Who Killed Marty Kelso? (1964)

A ruthless Hollywood agent (Harvey Parry) is murdered and leaves behind a plethora of suspects including his new wife (Luciana Paluzzi) and three ex-wives (Glynis Johns, Diane McBain, Marie Wilson). Directed by Don Taylor (THE FINAL COUNTDOWN), this was originally shown on the first season of the television series BURKE'S LAW. Not unlike MURDER SHE WROTE except on the West coast, this featured a millionaire (Gene Barry) who for some inexplicable reason also worked as a police detective and each week solved a murder with plenty of suspects. If you're a murder mystery fan (as I am), then you're probably familiar with the show. It's lightweight with a generous dose of humor and (usually) a clever murder that's almost always difficult to solve. With Mary Ann Mobley, Herschel Bernardi, John Ericson, Regis Toomey, Gary Conway and Don Taylor, the show's director playing a director (Taylor was an actor in films like FATHER OF THE BRIDE and BATTLEGROUND before turning to directing). 

Crimes Of The Future (2022)

Set in the unspecified future, human evolution has accelerated in certain individuals. A department of law enforcement called New Vice is responsible for keeping track of the radical evolutionists who are attempting to make these genetic mutations the norm. A performance artist (Viggo Mortensen) suffers from what is known as AES (accelerated evolution syndrome) and his body is continually growing new "organs". His partner (Lea Seydoux) performs body surgery on him as "art" before an audience. Written and directed by David Cronenberg (HISTORY OF VIOLENCE). Cinematically, Cronenberg has a fascination with body transformation, often referred to as a genre ... body horror. Previous films such as THE BROOD, DEAD RINGERS, THE FLY, SHIVERS etc. dwelled on it but Cronenberg hasn't done a body horror film in over 20 years. Instead he's concentrated on more conventional narratives like A HISTORY OF VIOLENCE, EASTERN PROMISES and A DANGEROUS METHOD. Is this movie a step forward or backward? Well, I think it's a sensational film! I dislike gross out movies whose aim is mainly to revolt you. Cronenberg has more artistic aims but the surgery aspects of the movie are pretty graphic. It's a truly complex film and in some ways, Cronenberg has bit off more than he can chew. The film leaves you reeling yet he doesn't put forward any resolution. With Kristen Stewart, Don McKellar, Scott Speedman and Lihi Kornowski.

Love Slaves Of The Amazons (1957)

Set in Brazil, an American archaeologist (Don Taylor) is captured by a lost tribe of women warriors. Their intent is to keep him as a "love slave", both for their own physical pleasure and to father female children (male children are killed at birth) with them. Written and directed by Curt Siodmak (BRIDE OF THE GORILLA). Pure schlock! Of course, I knew that going in but I was hoping for an over the top gaudy semi-exploitation film that was fun. Despite its lurid title, it didn't live up to my expectations. It's a dull and dreary jungle movie about as lurid as a Disney jungle adventure. About he closest the movie gets to "camp" is when the Amazons dance for Taylor's archaeologist in what looks like an inept Las Vegas floor show complete with sequins. For some unknown reason, Taylor's archaeologist who seems intelligent and rational in civilization turns into a dumb American male chauvinist once he is captured by the Amazons. Some bad movies are fun, some are just bad and this falls into the latter category. With Eduardo Ciannelli, Gianna Segale, Ana Maria Nabuco and Harvey Chalk.    

The Adventures Of Prince Achmed (1926)

A sorcerer conjures up a flying horse which he shows to the Caliph. Enchanted, the Caliph offers to buy the horse but the sorcerer refuses. But when the Caliph offers any treasure in his kingdom in exchange for the horse, he agrees ..... the price? The Caliph's daughter! Partly based on ONE THOUSAND AND ONE NIGHTS by Hanna Diyab and directed by Lotte Reiniger. This is the oldest surviving animated feature film and it's a true delight! Featuring genies, magic lamps, witches, demons, floating palaces and more. Reiniger's movie features silhouette animation which is similar to Wayang shadow puppets but animated frame by frame. The film may be 96 years old but it's not a creaky relic. It still sparks the imagination and the movie is a must see to anyone interested in the art of animation. I'm not much of an animation enthusiast but I was thoroughly enchanted.

