limitations as an actress but like certain actresses (Betty Grable comes to mind), she's so likable and with a charismatic personality that you can't take your eyes off her. She gets to sing several songs in her inimitable style and even manages to make Jingle Bells sound fresh. With Brian Kerwin and Maria Del Mar.

The Racket (1928)

Set in Chicago during the Prohibition gang wars. A policeman (Thomas Meighan) tries to keep the peace but he is hampered by massive corruption in the city's politics. Based on the play by Bartlett Cormack and directed by Lewis Milestone (ALL QUIET ON THE WESTERN FRONT). The film was nominated for a best picture Oscar and later remade in 1951. It's a strong crime film with noir-ish trimmings long before Hollywood went full noir in the 1940s. It's a cynical movie that ends with the corruption still firmly in place unlike the 1951 remake where it's suggested that the bad guys will be exposed. Along with Josef von Sternerg's UNDERWORLD (1927), one of the best gangster movies of the silent era. The transfer I saw had a very good newly written score by Neil Brand. With Louis Wolheim, Marie Prevost, Lucien Prival and George E. Stone.

Le Baccanti (aka The Bacchantes) (1961)

The kingdom of Thebes is suffering from a deadly drought which the prophet Tiresias (Akim Tamiroff) says it's because its king (Alberto Lupo) does not revere the god Dionysus (Pierre Brice). It is up to Thebes future queen (Taina Elg) to aid in resolving the situation. Loosely based on THE BACCHAE by Euripides and directed by Giorgio Ferroni (MILL OF THE STONE WOMEN). Serious scholars of Greek tragedy needn't bother but I'm inordinately fond of Italian sword and sandal epics also referred to as peplum. Blame it on my childhood! So I enjoyed this one much more than I should have. A trained dancer, Taina Elg had a brief Hollywood career from 1955 to 1959 but outside of LES GIRLS (1957), she was never used as a dancer. Here, in the movie's highlight, she gets to dance (the choreographer Herbert Ross would later direct such films as THE TURNING POINT and THE GOODBYE GIRL) an abandoned homage to the god Dionysus. With Alessandra Panaro and Raf Mattioli.

Pillion (2025)

A timid gay man (Harry Melling) from the London suburbs is swept off his feet when an enigmatic, impossibly handsome biker (Alexander Skarsgard) takes him on as his submissive. As their relationship intensifies, both are pushed out of their comfort zones. Based on the novel BOX HILL by Adam Mars Jones and directed by Harry Lighton in his feature film directorial debut. Hollywood's wan attempts at exploring BDSM relationships (9 1/2 WEEKS, 50 SHADES OF GREY) seemed more intent on titillating audiences rather than a serious look at such relationships. Lighton's movie could, not altogether inaccurately, be described as MY BEAUTIFUL LAUNDRETTE meets LAST TANGO IN PARIS but its interest isn't prurient but rather an incisive and ultimately heartbreaking look at two people whose self exploration eventually puts a barrier in their relationship. Both Skarsgard and Melling are excellent. An impressive film debut and I look forward to what Lighton comes up with next. With Douglas Hodge and Lesley Sharp.

Thieves' Highway (1949)

An ex-GI (Richard Conte), now working as a trucker, is bent on satisfaction from the man responsible for crippling his father (Morris Carnovsky). But when the ruthless market operator (Lee J. Cobb) gets wise to his plan, treachery and heartbreak follow. Based on the novel THIEVES' MARKET by A.I. Bezzerides (who adapted his book for the screen) and directed by Jules Dassin (NEVER ON SUNDAY). Like his THE NAKED CITY, Jules Dassin shot this film on actual locations (in this case, San Francisco) rather than studio soundstages. The movie is much admired by film noir fans and while it's an effectively gritty look at corruption and duplicity in the produce market of the day, I found it rather pedestrian. Conte makes the perfect noir protagonist and Norbert Brodine's (KISS OF DEATH) dark and shadowy cinematography emphasizes the noir atmosphere and goes a long way in giving authenticity to the plot. With Valentina Cortese, Barbara Lawrence, Millard Mitchell, Jack Oakie and Tamara Shayne.

Return To Treasure Island (1954)

A descendant of Jim Hawkins (Dawn Addams) returns to Treasure Island with a priceless map with the intention of locating the treasure buried there by Long John Silver (Robert Long). But she's not the only one after the hidden treasure. Directed by E.A. Dupont (VARIETE). Dupont did some impressive work in his native Germany and Great Britain. His American career was far less illustrious and this snoozefest was his swan song! It's incredibly amateurish and badly acted. It's Tab Hunter's worst performance and he would later redeem himself but boy, is he a piece of wood here. Shirtless throughout the entire movie, he's reduced to hunk eye candy. The narrative is laughable with lots of plot holes. Even at a brief running time of one hour and 15 minutes, it's a slog. With Porter Hall and James Seay.

