Johnny Stool Pigeon (1949)

With the help of a convict (Dan Duryea), a San Francisco based U.S. Treasury agent (Howard Duff) goes undercover to help expose a narcotics ring working out of Arizona. Directed by William Castle (HOUSE ON HAUNTED HILL), this routine noir crime thriller is amiable enough to pass the time with but not essential film noir. Although third billed, it's Dan Duryea's title character who gets our attention rather than Duff's stiff as a board federal agent. It's an opportunity for Duryea to expand his usual tough guy persona. When they meet, it appears that Duff's law and order guy will be our "hero" but as the movie progresses, it's Duryea's character that proves to have more humanity and heart than Duff's by the book law officer. So who does Shelley Winters as a mobster's moll end up with? You'd be surprised! As a mute (so his Bronx accent won't distract) assassin, Tony Curtis (billed as Anthony Curtis) in only his third movie manages to hold the camera without saying a word. A sure sign that a future star was in the making. With John McIntire, Barry Kelley and Leif Erickson.

The Six Sided Triangle (1963)

The eternal triangle of wife, lover and husband as seen through the lens eye of six different countries: Arabia, England, France, Italy, Japan and Sweden. The same three actors play the wife (Sarah Miles), lover (Nicol Williamson) and husband (Bill Meilen) in all six stories. Written and directed by Christopher Miles (VIRGIN AND THE GYPSY), the film was nominated for an Academy Award as best short subject (it's thirty minutes long). The stories often take on the look of their respective country's film makers and/or stars. For example, the Swedish segment is clearly a homage to Ingmar Bergman and in the French segment, Sarah Miles is done up to look like Brigitte Bardot. The dialogue is minimal, it's practically a silent film. There is some brief dialogue in the English segment and occasional subtitles or intertitles on the others. A slight but clever cinematic conceit that should prove catnip to film buffs.

A Time For Loving (1972)

Set in Montmartre in the years before and during WWII, three love stories that take place at different times in a Parisian loft: 1) two former lovers (Susan Hampshire, Mark Burns) who meet again after fifteen years are startled by the changes in each other. 2) a young medical student (Joanna Shimkus) has an affair with a much older married doctor (Mel Ferrer). 3) a businessman (Philippe Noiret) finds his time stretched beyond limits by the demands imposed on him by his wife (Eleonore Hirt), his mistress (Britt Ekland) and his mother (Jany Holt). An original screenplay written by playwright Jean Anouilh (BECKET) and directed by Christopher Miles (PRIEST OF LOVE). Although it's a British film, there's a Gallic charm throughout the three movie romances. As with all portmanteau films, some stories are better than others (though none are bad) and the winner here is the third tale with Philippe Noiret in good form as a harassed husband trying to please the the three women in his life and pleasing none of them. The suitably romantic score is by the great Michel Legrand who has a supporting role in the movie as a music student with a crush on Britt Ekland. With Lila Kedrova and Rene Kolldehoff.

A King In New York (1957)

Deposed by a revolution in his own country, a King (Charles Chaplin) arrives in New York almost penniless. He reluctantly becomes a celebrity after appearing on television and uses his fame to earn money and support himself. Written and directed by Chaplin, this was his first film after he was exiled from the United States by the notorious House Of Un-American Activities. His last movie LIMELIGHT (1952) had been a modest success in the American cities where it had been released but this film (taking place in New York but filmed in England) was not released in the United States. A comedy about U.S. life in the fifties and most notably, the HUAC hearings. As a comedy, it's hit and miss much of the time but it's a better film than it's reputation would suggest. But then again, I would say that about his much maligned swan song A COUNTESS FROM HONG KONG too. Chaplin's satire of American TV commercials and movie coming attractions are amusing but some of the slapstick like the fire hose in the elevator are dim. Chaplin casts his own son Michael as a young boy whose parents are targeted by the HUAC for their communist past. With Dawn Addams, Maxine Audley, Sid James and Oliver Johnston.

