Ordinary People (1980)

Set in suburban Chicago, an upper middle class family must deal with the aftermath of a son's (Scott Doebler) death and the attempted suicide and emotional breakdown of another son (Timothy Hutton). Based on the novel by Judith Guest and directed by actor Robert Redford in his feature film directorial debut. A powerful look at a family unglued while struggling to maintain a facade of normalcy. ORDINARY PEOPLE got a lot of backlash when it won the best picture Oscar instead of the critical darling, the overrated RAGING BULL. It's not a perfect movie by any means but it's beautifully acted save one and it still packs an emotional punch. Redford guides us through the painful emotional landscape of its characters and holds back judgment. A veil of sorrow hovers over the film but we're never manipulated. These are real people going through real emotional devastation. On the downside, Judd Hirsch as a glib psychiatrist is the only character that comes across as actor-ish rather than an actual human being. And a minor nitpick but Mary Tyler Moore's emotionally bereft housewife is a cousin to Harriet Craig and her abandonment of her home (even if temporary) seems off. With Donald Sutherland (whose performance doesn't get enough recognition), Elizabeth McGovern, Dinah Manoff, James B. Sikking, M. Emmett Walsh and Meg Munday.  

Gojira (aka Godzilla) (1954)

When a Japanese freighter vanishes near the island of Odo, another ship is sent to investigate only to meet the same fate. It isn't long before a giant dinosaur emerges from the sea and causes death and havoc along the Japanese coast. Directed and co-written by Ishiro Honda (RODAN), this is the first and the best of those Japanese creature features. It began a franchise that is still going today. Its sequels have had bigger budgets and better special effects but there's an underlying seriousness to the original which looks at the effects of nuclear testing on the environment. GOJIRA's crude special effects including the rubber monster stomping over a miniature Tokyo lend the film a charm that has resonated over the ensuing decades. Like KING KONG, Gojira's giant monster elicits an element of sympathy. After all, he was minding his own business until nuclear testing made him radioactive and angry! There's a romance subplot in the film that doesn't upend the movie but works rather nicely. Two years later, the film was recut with some added English language footage featuring Raymond Burr and released in the U.S. as GODZILLA, KING OF THE MONSTERS and that was the version most of my generation grew up with. With Akira Takarada, Momoko Kochi, Akihiko Hirata and Takashi Shimura.

Young And Willing (1943)

A group of ambitious young actors, three men and three women, reside in the same apartment to save money. It's all perfectly innocent as they're hoping to get their big break by auditioning for the eccentric producer (Robert Benchley) living in the apartment below. Based on the play OUT OF THE FRYING PAN by Frances Swann and directed by Edward H. Griffin (THE SKY'S THE LIMIT). This stage bound screwball comedy doesn't bother to hide its proscenium roots as the movie almost entirely takes place in an apartment. Given its topic and setting, it reminded me of ROOM SERVICE (1938) but without the zing of the Marx Brothers. The young cast gives it their all but with the exception of Eddie Bracken (trying way too hard) and Florence MacMichael recreating her stage role, none of the youngsters seem particularly adept at comedy. After GOLDEN BOY (1939), you'd think William Holden would have gone on to major star status but Paramount did no favors putting him in comedies like this and he would have to wait until SUNSET BOULEVARD (1950) put him on the A list. Susan Hayward is sassy but comedy was never her forte and she too would have to wait awhile before she found her niche. It's all too frenetic and it exhausts you but not in a good way. With Barbara Britton, Martha O'Driscoll, James Brown and Mabel Paige (also recreating her stage role) stealing scenes as the ditzy landlady. 

The People Next Door (1970)

A middle class suburban couple (Eli Wallach, Julie Harris) struggle with not only their imperfect marriage but their drug addicted daughter (Deborah Winters). Based on the 1968 TV play by JP Miller (DAYS OF WINE AND ROSES) and directed by David Greene (GRAY LADY DOWN). JP Miller wrote one of the best plays about alcoholism, DAYS OF WINE AND ROSES and here he tries to do the same with drug addiction. Alas, it's an artifact of its time. The adults in the film are such hypocritical horrors that who wouldn't want to drop acid just to get away from them! And surely Miller could have come up with a better ending than the quick miracle he whipped up which comes across as phony. When the film isn't torturing us with awful 70s rock (I don't mean 70s rock was awful, just the "songs" used in the film), we have to contend with a heavy handed narrative. It's no fault of the actors who all deliver fine performances (well, maybe not Sandy Alexander) and they do strong work, it's the screenplay that let's them down. With Hal Holbrook, Cloris Leachman, Nehemiah Persoff, Rue McClanahan, Don Scardino (like Winters, repeating his role from the TV version), Stephen McHattie and Rutanya Alda.

The Reformer And The Redhead (1950)

When a corrupt party boss (Ray Collins)  unjustly bounces her father (Cecil Kellaway) from his job at the zoo, a young woman (June Allyson) contacts an attorney (Dick Powell) who is also running for mayor. Political machinations and romance ensue. Written and directed by Norman Panama and Melvin Frank (THE COURT JESTER). This banal romantic comedy presents no one at their best. Considering they were married, it's surprising how little on screen chemistry Allyson and Powell have. The wan screenplay mixes cuteness with a weak attempt at a political statement. I adore June Allyson but even I found it a slog to sit through. Oddly, the film was a hit and made a bit of money for MGM. With David Wayne, Robert Keith, Marvin Kaplan and Kathleen Freeman.