8番出口 (aka Exit 8) (2025)

Exiting the subway, a young man (Kazunari Ninomiya) gets lost trying to exit the station. He finds that he is trapped in the looping corridors and must spot possible anomalies in each loop to escape. An adaptation of the video game THE EXIT 8 and directed by Genki Kawamura (A HUNDRED FLOWERS). I've never played a video game in my life so in spite of the movie's good reviews, I wasn't sure I was the demographic for a movie like this. I needn't have worried. The movie is divided into three segments and the first segment THE LOST MAN is rather tedious and the film doesn't find its rhythm until the second segment, THE WALKING MAN when the horror of it all comes out in full force. It's all rather existential, suggesting that modern man leads a dull repetitive life, unable to break out of his routine. If you have the patience to hang in there, there are rewards though ultimately I found the ending tipping over into sentimentality. With Yamato Kochi, Naru Asanuma, Kotone Hanase and Nana Komatsu.

Ginger & Rosa (2012)

Set in 1962 England, two teenage girls (Elle Fanning, Alice Englert) are inseparable. They share everything together from dreams to politics. But as the threat of nuclear war escalates amid the sexual revolution, their friendship is threatened. Written and directed by Sally Potter (ORLANDO). A coming of age story that eschews the stereotypes and cliches inherent in the genre. The title is a misnomer, it should have been called GINGER because although Englert's Rosa is an important part of the narrative, it's Fanning's marvelous performance that takes over the film and anchors it as Englert's Rosa begins to fade into the background. Fanning's Ginger is a bit of an emotional mess but this is due in part to her parents (Alessandro Nivola, Christina Hendricks) antipathy and more importantly, her father's lack of parental interest. Refined and astute, it's a refreshing portrait of adolescence on the cusp of maturity. With Annette Bening, Oliver Platt, Timothy Spall and Jodhi May.

Storm Warning (1951)

In the South to visit her sister (Doris Day), a model (Ginger Rogers) witnesses a murder by the Ku Klux Klan. Traumatized by the terror she has just seen, she's shaken to the core when she meets her sister's husband (Steve Cochran) and recognizes him as one of the Klan murderers. Directed by Stuart Heisler (THE GLASS KEY). A well intentioned attack on the Ku Klux Klan but it hedges its bet by eliminating all references to racism. Their victims aren't black, Jewish or foreigners but a white journalist who was going to expose them. That aside, it's still pretty gritty for its era and there's a solid dramatic performance by Rogers (more impressive than her Oscar winning KITTY FOYLE turn) as well as a strong performance by Doris Day in her first dramatic role. Whether intentional or not, the shadow of A STREETCAR NAMED DESIRE hovers over the proceedings with the triangle of Rogers, the brutish Cochran and Day. Not as potent as it should have been but compelling nonetheless. With Ronald Reagan, Hugh Sanders and Ned Glass.

The Case Of The Avenging Ace (1988)

During his time as an appellate judge, Perry Mason (Raymond Burr) denied the appeal of a man (Larry Wilcox) convicted of murder. Now having returned to law practice, he takes on the man's case for a new trial when a new witness (Joel Colodner) appears. But when the witness is murdered, Mason's client becomes the main suspect. The eighth entry in the thirty Perry Mason movies that followed the series end in 1966. As far as the telefilms go, this one is unique in that Mason has to solve two murders. The original murder of which his client was convicted and the new murder of the witness ..... or are both killers one and the same? It's rather convoluted with the two storylines running concurrently (there is some flashback usage). Not boring but I still found it one of the lesser Mason telefilms. With Patty Duke, Barbara Hale, William Katt, Don Galloway, Erin Gray, Charles Siebert and David Ogden Stiers.

La Seconde Verite (aka The Second Twin) (1966)

A middle aged, married attorney (Robert Hossein) falls in love with a disc jockey (Michele Mercier) at a disco club. The lovestruck attorney can't bring himself to leave his wife (Malka Ribowska) but when his mistress's wealthy suitor (Jeann Claude Rolland) is murdered, he becomes the main suspect. Based on the novel UN HOMME A PART ENTIERE by Jean Laborde and directed by Christian Jaque (THE BLACK TULIP). While never less than gripping, I found this a frustrating movie mainly because of the two lead characters. I just couldn't drum up much empathy for a hot tempered adulterer (who's not satisfying either his wife or his mistress) and his mistress who whines that she's only getting part of him when hey! He's a married man! Still, the complicated structure of the narrative is strong enough to hold one's attention to the very end. Let's say I liked it in spite of my self. With Bernard Tiphane and Pascale De Boysson.

Wabash Avenue (1950)

Set in the Chicago of the 1890s, a burlesque queen (Betty Grable) is romantically pursued by the owner (Phil Harris) of the dance hall but she's not interested. Enter the owner's ex-partner (Victor Mature) and she's interested. But her career ambitions come first. Directed by Henry Koster (THE ROBE). A remake of one of Grable's hits, CONEY ISLAND which came out seven years earlier. I wasn't a big fan of CONEY ISLAND but I still liked it a bit better than this stolid effort. Grable is wonderful in her jazzy numbers like I Wish I Could Shimmy Like My Sister Kate but weak after Mature turns her into a ballad singing "lady". Who wants to see Grable as a chanteuse? We're also saddled (in a subplot) with an irritating Irish drunk played for laughs by James Barton. One of it songs, Wilhelmina got an Oscar nomination. With Reginald Gardiner and Robin Raymond.