Benedetta (2021)

Set in 17th century Italy, a young nun (Virginie Efira) has visions of Jesus Christ and stigmata appears on her body. She is also carrying on an affair with a fellow nun (Daphne Patakia). Based on the non fiction book IMMODEST ACTS: THE LIFE OF A LESBIAN NUN IN RENAISSANCE ITALY by Judith C. Brown and directed by Paul Verhoeven (BASIC INSTINCT). Loosely based on an actual case, the film comes with an artsy sheen but really, with Verhoeven behind the camera it's a high toned nunsploitation movie! In between the somber tale of corruption in the Catholic church, we're treated to graphic nun on nun sex, nuns stripped nude and tortured and Efira even gets to make out with Jesus. Verhoeven wants his cake and to eat it too! But I much prefer the outrageous outlandishness of Ken Russell's THE DEVILS (1971) to Verhoeven's solemnity. There is one good performance by Charlotte Rampling as the mother abbess. She brings a sorely needed touch of class to the project. In a nutshell, I quite enjoyed the film but you didn't fool me, Verhoeven. With Lambert Wilson and Louise Chevillotte. 

The Blue Bird (1940)

Set in Germany during the Napoleonic Wars, the selfish and spoiled daughter (Shirley Temple) of a woodcutter is told by a fairy (Jessie Ralph) to search for the blue bird of happiness. On this quest, she and her younger brother (Johnny Russell) visit the past, the future and a life of luxury. Based on the play by Maurice Maeterlinck and directed by Walter Lang (THE KING AND I). 20th Century Fox's Technicolor answer to MGM's THE WIZARD OF OZ from the year before is a cloying fantasy which has none of the musical elan, magical imagery or vivid performances of the 1939 movie and this is coming from someone who's not a big WIZARD OF OZ fan. In the end, both movies have the same dubious lesson to be taught. In the film, Temple's pet dog and cat are given human form. The film indulges in the stereotypical attitude of the dog (Eddie Collins) being loyal and man's best friend while the cat (Gale Sondergaard) is sneaky and not to be trusted. Alfred Newman's score is every bit as syrupy as the movie itself. The film was a deserved flop and it and Temple's follow up film, YOUNG PEOPLE effectively ended her reign at the box office. It was remade in 1976 with George Cukor at the helm. With Spring Byington, Nigel Bruce and Laura Hope Crews.   

The Grass Is Greener (1960)

An impoverished British earl (Cary Grant) and his wife (Deborah Kerr) have opened their ancestral estate to the public in order to make some money. When an American millionaire (Robert Mitchum) walks in and sweeps the wife off her feet, the Englishman must decide a course of action. Based on the play by Hugh and Margaret Williams (who adapted their play for the screen) and directed by Stanley Donen (CHARADE). This somewhat stagnant drawing room comedy owes a lot to Noel Coward so it's no coincidence that Coward's music is used as the film's underscore. The play was a popular hit in London's West End but was never brought to Broadway. Donen does very little to open up the movie's theatrical origins preferring to let the dialogue carry the picture. As a film, it's a testament to Star power. It's a talky piece with only the occasional barbed wit to punch it up but with genuine movie stars like Grant, Kerr, Mitchum and Jean Simmons (dressed by Dior and stealing the movie as a gin sipping chatterbox) in the four leads, it's eminently watchable. With Moray Watson recreating his stage role as the butler.

Je Serai Seule Apres Minuit (aka I'll Be Alone After Midnight) (1931)

To get revenge on her philandering husband (Roger Blum), a wife (Mireille Perrey) decides to take a lover for one night. To this end, she sends off a barrage of balloons over Paris attached with a note stating, "I'll be alone after midnight" along with her name and address. Based on a novel by Albert Jean and directed by Jacques De Baroncelli. Co-written by Henri Georges Clouzot (LE CORBEAU), this is an enchanting musical (songs by Philippe Pares and Georges Van Parys). It may be a slight piece of musical French fluff but De Baroncelli's direction breezes it along and it's easy to fall under its romantic sorcery. Nonsense really but served up with such charm that it's near irresistible. I don't want to oversell it, it's not a "must see" but it's witty and sexy and you could do a lot worse. With  Pierre Bertin, Vanah Yami, Maurice Remy and Georges Bever.

Project: Kill (1976)

An agent (Leslie Nielsen) of a covert government agency that has been using drugs to enhance the mental and physical performance of its agents realizes that his men are being used as assassins rather than protecting government officials. When he goes rogue and bolts the agency, his second in command (Gary Lockwood) is sent to bring him back alive or else terminate him. Directed by William Girdler (THE MANITOU), this rather silly actioner is one of many low budget U.S. movies shot in the Philippines in the late 1960s and early 1970s utilizing Hollywood actors in the leads and Filipino actors in supporting roles as well as using Filipino crews. There are some karate fights but the violence is minimal. We see the aftermath of several violent killings but not the killing itself. Romance is provided by Nancy Kwan (for Nielsen) and Pamela Parsons (for Lockwood) but they're time fillers rather than important to the plot. With Vic Diaz and Vic Silayan.