The 25th Hour (1967)

Set in 1939 Romania, a corrupt police constable (Gregoire Aslan) lusts after the beautiful wife (Virna Lisi) of a peasant (Anthony Quinn). In order to get him out of the way, the official has the gentile peasant arrested as a Jew and sent to a work camp. Thus begins a ten year journey from a prisoner in a Nazi concentration camp to prosecution as a war criminal for his role in abetting the Nazis. Based on the novel by C. Virgil Gheorghiu and directed by Henri Verneuil (THE SICILIAN CLAN). While I understand the film's concept of a simple apolitical peasant being swept up in the horrors of war and doing what he needs to do in order to survive, I had a problem with him not grasping the significance of what was going on around him as he blithely (and ignorantly) goes with the flow even as he dons a Nazi uniform. His entire attitude seems to be, "Gee, I'm not a Jew, why is this happening to me?" rather than "these people are monsters!". When we finally arrive at the end of the movie's journey, we're slammed on the head with a hammer screaming, "This man has suffered, he'll never be right again!". I can't summon up much empathy for Quinn's character. He survived when better men than him died. The striking main title sequence was designed by Jean Fouchet and the score is by Georges Delerue. With Michael Redgrave, Serge Reggiani, Francoise Rosay, Alexander Knox, Marius Goring and Marcel Dalio.

Das Mädchen Vom Moorhof (aka The Girl From The Marsh Croft) (1935)

Set in an insular rural community in Northern Germany, a young maid (Hansi Knoteck) who has borne a child out of wedlock is shunned by the community after she files a paternity suit against a respected farmer (Erwin Klietsch). When she is taken in by a family, the young son (Kurt Fischer Fehling) finds himself drawn to her although he is engaged to another girl (Ellen Frank). Based on the novel by Selma Lagerlof and directed by Douglas Sirk (WRITTEN ON THE WIND). Already working in the melodrama genre that would gain him acclaim when he emigrated to the U.S., Sirk displays his empathy for the societal outcasts and misfits that would continue to be one of his trademarks during his period at Universal studios. I suppose a dyed in the wool auteurist might try to make a claim that this was an exceptional film but honestly, it's just a well made bucolic soap opera. Sirk's greatest and more complex works lay ahead of him, he's a budding artist here, not yet the Master of Melodrama (hey, if Hitchcock can be the Master of Suspense). With Lina Carstens and Franz Stein. 

Chad Hanna (1940)

Set in the 1840s, a farm boy (Henry Fonda) from upstate New York joins a traveling circus. He falls in love with a haughty self centered bareback rider (Dorothy Lamour) who rejects him. On the rebound, he marries a naive country girl (Linda Darnell) on the run from her abusive father. Based on the novel RED WHEELS ROLLING by Walter Dumaux Edmonds and directed by Henry King (THE SONG OF BERNADETTE). Perhaps more than any other studio, 20th Century Fox embraced Technicolor in the early 1940s. Mostly in its gaudy musicals but also in many of its dramas and westerns like BLOOD AND SAND, THE BLACK SWAN, RETURN OF FRANK JAMES, CRASH DIVE among many others. This simple backstage circus story benefits from the Technicolor which is good because there's not much else going on. I'm not a Fonda fan but he's quite good here as the yokel discovering love for the first time and growing from a kid to a man in the meantime. The fresh faced Darnell (still in her ingenue stage, not yet the hardened femme fatale she would later grow into) glows in Technicolor and Lamour does nicely as the "bad" girl who turns out not to be so bad after all. With Jane Darwell (who steals the movie), John Carradine and Guy Kibbee.

Cyrano (2021)

A dwarf (Peter Dinklage) has been in love with a young woman (Haley Bennett) for many years but because of his size, he has never declared his love for her. When she confides in him that she is in love with a young soldier (Kelvin Harrison Jr.), he is shattered but agrees to look after the young man. The soldier is inarticulate so the dwarf helps him write beautiful love letters to the woman they both love. Based on the 2018 stage musical by Erica Schmidt by way of the classic 1897 play CYRANO DE BERGERAC by Edmond Rostand and directed by Joe Wright (ATONEMENT). I'm crazy for musicals so I tend to be more tolerant toward the genre than the casual viewer. That being said, this musical version of the Rostand classic is highly uneven and heavy handed. Dinklage isn't much of a singer and the bulk of the songs (music  by Aaron and Bryce Dessner and lyrics by Matt Berninger and Carin Besser) are forgettable and the dance movements (you can't call it choreography) by Sidi Larbi Cherkaoui is amateurish. Musically, the film comes alive only twice: during Haley Bennett's rendition of I Need More and the lengthy Wherever I Fall sequence. Kelvin Harrison has been impressive in other film roles (like LUCE) but the role of Christian is an ungrateful part for any actor. Not unwatchable but if you're not into musicals, you may find this unbearable. With Ben Mendelsohn and Monica Dolan.

Beverly Of Graustark (1926)

When the American raised Prince of Graustark (Creighton Hale) is seriously injured in a ski accident, his cousin (Marion Davies) disguises herself as a man and impersonates him until he is recovered. But complications ensue when a General (Roy D'Arcy) plots to take over the throne himself and she finds herself attracted to her bodyguard (Antonio Moreno). Based on the novel by George Barr McCutcheon and directed by Sidney Franklin (THE GOOD EARTH). The film was a big hit for Davies but it's not especially memorable. It's the usual girl masking as a boy falling in love with a man who thinks she's a boy scenario (think VICTOR VICTORIA). Davies is absolutely charming and her effervescent personality helps a lot in holding our interest in the predictable proceedings. It's a pity that Davies' relationship with William Randolph Hearst has tainted her career. She was a talented comedienne yet the myth that she was untalented and her "sugar daddy" Hearst was responsible for her career persists. The film ends with a two strip Technicolor sequence. With Paulette Duval and Albert Gran.