High Tide (1947)

The editor (Lee Tracy) of a newspaper hires a former employee (Don Castle) turned private investigator to protect him during an ongoing power struggle at the paper. But what at first seems a simple bodyguard job soon turns into a tale of double crosses, deceit and murder. Based on the short story INSIDE JOB by Raoul Whitfield and directed by John Reinhardt (THE GUILTY). I was hoping this would be another B film noir sleeper waiting to be discovered but I was disappointed. It's indifferently acted but its main problem is an often incoherent script. It was a struggle to hold my interest but it was mercifully short at one hour and 12 minutes. Noir fans might be willing to give it a pass but the movie lacks style, atmosphere, a good femme fatale and a bit of irony. All the glue that hold a good film noir together. With Julie Bishop, Anabel Shaw, Regis Toomey and Argentina Brunetti.

The Searchers (1956)

Set in Texas in 1868, a Civil War veteran (John Wayne) spends years looking for his niece (Lana Wood who morphs into Natalie Wood) who was abducted by Comanches when she was a little girl. But as the years pass, his vengeance and hate makes his adopted nephew (Jeffrey Hunter) question what the Uncle's mission really is. Is it to rescue the girl ..... or kill her for what she has become? Based on the novel by Alan Le May and directed by John Ford. Years ago, I remember a film critic saying something along the lines of "The great American novel has yet to be written but the great American film has been made and it is THE SEARCHERS". Effusive (over?) praise but today the film is generally regarded as Ford's masterpiece and one of the greatest American films ever made. It's certainly one of the greatest American films but not without major flaws. Notably, the inane attempts at folksy comedy which border on embarrassing. Still, if evidence was ever needed (certainly not by me) that John Wayne could act, THE SEARCHERS should shut up the naysayers. Visually, it's Ford's most stunning film. Winton C. Hoch's cinematography of the Monument Valley landscapes in Utah and Arizona are breathtaking. It's also one of the most influential movies ever made inspiring directors from David Lean to Martin Scorsese. The film's closing shot is one of the most haunting images put on the screen. With Vera Miles, Ward Bond, Pippa Scott, John Qualen, Olive Carey, Patrick Wayne and Henry Brandon.

Dreamchild (1985)

To help celebrate the 100th anniversary of Lewis Carroll's birth, an 80 year old woman (Coral Browne) who was the inspiration for Carroll's ALICE IN WONDERLAND agrees to travel to the U.S. in 1932. But she is overwhelmed by media attention and her thoughts go back to her childhood. Written by Dennis Potter (PENNIES FROM HEAVEN) and directed by Gavin Millar. The film was barely released in the U.S. (it didn't do so well in England either) which is a pity as it deserved a much better fate. The movie delicately avoids any implication of Carroll (Ian Holm) as a repressed pedophile though Alice's mother (Jane Asher) recognizes the inappropriateness of his feelings toward her daughter. The young Alice (Amelia Shankley) doesn't either and it isn't till the end of her life that she recognizes his longing for her. Browne gives the best performance of her career here, transitioning from a crabby dowager to a frightened and confused old woman in her dotage and back again. Where the film falters is in its portrayal of the Americans, who all come across as vulgar and avaricious. The subplot between Peter Gallagher as an American news reporter and Alice's young companion (Nicola Cowper) detracts from the story we want to see. The Wonderland creatures were created by Jim Henson's Creature Shop. The restrained underscore is by Stanley Myers. With Caris Corfman, Shane Rimmer, Imogen Boorman and James Wilby.