The White River Kid (aka White River) (1999)

Set in Arkansas, a con man (Bob Hoskins) passes himself off as a holy monk doing God's work. His sidekick is an illegal Mexican immigrant (Antonio Banderas) with ambitions toward being a lawyer. Their lives are interrupted when they fall in with a serial killer (Wes Bentley) that the con man feels fatherly toward, much to the annoyance of his sidekick. Based on the novel THE LITTLE BROTHERS OF ST. MORTIMER by John Fergus Ryan and directed by Arnold Glimcher (THE MAMBO KINGS). A highly uneven attempt at mixing comedy with a disturbing undercurrent of corruption and violence. The film sees the serial killer as an innocent which may explain why Hoskins' con man takes him under his wing but I saw Bentley's character as dangerously mentally ill. With one exception, the movie also views its Southern characters as stereotypical backward rednecks. The exception is Ellen Barkin as a mysterious blind prostitute. The film never quite gets it right which is a pity because in more assured hands, this could have been an offbeat sleeper of a black comedy. Released theatrically overseas in Europe and Asia, it went straight to home video and cable in the U.S. With Beau Bridges, Swoosie Kurtz, Randy Travis and Kim Dickens.

Kiss The Girls And Make Them Die (1966)

A Brazilian industrialist (Raf Vallone) has plans to sterilize the world through massive doses of radiation via his satellite. An American CIA agent (Mike Connors) and a British M16 agent (Dorothy Provine) team up to stop him. Directed by Henry Levin (JOURNEY TO THE CENTER OF THE EARTH), this is a spoof on the spy films of the 1960s, notably James Bond. One has to question if the film makers understand what a spoof is however as there's nothing remotely amusing or clever in its execution. Also, there's no sex in the movie and that was a major component of the Bond films as well as other spoofs like the Matt Helm films. Connors is not an actor known for his light touch (Roger Moore he's not) and his performance is flat. The lovely Dorothy Provine is done in by Piero Gherardi's (LA DOLCE VITA) gaudy over the top costumes and a heavy make up job that mars her natural beauty. A limp effort all around but on the plus side, the Brazilian locations shot by Aldo Tonti (NIGHTS OF CABIRIA) are quite attractive. With Terry Thomas, Margaret Lee, Marilu Tolo, Beverly Adams and Sandro Dori.

On The Beach (1959)

Set in a then slightly futuristic 1964, WWIII has decimated the world with radiation from nuclear bombs. An American submarine heads to Australia where there is still human life untouched by the nuclear fallout although it's only a matter of time before it reaches Australia. Based on the novel by Nevil Shute and directed by Stanley Kramer. Yes, another self important Stanley Kramer production. Having touched on racism (THE DEFIANT ONES, GUESS WHO'S COMING TO DINNER), Nazism (JUDGMENT AT NUREMBURG, SHIP OF FOOLS), creationism vs. the Bible (INHERIT THE WIND), here he address nuclear war and the end of mankind. Actually, it's one of his better films but it's still not very good. The performances are good, notably Ava Gardner and Fred Astaire (in an atypical role) but Kramer pads his film with characters like an Australian Navy Admiral (John Tate) and his secretary (Lola Brooks) who don't add anything to the narrative (they weren't in Shute's book either) and a needless auto race. Kramer lays it on with a trowel and pushes it over the two hour mark. Ernest Gold's insistent use of Waltzing Matilda in his score quickly becomes annoying. With Gregory Peck, Anthony Perkins and Donna Anderson.

A Rage To Live (1965)

A young girl (Suzanne Pleshette) discovers she has an unbridled appetite for sex. She tries to suppress it but even a happy marriage to a man (Bradford Dillman) she loves can't prevent her from engaging in affairs with other men. Based on the novel by John O'Hara and directed by Walter Grauman (LADY IN A CAGE). Poor John O'Hara has never been done justice by Hollywood, not really. While trashy novels like PEYTON PLACE have been converted into insightful and sensitive films, O'Hara's acclaimed novel A RAGE TO LIVE has been reduced to a lurid soap opera about a nymphomaniac. O'Hara wasn't as judgmental as the movie is about his heroine's sexual appetite. If a man sleeps around, he's a stud. If a woman does it, she's a slut! O'Hara's book has been rewritten for the screen as a morality tale. If a married woman screws around on her husband, she'll be left alone. Howard Shoup's costumes received an Oscar nomination. The book and film's title comes from a poem by Alexander Pope. With Ben Gazzara, Peter Graves, Bethel Leslie, Carmen Mathews, Virginia Christine, Mark Goddard, Sarah Marshall, Linden Chiles and Brett Somers.