Madres Paralelas (aka Parallel Mothers) (2021)

Two pregnant women, a photographer (Penelope Cruz in an Oscar nominated performance) and an unwed teenager (Milena Smit), are room mates in a hospital where they are about to give birth. As single mothers, they form a bond but their connection develops and complicates their lives in a decisive way. Written and directed by Pedro Almodovar, I have to confess I was disappointed and found this Almodovar's weakest film since I'M SO EXCITED (2013). Although bolstered by excellent performances, the film's most powerful moments aren't the central narrative of the two mothers but Cruz's attempt to excavate a mass grave in her home village where the victims of Franco's fascist reign during the Spanish Civil War are buried in unmarked graves. As if sensing this, Almodovar ends the film on that note, not on the relationship between the two women which often seems contrived. If the film were made by Warners in the late 1930s or 1940s, it could easily have been one of those melodramas starring Bette Davis and Miriam Hopkins. I didn't dislike it, far from it (I didn't even dislike I'M SO EXCITED) but it's still lesser Almodovar. With Israel Elejalde, Aitana Sanchez Gijon and Rossy De Palma. 

The Crime Of The Century (1933)

A hypnotist (Jean Hersholt) bursts into a police station and confesses to a murder. The only problem is that the murder he's confessed to hasn't happened yet. However, it's not long before dead bodies and stolen money turn up. A wisecracking reporter (Stuart Erwin) tries to unravel the mystery on his own. Based on the play THE GROOTMAN CASE by Walter Maria Espe and directed by William Beaudine (JESSE JAMES MEETS FRANKENSTEIN'S DAUGHTER). This fast moving B murder mystery is entertaining enough and the revelation of the murderer is a genuine surprise. I wish the reporter were played by a more charismatic actor than the bland Stuart Erwin. Presaging the William Castle gimmicks of the 1960s, in the film's last twenty minutes the movie stops while an onscreen messenger says they have given us a one minute break to solve the killer's identity while images of the suspects play on the screen. With Frances Dee, Wynne Gibson, Gordon Westcott, Robert Elliott, Samuel S. Hinds and Bodil Rosing.

Gods And Monsters (1998)

Set in the 1950s, retired film director James Whale (Ian McKellen in an Oscar nominated performance) becomes obsessed with his newly hired gardener (Brendan Fraser). While the aging Whale is homosexual, the gardener is not and a tense and often ambiguous relationship between the two ensues. Based on the novel FATHER OF FRANKENSTEIN by Christopher Bram and directed by Bill Condon (DREAMGIRLS). A highly fictionalized view of James Whale's final days (he committed suicide) who is best known for his Universal horror films like FRANKENSTEIN, BRIDE OF FRANKENSTEIN and THE INVISIBLE MAN. It's an absorbing study even if it's all supposition but Condon's emphasis (he also wrote the screenplay) on Whale's WWI memories and the effect of the war on him are often repetitive and unnecessary. McKellen's Whale is a rather sad old queen and often creepy which I hope is not what Condon intended but that's how it comes across. Fraser is very good but the scene stealer here is Lynn Redgrave (also Oscar nominated) as Whale's disapproving Scandinavian housekeeper. The casting is quite good in the smaller roles including Rosalind Ayres as Elsa Lanchester and Jack Betts as Boris Karloff. With Lolita Davidovich, David Dukes and Martin Ferrero.

The Whistle At Eaton Falls (1951)

Set in a small town in post war New Hampshire, a former factory worker and union president (Lloyd Bridges) finds himself in the uncomfortable position of shutting down the factory and laying off workers. These are friends and co-workers that he had promised  to protect when he was union president. If he doesn't rescue the failing business, they'll all go under. Directed by Robert Siodmak, the German expatriate most famous for such noirs as THE KILLERS (1946), CRISS CROSS (1949) and PHANTOM LADY (1944) among many others. Shot in a B&W semi documentary style by Joseph C. Brun (ODDS AGAINST TOMORROW), Siodmak traverses a fine line so as to not offend either unions or management showing both in good and bad situations but ultimately I think it tips the scales ever so slightly toward toward management. I wish it could have been a little more political in its narrative but that was never its aim. There's a strong underscore by Louis Applebaum. With Ernest Borgnine, Anne Francis, Dorothy Gish, Arthur O'Connell, Murray Hamilton, Carleton Carpenter, Diana Douglas, James Westerfield and Anne Seymour.

The Mafu Cage (1978)

Set in Los Angeles, the daughters of a deceased primatologist live in a decaying mansion. While one (Lee Grant) has a career as an astronomer, her younger sister (Carol Kane) is mentally unbalanced and habitually abuses and kills primates. Based on the play TOI ET TES NUAGES by Eric Westphal (adapted for the screen by actor Don Chastain) and directed by Karen Arthur. After a non competitive slot at the Cannes film festival, this psychological horror movie did well in Europe but was released as an exploitation horror movie in the U.S. It's well made for sure but I found it extremely unpleasant to sit through in spite of strong performances by Grant and Kane as the sisters. Disturbing because Grant knows her sister is batshit crazy and a danger to herself and others yet she refuses to get her sister help, preferring to take care of her herself with disastrous results. Still, there's no denying Arthur's intense direction results in a harrowing slice of horror that's not easy to shake off. With James Olson and Will Geer. 

Le Feu Follet (aka The Fire Within) (1963)

Separated from his wife who lives in New York, a recovering alcoholic (Maurice Ronet) at a Versailles clinic is despondent and plans to commit suicide. On the last day of his life, he returns to Paris to visit old friends in the hope they might give him an incentive to live. Based on the novel WILL O' THE WISP by Pierre Drieu La Rochelle and directed by Louis Malle (MURMUR OF THE HEART). This remarkable movie remains one of Malle's two or three best films. Using the music of Erik Satie as an underscore, Malle takes us on an uncompromising soul searching journey of a man in emotional pain who's reached the end of his tether and what he finds is so bleak that he can't justify his existence. His suicide note which is the last image we see in a punch in the gut. Elegantly filmed in B&W by Ghislain Cloquet (YOUNG GIRLS OF ROCHEFORT), Malle gives the film an almost documentary feel to it as Ronet (in an excellent performance) roams through Paris. It's a bleak film to be sure but done with such artistry that it demands to be seen. With Jeanne Moreau, Alexandra Stewart, Bernard Noel, Jacques Sereys and Lena Skerla.