Congo Crossing (1956)

A small country in West Africa has no extradition laws which encourages people on the run from the law to hide out there. Enter an international playgirl (Virginia Mayo) fleeing a murder charge in France. Meanwhile, a surveyor (George Nader) is engaged in work that may change the course of the country and there are some who would do anything to stop him. Directed by Joseph Pevney (TAMMY AND THE BACHELOR), this is a decent programmer with enough romance and adventure to hold one's interest if you're not too demanding. Being a Universal film, the backlot is dressed up as Africa and the lush jungle sequences were filmed in L.A.'s Arboretum and Botanic Garden by Russell Metty (BRINGING UP BABY). Mayo looks sensational in her Bill Thomas form fitting frocks and Michael Pate as an assassin provides a suitable villain. With Peter Lorre, Rex Ingram, Bernie Hamilton, Kathryn Givney and Tonio Selwart. 

The Pink Jungle (1968)

A fashion photographer (James Garner) is on assignment in the jungles of South America shooting a lipstick ad campaign. But he and his model (Eva Renzi) find themselves stranded when their helicopter is stolen. Things take a turn for the worse when an army Colonel (Fabrizio Mioni) suspects them of being CIA agents. Based on the novel SNAKE WATER by Alan Williams and directed by Delbert Mann (MARTY). Universal in the 1960s was truly a factory grinding out TV series and TV movies and theatrical movies that looked like TV movies. This inoffensive comedic caper isn't awful, just bland and often silly. James Garner is a likable presence but Eva Renzi (BIRD WITH THE CRYSTAL PLUMAGE) is yet another in the line of European beauties imported to Hollywood in the 60s who failed to make a mark. The great Russell Metty (TOUCH OF EVIL) does his best to make the Universal backlot look like South America with Pyramid Lake in Nevada doubling in exteriors. With George Kennedy at his blustery worst, Nigel Green and Michael Ansara. 

밤의 해변에서 혼자 (aka On The Beach At Night Alone) (2017)

An actress (Kim Min-hee) is reeling in the aftermath of an affair with a married film director. As she aimlessly drifts wondering what direction her life should take, she can't seem to recover from the emotional devastation the broken romance has left her with. Written and directed by Hong Sang-soo, the director had a scandalous affair with Kim Min-hee that caused quite a media frenzy in Korea. Here, he takes that connection and casts Kim in the central role which brings an almost invasive peek into their relationship but it allows Kim Min-hee to give a beautifully rendered portrait of a woman undone by an intense romance for which she wasn't emotionally prepared and perhaps was even exploited by her director lover. Hong Sang-soo doesn't let himself off the hook and concedes his part in the affair was cruel. The film doesn't have a strong "plot", it's more a series of episodes as the actress arrives at the end of her journey. With Seo Young Hwa, Kwon Hae Hyo and Jung Jae Young.

Mrs. Harris Goes To Paris (2022)

Set in 1957 London, a cleaning woman (Lesley Manville) thinks her lonely life might be turned around if she can own an original Christian Dior gown. Determined to follow her dream, she saves her money and goes off to Paris to buy a gown. Based on the novel by Paul Gallico (THE POSEIDON ADVENTURE) and directed by Anthony Fabian (LOUDER THAN WORDS). Gallico's novel MRS. 'ARRIS GOES TO PARIS (the film adds the H back to Harris) has been filmed several times for television (Angela Lansbury and Gracie Fields have played the title role) including a German TV movie but this is its first big screen incarnation. Adjectives like like delightful, charming and endearing come to mind. Yes, it's that kind of movie! It's a great role for Manville (perhaps best remembered for her Oscar nominated turn in THE PHANTOM THREAD) and she brings a gracious gravitas to her feisty Mrs. Harris. Visually, the film is distinctive and Jenny Beavan's (MAD MAX FURY ROAD) recreation of Dior's stunning 1950s gowns is awesome. With Isabelle Huppert, Jason Isaacs, Lambert Wilson, Ellen Thomas, Alba Baptista and Lucas Bravo.