Santa Fe Trail (1940)

Set in 1854, two bright West Point lieutenants (Errol Flynn, Ronald Reagan) are assigned to the Kansas Territory to guard the Santa Fe Trail. There, they clash with the fanatical abolitionist John Brown (Raymond Massey). Directed by Michael Curtiz (WHITE CHRISTMAS), this dubious historical epic is highly fictionalized with an unpleasant anti-abolitionist attitude. The escaped slaves in the movie are passive and some even long to return to their former lives. The abolitionists are all portrayed as a nasty bunch. It's also a big bore! Facts are tossed out the window and history rewritten. The film was a huge hit and one can only hope that people took it on face value as entertainment rather than a factually correct historical epic. Many Flynn fans are partial to the movie (heaven knows why) but others are advised to skip it. The large cast includes Olivia De Havilland (this was the seventh of the eight movies she and Flynn did together), Van Heflin, William Lundigan, Ward Bond, Alan Hale and Guinn Williams.

The White Cliffs Of Dover (1944)

A young American girl (Irene Dunne) from Oklahoma marries a British aristocrat (Alan Marshal) and is devastated when he dies in WWI. As WWII approaches, she worries that the same fate awaits their son (Roddy McDowall who morphs into Peter Lawford). Based on the novel THE WHITE CLIFFS by Alice Duer Miller and directed by Clarence Brown (THE YEARLING). Like MRS. MINIVER (1942), this MGM piece of wartime propaganda was meant to call attention to the bravery of the British people and the wartime hardships and sacrifices they endured. But unlike the Oscar winning MRS. MINIVER, this one is pure sentimental claptrap! To present day audiences, it's a struggle to sit through without any notable performances, visuals or contemporary relevance to compensate for its creaking narrative. However, 1944 audiences lapped it up and the film was a huge hit. Irene Dunne's weepies have never appealed to me, I much prefer her as a comedienne in comedies like THE AWFUL TRUTH, MY FAVORITE WIFE or THEODORA GOES WILD. She's a bit, shall we say ..... mature for the girlish ingenue she's asked to play in the early portions of the movie but she's not any better as she ages on screen. Still, I can't imagine anyone but Dunne fans that would embrace this film. With Van Johnson, Gladys Cooper, Dame May Whitty, C. Aubrey Smith, Jill Esmond, Norma Varden and a young Elizabeth Taylor who grows up and turns into June Lockhart!

The Northman (2022)

Set in 895 AD, a Viking King (Ethan Hawke) returns to his island kingdom. However, his treacherous brother (Claes Bang) murders the King and carries off his wife (Nicole Kidman). The King's young son (Oscar Novak who morphs into Alexander Skarsgard) vows to avenge his father's death. Directed by Robert Eggers (THE LIGHTHOUSE), this epic tale of vengeance is impressive visually. Jarin Blaschke's cinematography does the Ireland and Iceland locations justice. Eggers' previous films THE WITCH and THE LIGHTHOUSE (which was in B&W) were both small scale movies but he shows a talent for big screen epics here. However, I must confess that although I found it quite entertaining, it lacked the freshness and audacity of his first two films so in that respect, it was a disappointment. But the acting is good and Eggers' raw and brutal mise en scene is never less than engrossing but in the long run, it falls short in the memorability department. With Anya Taylor Joy, Willem Dafoe, Bjork and Gustav Lindh.

The Raging Tide (1951)

Set in San Francisco. After killing a rival, a gangster (Richard Conte) stows away on a fishing boat until he can escape. Based on the novel FIDDLER'S GREEN by Ernest K. Gann (THE HIGH AND THE MIGHTY), who adapted his novel for the screen and directed by George Sherman (BIG JAKE). An interesting film noir that has us constantly switching our loyalties. At first, we're on the side of Conte as he seems a "good" guy despite being a mobster and we dislike the mean spirited fisherman's son played by Alex Nicol. But as both men head toward their redemption, we see that these are more complex individuals than we initially thought. Complications ensue when Nicol falls for Conte's moll, Shelley Winters and she begins to waver in her affections for both men. The movie is ably assisted by the clean B&W location lensing of Russell Metty (TOUCH OF EVIL) and an underscore by Frank Skinner (WRITTEN ON THE WIND). Not a major entry in the noir canon but a solid second tier item. With Charles Bickford, Stephen McNally, John McIntire and Minerva Urecal.