Illicit (1931)

A young unmarried couple shock their society friends by openly cohabiting without benefit of marriage. Pressured by the conventions of society, he (James Rennie) desires marriage but she (Barbara Stanwyck) believes marriage ultimately destroys love and prefers their unconventional arrangement. Eventually she gives in but her predictions appear to come true. Directed by Archie Mayo (THE PETRIFIED FOREST), this is one of the more frank of the pre-code films although in the end, it comes down on the side of the conventional societal values. Unlike most pre-code movies which were short and fast and to the point, this one sags a bit. In spite of its relatively brief running time (1 hour, 19 minutes), the characters pontificate and go around in circles and the film could have used more punch. Thank goodness for Stanwyck, who's in almost every scene and manages to hold it together. With Joan Blondell, Ricardo Cortez, Charles Butterworth and Natalie Moorhead.

Vibes (1988)

Two psychics (Cyndi Lauper, Jeff Goldblum) are hired by a mysterious man (Peter Falk) to find his missing son who disappeared in Ecuador. But when they arrive in Ecuador, they suspect the man isn't telling them his real reasons for being there. Directed by Ken Kwapis (SISTERHOOD OF THE TRAVELING PANTS), the film is a misfire on just about every level. This was pop singer Cyndi Lauper's film debut and while she has a natural screen presence, VIBES pretty much sunk any chance of a movie career. Critics disliked it and audiences stayed away. The film can't seem to make up its mind whether it wants to be ROMANCING THE STONE or RAIDERS OF THE LOST ARK. Goldblum and Lauper don't have any chemistry so so much for the romance and Kwapis's lackluster direction eliminates any genuine thrills on the action front. With Julian Sands, Steve Buscemi, Elizabeth Pena, John Kapelos, Michael Lerner, Ramon Bieri, Karen Akers and an annoying actor by the name of Googy Gress.

Violent Road (1958)

After an out of control rocket crashes and kills innocent civilians, the rocket plant relocates to a less populated area. But first, the rocket fuel (hydrazine, nitric acid, concentrated hydrogen peroxide) must be moved safely through a dangerous and rough mountain road in three days time. Six men risk their lives for the $30,000 they will share at the end of the line. Directed by Howard W. Koch (THE GIRL IN BLACK STOCKINGS), this is basically an uncredited ripoff of the classic French thriller WAGES OF FEAR (1953) directed by Henri Georges Clouzot. One would think that suspense would be built in to the very premise but the movie shows what the difference between a hack movie director (Koch) and a film artist (Clouzot) can make to a film. Clouzot's film is an intense nail biter while this movie generates zero suspense. The often inane script and poor casting does the film no favors. Brian Keith as the head of the drivers brings some presence to the film but his fellow drivers played by Efrem Zimbalist Jr., Dick Foran, Perry Lopez, Sean Garrison and Arthur Batanides are a bunch of ciphers. As the wives and girlfriends: Joanna Barnes, Merry Anders and Ann Doran.

Mr. And Mrs. Edgehill (1985)

On the eve of WWII, Eustace (Ian Holm) and Dorrie Edgehill (Judi Dench) have decided to leave Samola, a British protectorate in the Pacific. After the failure of his latest hairbrained scheme, no one is likely to give Eustace a job now. Or are they? Based on the short story by Noel Coward and directed by Gavin Millar. It's a slight piece about the indomitable British spirit and their ability to brave the most difficult of circumstances. Shot in Sri Lanka by John Else, the lush tropical location adds some authenticity to a rather monotonous movie. As the married couple of the title, Dench and Holm do their best to give the film a backbone but it remains a rather flabby effort. For fans of Dench and Holm only. With Rachel Gurney, Amanda Pays and Shane Rimmer.

Repeat Performance (1947)

On New Years Eve 1946, a young actress (Joan Leslie) kills her abusive alcoholic husband (Louis Hayward). But fate gives her a second chance when she finds herself back on New Years Eve 1945 and has a chance to relive that year. But can she change her destiny or is her fate sealed? Based on the novel by William O'Farrell and directed by Alfred L. Werker (ADVENTURES OF SHERLOCK HOLMES). The mixture of film noir and supernatural elements are rare but not unheard of, ALIAS NICK BEAL (1949) and THE NIGHT HAS A THOUSAND EYES (1948) are but two examples. This little known example (it was long thought a "lost" film) is both clever and distinctive in its execution. I must confess I couldn't understand why when given a second chance, Leslie didn't just dump Hayward, who's a total jerk, and get on with her life. That aside, for noir or fantasy fans, it's well worth seeking out. Remade as a TV movie in 1989. With Richard Basehart (in the book, his character is a cross dresser) in his film debut, Tom Conway, Virginia Field, Natalie Schafer, Benay Venuta and narration by John Ireland.

The 355 (2022)

When a deadly decryption program drive that can access any digital system on the planet is stolen. a group of international spies reluctantly band together in order to retrieve it and prevent a potential world war. Crosses and doubles crosses occur. Directed by writer turned director Simon Kinberg (X MEN: THE LAST STAND), the film received hostile reviews when it was released early this year so I was surprised at how much I enjoyed it. Granted, it's a generic spy thriller with lots of action but what sets it apart is that the spies are all women and when they're played by such charismatic and attractive actresses like Jessica Chastain, Penelope Cruz, Diane Kruger, Lupita Nyong'o and Fan Bingbing, it's easy to get sucked in. They're all good enough actresses to overcome the routine screenplay which offers few surprises. The script gives them just enough background to make them interesting rather than the usual chicks with guns flicks. The percussive underscore by Tom Holkenborg helps a lot. If you're bored with yet another Tom Cruise MI flick or Liam Neeson actioner, this might serve as a nice alternative. With Sebastian Stan and Edgar Ramirez. 