The End Of The World In Our Usual Bed In A Night Full Of Rain (1978)

A feminist American photographer (Candice Bergen) is pursued by an Italian communist chauvinist journalist (Giancarlo Giannini) from Italy to San Francisco. But their subsequent marriage is a battleground of sexual politics. Written and directed by Lina Wertmuller (SWEPT AWAY) in her first English language film. Set during a rainy night (except for flashbacks), this is essentially a two character film with Giannini and Bergen spewing political and feminist rhetoric back and forth when not fighting or having sex. There is a sort of Greek "chorus" comprised of friends who make comments while observing their arguing and sex life. Giuseppe Rotunno's often striking cinematography aside, this is a didactic and tedious exercise with none of the wit of her SWEPT AWAY or LOVE AND ANARCHY. One can see what Wertmuller is trying to accomplish but it is ultimately a failure. The film is as convoluted as its title. Perhaps it would have worked better in Italian and with an Italian actress instead of an American. Bergen seems overwhelmed by it all. With Michael Tucker and Anne Byrne.

Ensayo De Un Crimen (aka The Criminal Life Of Archibaldo De La Cruz) (1955)

A spoiled and overprivileged small boy (Rafael Banquells Hijo) is given a gift of a music box by his mother (Eva Calvo). The music box comes with a legend that says it can cause the death of an enemy when played. Wishing his nanny (Leonor Lausas) dead, a stray bullet comes through the window and kills her. Taking the mindset of a serial killer, as a grown up (Ernesto Alonso) he carries this mental state into adulthood. Co-written and directed by Luis Bunuel (DISCREET CHARM OF THE BOURGEOISIE), this quirky black comedy probably isn't as outrageous or shocking as it seemed in 1955 but it's still wickedly amusing. Who hasn't ever desired someone dead for some egregious act or offense but imagine you could make them die without the physical act of killing! The protagonist has enough of a conscience to want to change all this but does he actually have the ability to make people die or is it just coincidence? Or maybe he's just plain crazy! Perhaps it's second tier Bunuel but it is one of Bunuel's most accessible films. Sadly, as one of Archibaldo's potential victims, top billed Miroslava Stern committed suicide at age 29 before the film was released. With Rita Macedo, Ariadna Welter and Rodolfo Landa.

Foxes (1980)

A young teenager (Jodie Foster) lives in the San Fernando Valley with her divorced mother (Sally Kellerman). She's going through the usual teenage angst as are her three best friends (Cherie Currie, Marilyn Kagan, Kandice Stroh). But sex, drugs and abuse will force them to grow up fast before it kills them. Directed by Adrian Lyne (FATAL ATTRACTION), the movie gets the vibe of late 1970s San Fernando valley down pat but its teen characters are overdrawn. They're the protagonists of the story so we should be empathetic toward their situation but they come across as spoiled, rude and narcissistic. I could only summon up empathy toward two of the characters: Cherie Currie's repressive home life is so screwed up, it's no wonder she's a mess and spirals downward and Sally Kellerman as Foster's mom, a divorced woman afraid of aging and being alone is very relatable. Then there's the creepy situation (which the film seems to sanction) of a 30ish man (Randy Quaid) sleeping with a 16 year old girl (Kagan)! As far as coming of age films I suppose it's better than most, it's certainly well acted. The score by Giorgio Moroder introduced the hit ON THE RADIO sung by Donna Summer. The film has a cult following of sorts but it seemed a lot fresher in 1980. With Laura Dern, Lois Smith, Adam Faith and Scott Baio.

Street Of Chance (1942)

A man (Burgess Meredith) is knocked unconscious by falling debris. When he regains consciousness, he returns home only to find out that his wife (Louise Platt) has moved ..... over a year ago! When a cop (Sheldon Leonard) keeps dogging his trail, he becomes determined to find out what happened during the year he can't remember. Based on the novel THE BLACK CURTAIN by Cornell Woolrich (THE BRIDE WORE BLACK) and directed by Jack Hively (PANAMA LADY). This little known film noir is a nifty B programmer. There's a neat twist at the end but honestly, it comes as no surprise as logically there is only one obvious person who could have committed the murder Meredith's character is accused of. Still, it's not the result but the journey that is of interest. Noir fans should be quite satisfied with this sleeper. With Frieda Inescort, Jerome Cowan, Ann Doran and Adeline De Walt Reynolds as the murder victim's mute mother who holds the key to the mystery.