Private Lives (1931)

After a turbulent marriage and divorce, a man (Robert Montgomery) and a woman (Norma Shearer) each remarry. Imagine their surprise when each of them are on their honeymoon, they find themselves in suites right next to each other with adjoining balconies! Based on the play by Noel Coward and directed by Sidney Franklin (THE GOOD EARTH). This is a pre code film which allows Coward's comedy of manners to keep some of its bite. It requires performers who can deliver witty banter and when one thinks of high comedy, one doesn't think of Shearer (the part cries out for a Maggie Smith). That being said, she's quite relaxed here (she and Montgomery have an amusing physical fight) and even has a bit of sex appeal. Irving Thalberg hadn't yet turned her into the great lady of MGM which pretty much made her a bore as an actress. It's far from the best production of Coward's play but the critics liked it, audiences liked it and even Coward had good things to say about it. It's not a foolproof play by any means so that it retains its acuity is a compliment to those involved and Franklin was wise not to "open up" the movie from its stage conventions too much. Still, I wish it were better. With Una Merkel, Reginald Denny and Jean Hersholt.

O Gebo E A Sombra (aka Gebo Et L'Ombre) (2012)

Living in dire poverty, an aging accountant (Michael Lonsdale) keeps his nagging wife (Claudia Cardinale) in the dark about the true nature of their missing son (Ricardo Trepa). But when he returns home, will she find out the truth? Based on the play by Raul Brandao and directed by Manoel De Oliveira. This was De Oliveira's final film and he was 103 years old when he directed it, surely one for the Guinness book. De Oliveira doesn't bother to hide the film's theatrical origins. He plops his stationary camera in front of the actors as they go through their paces in a one room set. The dramatic conflict comes from an exchange of ideas. The old man accepts poverty and misery as his position in life while his criminal son challenges the notion that man must accept his fate. Clearly the father is the noble one while the son is a thief but was it the father's acceptance of his poverty ridden fate the impetus for his son's criminal activities? Wasn't it the father's duty to improve his family's situation? Is he helping or hindering his wife by shielding her from the truth and enabling her life of illusion? The acting is good especially from Cardinale as the bitter wife and mother who may know more than she's letting on. With Jeanne Moreau in her penultimate film role, Leonor Silveira and Luis Miguel Cintra.

The Jazz Singer (1952)

Just out of the service from Korea, a young Jewish man (Danny Thomas) is expected by his father (Eduard Franz) to take over his duties as a cantor in the local synagogue when he retires. But the young man has show business aspirations. A remake of the 1927 movie and directed by Michael Curtiz (WHITE CHRISTMAS). The film was later remade in 1959 for TV with Jerry Lewis (with Franz again playing the father) and again as a feature film with Neil Diamond in 1980. The 1927 film is a landmark movie because it was the first sound film. As cinema however, it creaks and this version isn't an improvement. The title is a misnomer as Thomas isn't a jazz singer though his leading lady Peggy Lee is. Danny Thomas lacks a strong screen presence and he's not a particularly dynamite entertainer. He's not shown at his best but he went on to a major career in television. As the love interest, Peggy Lee is wasted as an actress (she would do better three years later receiving a supporting actress Oscar nomination for PETE KELLY'S BLUES) but her singing is the film's highlight. The film did receive an Oscar nomination for its musical scoring. If you're a Peggy Lee fan, you might want to check it out. Everyone else would be wise to steer clear of it. With Mildred Dunnock, Allyn Joslyn and Tom Tully. 

Amazons (1984)

When her patient, a prominent U.S. Congressman (William Schallert), dies in a bizarre accident right after surgery, his surgeon (Madeleine Stowe) is framed on a charge of malpractice. With the help of a police detective (Jack Scalia), the young doctor makes a chilling discovery. Directed by actor turned director Paul Michael Glaser (STARSKY AND HUTCH), this telefilm is very reminiscent of COMA (1978) which had a similar theme of a young female doctor who stumbles across a huge hospital conspiracy and cover up. Alas, it's not as good mostly due to a rather far fetched script that doesn't bear up under scrutiny. COMA may have had a far fetched plot too but it moved quickly and had a nice central performance by Genevieve Bujold whose acting made the unreal seem believable. The actresses here are very good given the loopy material, only the banal Scalia screams out "TV actor!". Nonsense it may be, but it's entertaining enough that you're never bored. The strong underscore by Basil Poledouris (CONAN THE BARBARIAN) is a major asset. With Stella Stevens, Jennifer Warren, Tamara Dobson, Nicholas Pryor and Leslie Bevis.