High Sierra (1941)

After spending eight years in prison, a career criminal (Humphrey Bogart) is released. But he needs one last big heist to set him up for life before he retires. To this end, he falls in with an inept group of thieves planning a hold up at a posh lodge in the Sierra Nevada. Based on the novel by W.R. Burnett (THE ASPHALT JUNGLE) and directed by Raoul Walsh (WHITE HEAT). This was Bogart's breakthrough role after years of playing supporting parts, usually gangsters. He wasn't even the studio's first choice for the role and the fact that although he is the star of the film and gets second billing after leading lady Ida Lupino, it shows Bogart's position at Warners at the time. After this, he never got second billing again. It's a perfect part for him and in what could have been played as a cookie cutter gangster, Bogart's performance elicits great empathy from us. He's matched by Ida Lupino's lovely performance, a bruised girl looking for a way out of her dead end existence. One of the classic gangster films (though often bunched in with film noir). Remade by Walsh in 1949 as a western, COLORADO TERRITORY and again in 1955 (not by Walsh) in CinemaScope and color as I DIED A THOUSAND TIMES. With Joan Leslie, Arthur Kennedy, Cornel Wilde, Henry Hull, Henry Travers, Elisabeth Risdon, Isabel Jewell and Donald MacBride.

Mansion Of The Doomed (1976)

When his daughter (Trish Stewart) loses her eyesight in an auto accident, a renowned surgeon (Richard Basehart) drugs her boyfriend (Lance Henriksen) and attempts to transplant his eyes to his daughter so she can see again. When that fails, he kidnaps a female hitchhiker (Katherine Stewart) and uses her eyes and when that fails, he continues to kidnap people and remove their eyes in an insane attempt to restore his daughter's eyesight. Directed by actor turned director Michael Pataki, perhaps best known for TV's GET CHRISTIE LOVE. If the plot sounds all too familiar, it's because this is a low budget horror ripoff of Georges Franju's great EYES WITHOUT A FACE without any of the artistry. There's no style and the film is a relentless series of people being kidnapped and having the eyes removed and the gory images caused the movie to be seized in Great Britain under the Obscene Publications Act. The most frightening thing about the film is how did such excellent actors as Richard Basehart and Gloria Grahame (playing his sister) get roped into this inept horror flick? It was their names that attracted me to the film otherwise I'd never have bothered. With Vic Tayback and Al Ferrara.

有りがたうさん (aka Mr. Thank You) (1936)

Traveling from rural Japan to Tokyo, a bus driver (Ken Uehara) is known as Mr. Thank You because of his politeness to pedestrians who move out of his way. Based on a short story by Yasunari Kawabata and directed by Hiroshi Shimizu (JAPANESE GIRLS AT THE HARBOR). This charming road movie is sweet and gentle without ever getting all icky. Nothing much happens but the lives of the ordinary bus passengers with their foibles and quirks take center stage during the journey to Tokyo. Lovely as the B&W movie is, one wishes color had been available to Shimizu at the time as the Japanese countryside looks lush and ripe for Technicolor but perhaps that would have been too distracting and taken away from the simple story and its characters. With Ryuji Ishiyama and Michiko Kuwano.

Marooned (1969)

Three astronauts (Richard Crenna, Gene Hackman, James Franciscus) are the first crew of an experimental space station. After a couple of months, one of the astronauts (Hackman) begins behaving erratically so the mission is scrubbed and they are ordered to return to Earth. But the spacecraft doesn't have enough fuel to initiate atmospheric entry and they are running out of precious oxygen. So a plan is hastily put together to rescue them. Based on the novel by Martin Caidin and directed by John Sturges (GUNFIGHT AT THE O.K. CORRAL). Originally intended for Frank Capra to direct (thank heaven that was nipped in the bud), Sturges focuses on the human component rather than the scientific elements. His methodical approach prevents it from the tension of an APOLLO 13 (though the film gave Apollo 13's Jim Lovell's wife nightmares) but while others may find it too dry (or boring), I liked Sturges' take. Enough attention is paid to the characters which allows some good performances, notably Gene Hackman, Richard Crenna and Lee Grant (she has no dialog when told her husband is dead but her body language is eloquent) with only James Franciscus as a weak link. The film has no underscore, just sound effects. With Gregory Peck, David Janssen, Nancy Kovack, Mariette Hartley and Scott Brady. 

Große Freiheit Nr. 7 (aka Port Of Freedom) (1944)

An ex-sailor (Hans Albers) works as an entertainer in a nightclub. Although he has sworn never to return to his former life, the call of the sea proves difficult to resist. When he meets a young girl (Ilse Werner) and falls in love, he feels he can put his former life behind him. But he has a rival (Hans Sohnker) for her love who threatens to ruin his plans. Directed by Helmut Kautner (BLACK GRAVEL). Shot in 1943, due to the war the film was made in Prague in what was then Czechoslovakia rather than Germany. Although shot (in Agfacolor) at the height of WWII, this is strictly a romantic drama with music and not a war propaganda film. As cinema, it's actually pretty decent and contains a lovely performance by Ilse Werner. The movie has a realistic ending as opposed to a "happy" ending. Curiously, the film was banned in Nazi Germany (not Third Reich enough?) and wasn't released in Germany until after the war's end. With Hilde Hildebrand and Gustav Knuth.