Apache (1954)

After the Apache chief Geronimo (Monte Blue) is forced to surrender to the U.S. Cavalry, a fierce warrior (Burt Lancaster) refuses to accept defeat and goes on a one man war against the Cavalry. Based on the novel BRONCO APACHE by Paul I. Wellman and directed by Robert Aldrich (THE BIG KNIFE). A strong and violent western that take a pro Native American approach as a lone Apache fights against the injustices perpetrated against indigenous people by the white man (although the film changes the book's downbeat ending). But there's an elephant in the room ..... Burt Lancaster. To his credit, Lancaster pursued roles that would challenge him as an actor even though he wasn't particularly right for them. I'm thinking of movies like COME BACK LITTLE SHEBA and THE ROSE TATTOO. Here, playing in brownface and with those startling blue eyes, he's more Lancaster the movie star than ever. Technically, miscasting aside there's nothing wrong with his performance, he's very good but I wish they had cast a more ethnic looking actor. Charles Bronson who has a supporting role as an Indian scout may be Polish but he looks like an Indian. If you can get past Lancaster's casting, it's a good western. With Jean Peters, John McIntire, John Dehner and Morris Ankrum.

Sudan (1945)

After her father is murdered, an Egyptian princess (Maria Montez) scours the desert for those responsible for her father's death. Captured by slave traders, she is branded and sold as a slave but fate will aid her in avenging her father's death. Directed by John Rawlins (SHERLOCK HOLMES AND THE VOICE OF TERROR). While the film looks luscious in three strip Technicolor as shot by George Robinson (FRANKENSTEIN MEETS THE WOLF MAN), by 1945 the appeal of these Maria Montez exotic adventures was wearing thin. They were breaking at the seams and the inherent silliness was spilling out. It's a Hollywood version of ancient Egypt, where else would Andy Devine be cast as an Egyptian horseman? Oh, it's intermittently enjoyable but it's so by the numbers that you guess everything that happens before it happens. If you're a diehard Maria Montez fan, you'll no doubt be more forgiving but even she was getting tired of this stuff and wanted out of her Universal contract.  She'd do two more movies for Universal and she was out! With Jon Hall, Turhan Bey and George Zucco. 

The Crime Of Dr. Crespi (1935)

A renowned doctor (Erich von Stroheim) secretly hates a colleague (John Bohn) because he stole and married the woman (Harriet Russell) that he loved. When the doctor has the opportunity to perform surgery on his colleague, he gets his revenge. Very loosely based on THE PREMATURE BURIAL by Edgar Allan Poe and directed by John H. Auer (CITY THAT NEVER SLEEPS). This poverty row B horror movie was filmed outside Hollywood at the Biograph studios in New York. Its low budget primitiveness aside, it's an effective piece of the macabre with a trace of humor. An acclaimed director in the silent era (GREED, THE MERRY WIDOW), von Stroheim's directorial career was nipped in the bud after the disastrous QUEEN KELLY (1929) and he had to make do with an acting career. Although he had good parts in some excellent films like GRAND ILLUSION and SUNSET BOULEVARD, he often had to make do with minor movies like this one. Auer makes good use of darkness and shadows and his languid pacing doesn't hurt the film. As a young intern who stands up to von Stroheim's Dr. Crespi, poor Dwight Frye (DRACULA) comes off as creepy even though he's not supposed to be. With Paul Guilfoyle, Geraldine Kay and Jean Brooks (THE SEVENTH VICTIM). 