He Walked By Night (1948)

Taken from actual case files, the Los Angeles police department painstakingly track down an elusive thief and cop killer (Richard Basehart) who seems to have the ability to vanish into thin air. Can they catch him before he kills again? Directed by Alfred Werker (REPEAT PERFORMANCE), this poverty row police procedural is considered a sleeper in the film noir genre and is greatly admired by noir enthusiasts. But outside of the superb B&W atmospheric cinematography (done almost entirely on the streets of Los Angeles, this was not a studio movie) of John Alton (ELMER GANTRY), I found this on the dullish side. There's a stripped down quality to the film with no room for anything that doesn't advance the plot and that includes any sort of character development. We're never given any clue as to the killer's motivations, he's just a killing machine. Fortunately, Basehart is a good enough actor to infuse his underwritten part with a suggestion of a sociopath but it's not in the writing. Reputedly it influenced Jack Webb (who plays a forensic expert) to create the TV series DRAGNET. With Scott Brady, Whit Bissell, Roy Roberts, Dorothy Adams and John Dehner.

A Very Special Favor (1965)

Afraid that his psychologist daughter (Leslie Caron) will end up a spinster, a French attorney (Charles Boyer) talks a womanizing oilman (Rock Hudson) into seducing his career driven daughter as a favor. Directed by Michael Gordon (PILLOW TALK), this is a limp romantic comedy with an emphasis on sex. Its Neanderthal attitudes are repugnant in the 21st century! Boyer's father hasn't seen his daughter in 25 years yet he takes it upon himself to interrupt his daughter's life. The film's attitude that a woman is better suited to breeding babies than a career as a psychologist is downright offensive. Rock Hudson was the King of romcoms in the 1960s but he's tired here and just goes through the motions. Caron is charming in musicals but in romcoms, she's no Doris Day or Julia Roberts though to be fair, neither Day or Roberts could have saved this one! It was movies like this which pretty much ended Hudson's reign as a top box office star. With Walter Slezak, Dick Shawn (who brings some needed comedic timing to the project), Nita Talbot, George Furth, Norma Varden and Larry Storch.

Kitty Foyle (1940)

Set in Philadelphia, a young working class girl (Ginger Rogers) falls in love with the wealthy son (Dennis Morgan) from a socially prominent Main Line family. Their class differences place an impediment in their relationship. Based on the best selling novel by Christopher Morley and directed by Sam Wood (GOODBYE MR. CHIPS). This romantic soap opera is an okay entertainment but hardly memorable although it was a big hit in its day and earned Rogers an Oscar for best actress. Rogers is fine but her winning over three superb near iconic performances from Bette Davis (THE LETTER), Katharine Hepburn (THE PHILADELPHIA STORY) and Joan Fontaine (REBECCA) is well ... mind boggling! The movie has been cleaned up considerably from the novel. In the book, Rogers' Kitty has an affair with Morgan's character and gets pregnant and an abortion. In the movie, she marries him and loses the baby after they divorce. Wood's film isn't all that different from countless other movies about poor shop girls or secretaries falling in love with rich men, some with happy endings, others not but all pretty predictable. With James Craig, Gladys Cooper, Florence Bates, Eduardo Ciannelli, Cecil Cunnigham and Kay Linaker.

House Of Gucci (2021)

An ambitious young woman (Lady Gaga) from humble beginnings marries into the fabled Gucci family. Her aspirations begins to unravel the family legacy and triggers a spiral of betrayal, revenge and murder. Based on the book by Sara Gay Forden and directed by Ridley Scott (ALIEN). This is a juicy tabloid of a movie that's hard to resist. I don't know what Scott's intentions were in making the movie but it's not far from Jacqueline Susann territory. Fluctuating between lurid sensationalism and serious family drama, the movie's mood is erratic. What holds the movie together and keeps it from imploding are the performances save one. Lady Gaga is terrific here although her Italian accent can be wonky at times and it's great seeing Al Pacino as the head of the Gucci empire in full belting mode without veering into caricature. The one performance that doesn't work is an unrecognizable buried under latex Jared Leto whose buffoonish acting isn't consistent with his fellow actors. With Adam Driver, Jeremy Irons, Salma Hayek and Jack Huston.