Lisa And The Devil (1974)

Set in Spain, a pretty young tourist (Elke Sommer) gets lost in the city of Toledo. She accepts a ride from a married couple (Sylva Koscina, Eduardo Fajardo) but when the car breaks down in front of a decaying mansion in the country, they are invited to spend the night. But it's a house of death where bizarre activity is ongoing. Directed by Mario Bava (BLACK SUNDAY), this surreal nightmare makes absolutely no sense at all so it's best not to even try. Bava's unique gift is his stylish visuals and sense of atmosphere, there's no depth at all to his material. He walks a fine line between solid horror and shallow silliness. If you're okay with that, then there's much to hold your attention. This is one of his best efforts. Not especially admired at its first release, the film's reputation among horror buffs has grown and the movie is quite appreciated today. Inexplicably, the film's producers filmed some new scenes for a framing story and released the movie as HOUSE OF EXORCISM which dissipates Bava's dreamlike landscape. With Telly Savalas as a lollipop sucking butler (a habit he would use for his Kojak character), Alida Valli, Gabriele Tinti and Alessio Orano.

Raton Pass (1951)

Arriving in a new town by stagecoach, an ambitious woman (Patricia Neal) sets her sights on the son (Dennis Morgan) of a cattle baron (Basil Ruysdael). After their marriage, she's not content to play housewife and her zealous push for power will bring about bloodshed. Based on the novel by Thomas W. Blackburn and directed by Edwin L. Marin (JOHNNY ANGEL). What elevates this minor western out of the routine is Patricia Neal's Lady MacBeth on the range. There are a handful of westerns with a female protagonist (JOHNNY GUITAR, FORTY GUNS) and while the movie is no match for Nick Ray's and Sam Fuller's masterworks, Neal's chilly and calculating femme fatale is a match for Crawford and Stanwyck in the aforementioned films. Neal steamrolls over her two romantic leads (Morgan and Scott Forbes) with only Steve Cochran's cold blooded gunslinger a match for her. Western film buffs should check it out. With Dorothy Hart, Roland Winters and Louis Jean Heydt.

Once Before I Die (1965)

After the bombing of Pearl Harbor, the Japanese forces turn their attention to the Philippines. After being attacked, an underequipped unit of the 26th Cavalry slowly marches toward Manila through hostile territory amid Japanese strongholds. A lone woman (Ursula Andress) accompanies the soldiers. Based on the novel QUIT FOR THE NEXT by Lt. Anthony March and directed by actor John Derek. Derek was married at the time to the film's leading lady Ursula Andress but by the time the movie was released, they were divorced. It's a well intentioned but poorly made anti war film. Derek's lugubrious pacing, his overuse of freeze frames and dubious "artistic" decisions like having a silhouette of Andress placed over a raid by the Japanese only serve to call attention to Derek's pretensions. With the exception of Richard Jaeckel as a psychotic Lieutenant, the performances are weak. With Ron Ely, Jock Mahoney and Rod Lauren.

Three Women (1924)

An aging socialite (Pauline Ferderick) is more concerned with her social and romantic life than her daughter (May McAvoy) away at college. When the daughter returns home for a visit, the gigolo (Lew Cody) who has been romancing her mother sets his sights on the daughter. Based on the novel LILLIS EHE by Yolande Maree and directed by Ernst Lubitsch (TROUBLE IN PARADISE). His third American film sees the German expatriate once again turning his eye to the foibles of the rich. This isn't a romantic comedy however but a tragedy along the lines of MADAME X (which Pauline Frederick played four years earlier). It was a big hit at the box office but it isn't one of Lubtisch's most memorable movies. The title is a misnomer. The film is really about two women, the mother and daughter. The "third" woman, Marie Prevost as Cody's mistress, is barely in the movie. If you're a fan of silent cinema or a Lubitsch completist, this may prove satisfying to you. With Pierre Gendron and Mary Carr.

Village Of The Giants (1965)

A precocious 11 year old (Ron Howard) makes some concoction with his chemistry set that turns people and animals into giants. When a group of wild teens gobble the goo up, they begin to tyrannize the town. Loosely based on THE FOOD OF THE GODS AND HOW IT CAME TO EARTH by H.G. Wells and directed by Bert I. Gordon (PICTURE MOMMY DEAD). This is a dreadful movie but it's the kind of cheesy bad movie that's so innocent in its ineptness that it's hard to resist and one just bathes in its silliness. For example, after the "bad" teens take the concoction that turns them into giants, do they proceed to terrorize the town into submission? No, they immediately get down and dance for five minutes while the townspeople watch in stupefaction! The special effects are so poor that they become almost endearing. I couldn't possibly recommend it except to connoisseurs of bad movies. Remarkably, there are some actually talented people in the cast. With Beau Bridges, Tommy Kirk, Tisha Sterling, Toni Basil, Johnny Crawford, Joy Harmon, Freddy Cannon and Orangey (BREAKFAST AT TIFFANY'S).

The Young Racers (1963)

An arrogant womanizing racing champion (William Campbell) has multiple affairs with women even though he's married. When he steals away the fiancee (Beatrice Altariba) of a writer (Mark Damon), the writer vows to expose the racer in a tell all book. Produced and directed by Roger Corman (MASQUE OF THE RED DEATH), this low budget precursor to GRAND PRIX (1966) has a more luxurious look than much of Corman's B programmers. The handsome locations (Monaco, France, Belgium, England) utilized to full advantage by cinematographer Floyd Crosby (HIGH NOON) are a major asset. That aside, it's not very good. Robert Wright Campbell's screenplay doesn't offer up much more than the usual racing smash ups and romantic mash ups. Still, Quentin Tarantino apparently admires it. Les Baxter provides a nice underscore. With Luana Anders, Patrick Magee, Marie Versini and screenwriter Robert Wright Campbell playing his real life brother William Campbell's on screen brother.