Imitation Of Life (1934)

A struggling widow (Claudette Colbert) with a child (Juanita Quigley, later morphing into Rochelle Hudson) takes an African American widow (Louise Beavers) and her child (Dorothy Black, later morphing into Fredi Washington) into her home to take care of her daughter. With the black woman's pancake recipe, the widow becomes a businesswoman and mogul known as "the pancake Queen". Based on the novel by Fannie Hurst (later remade in 1959) and directed by John M. Stahl (LEAVE HER TO HEAVEN). An admirable film that was daring for its day in its examination of racial identity in a society which restricted access to African Americans. But the film is not without flaws which were later corrected for the superior 1959 Douglas Sirk remake. For example, when Colbert starts her pancake empire, she gives Beavers 20% instead of 50% of the profits and it was her pancake recipe that makes the company a success. Given the financial opportunity to live her own life, Beavers chooses of her own volition to remain a servant to Colbert because she likes taking care of them ... uh-huh! The white mother/daughter relationship lacks the complexity of the Sirk version. However, as in the 1959 movie, it's the performances of the actors playing the black mother/daughter that dominates the film. With Warren William, Ned Sparks and Alan Hale.

Mamma Roma (1962)

An aging prostitute (Anna Magnani) tries to start a new life selling vegetables at an open market. The motivation behind this is her teenage son (Ettore Garofolo), who she wants to build a better life for. But he lacks ambition and hangs out with small time thieves and hooligans. Written and directed by Pier Paolo Pasolini (HAWKS AND SPARROWS), this is probably his most accessible film. An incisive look at unconditional mother love gone awry (she even blackmails to get her son a job) as well as a look at the struggle to survive in postwar Italy among the disenfranchised and deprived population. The film is anchored by another magnificent performance by that force of nature, the great Anna Magnani. The rest of the cast including Garofolo as her son who brings an appropriate sullenness to the part but not much else are there as a setting to her diamond. Distinctively shot in honed B&W by Tonino Delli Colli, it's an affecting piece of cinema even if one takes it purely on its surface value. With Franco Citti (wonderfully slimy), Luisa Loiano and Silvana Corsini.

Red Line 7000 (1965)

Young stock car drivers vie with each other in trying to establish themselves in the competitive world of racing. Meanwhile, romantic complications entangle three racers. Directed by Howard Hawks (ONLY ANGELS HAVE WINGS), this attempt by the veteran auteur Hawks to get with the "new" Hollywood is a huge misstep in his career. He must have realized it because he returned to traditional form with his last two movies, EL DORADO and RIO LOBO. The film is essentially a series of racing footage, both stock and specifically shot for the movie, interspersed with scenes focusing the love lives of the racers. Even Hawks enthusiasts have a hard time defending the movie although Robin Wood and Quentin Tarantino are huge admirers of the film. With the exception of James Caan who was on the verge of a major career, the cast is comprised of unknowns and most of them drifted off to obscurity. Some deservedly so like the awful John Robert Crawford whose only film credit this is and Gail Hire who deserved a somewhat better fate. Three performances stand out: Caan of course, Norman Alden and the undervalued Marianna Hill. But the film is a morass of cliches and the Crawford/Laura Devon story line is pathetic. Devon is essentially a doormat with Crawford walking all over her and when he dumps her, she weeps away hoping he'll return. Ugh! Even Hawks disliked the film. If you're into racing movies, stick with GRAND PRIX (1966). With Teri Garr, Charlene Holt, George Takei and Skip Ward.

It Lives Again (1978)

Racked with guilt over his complicity in the death of his mutant baby, a man (a morose John P. Ryan) attempts to help another expecting couple (Frederic Forrest, Kathleen Lloyd) escape the authorities who want to kill their mutant baby. Directed by Larry Cohen, this is a sequel to the 1974 horror movie, ITS ALIVE. A third sequel would arrive in 1987. How can I describe how truly awful this dumb movie is? Poorly written and badly acted (if you hadn't seen Forrest act before, you'd never guess he had any talent), the movie is so silly that at times it looks like it might turn into an unintentional comedy. The original film was hardly a masterpiece of horror but at least it had a semblance of intelligence and it delivered in the scare department. This sequel is just plain tacky! The movie reuses Bernard Herrmann's underscore from the first film. With Andrew Duggan, Eddie Constantine and John Marley.