The Two Mrs. Carrolls (1947)

Even though he is already married, a mentally unstable artist (Humphrey Bogart) falls in love with another woman (Barbara Stanwyck). After poisoning his wife, they marry. Everything seems fine until he falls in love with another woman (Alexis Smith). Will there be a third Mrs. Carroll? Based on the play by Martin Vale and directed by Peter Godfrey (CHRISTMAS IN CONNECTICUT). A potentially intriguing mystery movie is hampered by miscasting issues. The film takes place in England with Bogart and Stanwyck cast as Brits but neither make any attempt at an English accent. As the homicidal artist, Bogart is egregiously miscast. It's one of his rare bad performances. Stanwyck is somewhat better but she's too strong an actress to be convincing as a helpless victim. It worked in SORRY WRONG NUMBER because her character was somewhat selfish and neurotic but here she's in Joan Fontaine territory and not quite convincing. Perhaps sensing they had a flop on their hands, Warners held back the release of movie for a year. With Nigel Bruce, Isobel Elsom, Patrick O'Moore and that wonderful child actress, Ann Carter (CURSE OF THE CAT PEOPLE) whose assured performance puts the adults to shame.

Girl Missing (1933)

When his bride (Peggy Shannon) disappears on their wedding night, the groom (Ben Lyon) contacts the police. When they find the body of a man (Harold Huber) stabbed to death on the hotel premises, the police are convinced the two events are tied together. Enter two showgirls (Glenda Farrell, Mary Brian) who knew the bride before her marriage who are eager to collect the $25,000 reward offered by the groom. Directed by Robert Florey (MURDERS IN THE RUE MORGUE), this pre-code programmer contains snappy dialogue, moves quickly (running time one hour and 9 minutes) and a fairly interesting mystery. Glenda Farrell (along with Joan Blondell) was Warners go to girl for these B pre-code programmers but she's a little too brittle here and difficult to warm up too. Fortunately, the pliable Mary Brian is offered up as a nice contrast to Farrell's brassiness. I can't say I'd recommend it but if you're a fan of these B pre-code movies, you should find enough to hold your interest. With Walter Brennan, Lyle Talbot, Helen Ware, Guy Kibbee and Edward Ellis.  

Journey For Margaret (1942)

Set during the war in Europe in 1940, an American war correspondent (Robert Young) sends his wife (Laraine Day) home after an operation that prevents her from ever having children. While writing a story on war orphans, he encounters two children (Margaret O'Brien, William Severn) that will change his life. Based on the novel by William Lindsay White and directed by W.S. Van Dyke (THE THIN MAN) in his final film. One of many of the propaganda war movies churned out by Hollywood during the war years, this one takes an unusual bent. It concentrates on children and the effect war has on them. While nowhere near the power or artistry of Rene Clement's FORBIDDEN GAMES (1952) which dealt with the same theme, it does its job admirably as long as it stays focused on the children and not the adults. Robert Young isn't strong enough for his more difficult scenes and he and Laraine Day have a drunk scene that's the pits! In her first major role, Margaret O'Brien turns on the tears (it's said O'Brien and June Allyson were MGM's top criers, both could cry at the drop of a hat) and she has a mixture of stubbornness and vulnerability that gives her character appeal. With Fay Bainter, Nigel Bruce, Elisabeth Risdon and Doris Lloyd.

Titane (2021)

A young child (Adele Guigue) is severely injured in an auto accident. She grows up (morphing into Agathe Rousselle) and has sex with (sic) cars and is a serial killer. A fireman (Vincent Lindon) never recovers from the disappearance of his 7 year old son and leads a loveless and lonely life. Their lives will intersect in a most unusual way and the most diabolical pregnancy since ROSEMARY'S BABY. Written and directed by Julia Ducournau (RAW), this is the film that won the 2021 Palme d'Or at the Cannes film festival. It's an astonishing "what the f*ck!" movie that one will either love or hate. It has elements of Cronenberg's CRASH and the sci-fi flick DEMON SEED but make no mistake about it, this is like nothing you've ever seen before. Lest I'm making it sound like some seedy exploitation flick, the film is about unconditional love and identity. Rouselle is quite marvelous. With her androgynous looks, she is easily convincing as an exotic dancer at a car show or a young fireman. The film is very graphic in its violence, sex and body mutilation so it's definitely not for the squeamish. There's also an element of homoeroticism running throughout the movie. There are two seductive scenes with a group of heterosexual firemen dancing with each other. Highly recommended for the more adventurous of filmgoers. With Garance Marillier, Bertrand Bonello and Myriem Akheddiou.

Rich And Strange (1931)

A working man (Henry Kendall) and his wife (Joan Barry) lead a boring existence in the London suburbs. When they come into an inheritance from a wealthy uncle, he quits his job and they embark on a world cruise and get a taste for the high life. But things don't always go as planned. Based on the novel by Dale Collins and directed by Alfred Hitchcock. This oddity from the master of suspense is airily amusing at first but soon bogs down in a dull morass of its own making when each of the couple indulge in extra marital affairs. Kendall's bloke is a total prick so one has zero empathy for him. When his wife falls in love with an older but loving gentleman (Percy Marmont), you're rooting for her to dump the jerk spouse and run off with the decent guy. I've no patience for female doormats who stick with guys who treat them badly and I quickly lost interest at that point. There's also an unpleasant racist undertone toward Asians that comes near the movie's end. All in all, not one of my favorite Hitchcocks. With Betty Amann and Elsie Randolph.