Mr. Moto In Danger Island (1939)

A Japanese detective (Peter Lorre) arrives in Puerto Rico to find the murderer of an American agent who was killed when he got too close to discovering who was flooding the world's jewel markets with contraband diamonds. Based on the novel MURDER IN TRINIDAD by John W. Vandercook (previously filmed in 1934) and directed by Herbert I. Leeds (CHARLIE CHAN IN CITY IN DARKNESS). Originally intended as part of the Charlie Chan franchise, it was switched to a vehicle for Peter Lorre's Mr. Moto character. It's one of the least effective efforts in the Mr. Moto series. The mystery isn't very engaging, the characters are dull and the comedy relief provided by Warren Hymer as a pea brained wrestler sidekick of Moto is more annoying than amusing. If you're not a fan of the Moto series, you can safely skip it. With Jean Hersholt, Leon Ames, Douglass Dumbrille, Ward Bond, Robert Lowery, Willie Best  and Amanda Duff. 

Broadway Danny Rose (1984)

A struggling show biz agent (Woody Allen) handles acts like a one legged tap dancer, stuttering ventriloquists and piano playing parrots. When one of his clients, a washed up lounge singer (Nick Apollo Forte), begins catching on again because of a nostalgia craze, things are looking up. Until the singer's mistress, a mob widow (Mia Farrow) enters the picture. Written and directed by Woody Allen. One of Allen's best films, there's a sweetness about this show biz fable that's endearing. It's one of Allen's best roles although he is, of course, still playing Woody Allen or rather the patented Allen persona. Allen's loyal and caring agent is a genuinely nice guy, perhaps too nice for the nature of the competitive business he's in. It's one of the very few characters that Allen has played that we really care about. In films like ANNIE HALL or MANHATTAN, we may find him amusing, perhaps even likable but he doesn't touch us, make us care for him. The star of the movie is Mia Farrow, no longer the fey and delicate sprite but a brassy, tough talking broad channeling Judy Holliday. Handsomely shot in B&W by the great Gordon Willis (THE GODFATHER). With Milton Berle, Sandy Baron, Corbett Monica and Sandy Richman.

His Kind Of Woman (1951)

A down on his luck gambler (Robert Mitchum) is offered $50,000 to hang out at a posh Mexican resort. He's paid $5,000 with the assurance he will get the rest of the money when the reason he's been sent there is revealed. Of course, the gangsters making the offer don't expect him to live long enough to collect. Based on the short story STAR SAPPHIRE by Gerald Drayson and directed by John Farrow (THE BIG CLOCK). After director Farrow finished the film, RKO studio boss Howard Hughes decided the film needed additional scenes, recasting (Lee Van Cleef was replaced by Raymond Burr) and Vincent Price's part built up. Enter an uncredited Richard Fleischer (VIOLENT SATURDAY) to do Hughes' bidding. What might have been a taut little film noir is pushed to the two hour mark and is a confusing mess. There are several scenes (like the honeymooning couple) that don't add anything to the movie except slow it down. The film's finale seems to go on forever and Price's character who was modestly amusing suddenly becomes the movie's comedy relief as a Shakespeare quoting ham actor. It's impossible to take the film seriously after that. On the plus side, the chemistry between Mitchum and leading lady Jane Russell is off the charts and their scenes together are pure pleasure. But this must be the screwiest film noir film since THE BIG SLEEP (1946), only not nearly half as fun. With Tim Holt, Charles McGraw, Jim Backus, Marjorie Reynolds and Anthony Caruso.

Trapped (1949)

A young hoodlum (Lloyd Bridges) is doing time in prison for counterfeiting. He agrees to cooperate with Federal authorities in exposing a counterfeiting ring and they release him but he has his own plans on making big money and it doesn't include playing stool pigeon for the Feds. Directed by Richard Fleischer (20,000 LEAGUES UNDER THE SEA), this low budget crime programmer is shot in semi-documentary style and on the streets of Los Angeles rather than studio soundstages. While it gives the movie some authenticity, I still found it rather ordinary although there's a small cult of noir enthusiasts who are trying to make a case for it as something special. It's not! Although Bridges is top billed (he disappears from the movie's last twenty minutes), the film belongs to John Hoyt. It's a rare chance to see Hoyt, who usually plays villains and/or less than stellar characters, play the closest thing to a hero that the movie has. As an undercover Secret Service agent, Hoyt is essentially playing two characters. The true blue government agent that he is and the sleazy hood persona he adapts to get the counterfeiters' trust. As for Bridges, he snarls and throws punches but he's never truly convincing as a hood. It's the kind of part that cries out for a Lawrence Tierney. With Barbara Payton, Tommy Noonan and James Todd.