Annie Get Your Gun (1950)

While visiting Ohio with Buffalo Bill's (Louis Calhern) Wild West show, the show's handsome sharpshooter (Howard Keel) challenges anyone in town to a shooting match. When he's outshot by a local backwoods girl (Betty Hutton), Buffalo Bill engages her to join his show. A romance intertwined with a rivalry occurs between the two sharpshooters. Based on the classic Broadway musical with songs by Irving Berlin and directed by George Sidney (THE HARVEY GIRLS). Everyone knows by now that Judy Garland was originally cast as Annie but exhaustion and illness in addition to clashing with the original director Busby Berkeley caused her to be dismissed and replaced by Hutton (borrowed from Paramount). The brassy and hyperkinetic Hutton would seem an ideal choice for Annie but a little Hutton goes a long way and one longs for a respite from her excessive energy. She does have her quiet moments such as her duet with Keel on They Say It's Wonderful and one wishes she had dialed down her performance to that level a bit more. Of course, the film's ace in the hole are those glorious Irving Berlin songs, everyone a winner. The film's treatment of the Native American characters are out of date and condescending but I liked the film's lively production number of I'm An Indian Too which is often cut out of revivals of the show due to political correctness. With Keenan Wynn, Edward Arnold, J. Carrol Naish, Benay Venuta and Clinton Sundberg.

Goodbye, Raggedy Ann (1971)

A self destructive and suicidal actress (Mia Farrow) is her own worst enemy. Her married lover (Ed Flanders) won't leave his wife, her millionaire (John Colicos) fiance is controlling and wants her to give up her career and her best friend (Hal Holbrook) is tired of picking up the pieces. Directed by Fielder Cook (A BIG HAND FOR THE LITTLE LADY), the movie serves as a showcase for a perfectly cast Mia Farrow. Fragile and neurotic, she seems ready to break up into little pieces at any given moment. It's a shame the script can't/doesn't do much more than provide a setting for her performance and its cliched "happy" ending goes against all the grain that has preceded it. The supporting cast does what it can, which isn't much. With Martin Sheen, Walter Koenig and Marlene Warfield.

Minoes (aka Miss Minoes) (2001)

A cat named Minoes stumbles across a barrel of chemical liquid and drinks from it. This causes her to turn into a human woman (Carice Van Houten). However, she maintains her feline qualities such as catching mice, purring and eating raw fish. Based on the children's novel by Annie M.G. Schmidt and directed by Vincent Bal. A 2001 hit in Europe, MINOES wasn't released in the U.S. for another ten years and then only in a dubbed English language version (the original is in Dutch). As a cat lover, I'm a pushover for a movie like this so I may be more enthusiastic about it than a non cat person. Although it's geared toward the family crowd, there's enough bite so that the grown ups need not feel embarrassed by watching it. Dressed in green, Van Houten is adorable and the felines are scene stealers. It's a pity that Van Houten's leading man (Theo Maassen) is a bit of a cipher. With Sarah Bannier and Pierre Bokma, suitably slimy as the movie's villain.

All My Sons (1948)

When an ex-soldier (Burt Lancaster) announces his intention to marry his late brother's girlfriend (Louisa Horton), it throws his family into turmoil and opens up wounds regarding the patriarch's (Edward G. Robinson) culpability in the death of many soldiers during WWII. Based on the Tony award winning play by Arthur Miller (DEATH OF A SALESMAN) and directed by Irving Reis (THE BIG STREET). Miller's first theatrical success after two flops makes for a strong film adaptation although there are some subtle shifts from the original source material. Robinson turns in a strong performance and while not ideally cast, one must admire Lancaster's desire to move beyond the film noirs he had been making till that point and take more risks as an actor. The film is an absorbing look at moral responsibility as Robinson's character justifies his despicable actions because it was his duty to put his family first. The oddest change from the play is the character of the doctor's wife (Arlene Francis). In the play, she's an angry and resentful woman but in the film, she's been changed to a cheerful and gabby housewife. There's a strong underscore by Leith Stevens. With Howard Duff, Mady Christians, Elisabeth Fraser, Harry Morgan, Lloyd Gough and Frank Conroy as Robinson's former partner (in the play, he's never seen just talked about).

Double Door (1934)

Set in Manhattan, the iron fisted spinster (Mary Morris) of a wealthy family schemes to ruin any chance her sister (Anne Revere) and half brother (Kent Taylor) might have for happiness. When her brother marries a young nurse (Evelyn Venable), she plots to destroy their marriage. Based on the play by Elizabeth A. McFadden and directed by Charles Vidor (GILDA). Morris and Revere are recreating their stage performances on film. Morris had a long and varied career on the stage but this is her only movie. But what a performance! Morris's monstrous matriarch makes the Joan Crawford of MOMMIE DEAREST look like Maria von Trapp! Her evil is so unrelenting and startling even by today's standards that one can't help think what a shock to the system this was to movie audiences of 1934. By the film's end, Morris's evil bitch has turned it into a horror film. With Colin Tapley and Sir Guy Standing.

Spencer (2021)

Set on Christmas Eve 1991, an unhappy Princess Diana (Kristen Stewart) is on the verge of a nervous breakdown as the strain of an unraveling marriage and royal duties push her to the edge. Directed by Pablo Larrain (JACKIE), I wish this fictional film had been done as a roman a clef instead of a historical piece. It has nothing to do with Diana Spencer, not the real Princess Diana. Although the movie is sympathetic to her, its portrayal of her is far from flattering. She's absolutely bonkers, not to mention inconsiderate. If the names had been changed and she was called Princess Barbara, it would have gone down a lot smoother with me. It would have been easier to concentrate on her dilemma and the pressure cooker she was living in and not thinking about the real Princess Diana. I have absolutely nothing against artistic license but if you're going to do fiction, do fiction. This isn't a case of playfully toying with history the way Tarantino did in INGLORIOUS BASTERDS or ONCE UPON A TIME IN HOLLYWOOD. That aside, at the center of the film is a superb performance by Kristen Stewart that makes the film a must to see. The film is bolstered by a fine score by Jonny Greenwood. With Sally Hawkins, Timothy Spall, Jack Farthing and Amy Manson.