Bad Georgia Road (1977)

A New York executive (Carol Lynley) quits her position at a prominent fashion magazine to accept her inheritance from a long forgotten uncle in the deep south. Expecting to find a big plantation, she discovers her true inheritance ..... a moonshiner operation. Directed by John C. Broderick. The 1970s saw a rise in popularity with hicksploitation movies like SMOKEY AND THE BANDIT, WHITE LIGHTNING, GATOR etc., most of them starring Burt Reynolds. This dumb action comedy represents a nadir in the careers of Carol Lynley (who played leads for Otto Preminger) and Gary Lockwood (a long way from working with Kubrick and Jacques Demy). It's a mess and often unpleasant. There's a nasty scene with Lynley getting raped by Lockwood's hillbilly Neanderthal then she falls in love with him and totes a machine gun when she goes along on his moonshine runs! DELIVERANCE this ain't! I thought Tom Kibbe was playing her gay best friend only to discover he was her lover! Sad, sad, sad. It looks good thanks to cinematographer Tak Fujimoto (BADLANDS, SILENCE OF THE LAMBS) and J. Michael Riva (THE COLOR PURPLE, IRON MAN) did the production design so there was some talent behind the camera. With Royal Dano and Mary Woronov.

In Old Chicago (1938)

Set in Chicago in the mid to late 1800s, an Irish widow (Alice Brady in an Oscar winning performance) raises her three sons while working as a washerwoman. While one son (Don Ameche) grows up to be a lawyer dedicated to working for the betterment of Chicago's citizens, the other (Tyrone Power) rises to power by graft and corruption. Based on the story WE THE O'LEARYS by Niven Busch and directed by Henry King (LOVE IS A MANY SPLENDORED THING). This is a highly fictionalized version of the O'Leary family and the Great Chicago Fire of 1871. Obviously spurred by the smash success of SAN FRANCISCO two years earlier, this is a hokey and tedious watch. As far as disasters go, fires aren't as cinematic as earthquakes and this is no TOWERING INFERNO. Your tolerance for this kind of baloney depends on one's affection for the two male leads and the female star, Alice Faye. I've never warmed to Miss Faye's wholesome smile and syrupy contralto but she has her fanbase and if you're among them, it should be enough to pull you through it. With Brian Donlevy, Andy Devine, Sidney Blackmer, Phyllis Brooks and Madame Sul-Te-Wan.  

The Snoop Sisters (aka The Female Instinct) (1972)

When a fading movie actress (Paulette Goddard in her final film role) is murdered, the clue may lie in the lurid tell all autobiography she was writing. Two elderly sisters, one a murder mystery novelist (Helen Hayes) and the other a poetess (Mildred Natwick), who were acquaintances of the actress decide to investigate. Directed by Leonard Stern. In the 1960s and 1970s, it was common for networks to air a TV movie to see if there would be any interest in turning it into a TV series. This feature length telefilm aired in December of 1972 and exactly a year later, it made its debut as a TV series. It was a forerunner to MURDER SHE WROTE with its mystery writer becoming involved in real life murders. For murder mystery fans (like me), this is good fun with plenty of murder suspects to keep you guessing and the appealing Hayes and Natwick are charming. When one of the actress's old movies is screened because it provides a clue to the murder, film buffs should recognize THE GHOST BREAKERS which Goddard did in 1940. When the movie was picked up for a series, Art Carney as the sisters' chauffeur was replaced by Lou Antonio and Lawrence Pressman as their policeman nephew replaced by Bert Convy. With Jill Clayburgh, Craig Stevens, Fritz Weaver, Kurt Kasznar, Kent Smith, Ed Flanders and Edward Platt. 

The Princess Diaries (2001)

Set in San Francisco, a nerdy high school girl (Anne Hathaway) living with her divorced mother (Caroline Goodall) discovers she is of royal blood when her grandmother (Julie Andrews) arrives in town. With the death of her paternal grandfather, she is next in line for the throne. Based on the young adult novel by Meg Cabot and directed by Garry Marshall (PRETTY WOMAN). Considering it's a G rated Walt Disney film, it's surprising how the movie avoids the treacle that too many of Disney's family friendly live action movies succumb to. This coming of age romantic fantasy (an updating of Cinderella) may be predictable (echoes of PYGMALION) but it engenders a lot of good will with its goofy charm and Hathaway in her breakthrough role is positively captivating, it's easy to see why she quickly became a star. The film was a big hit and a sequel arrived three years later also starring Hathaway and Andrews. With Hector Elizondo, Mandy Moore, Sandra Oh, Heather Matarazzo and Larry Miller.

Black Magic (1949)

A young gypsy boy (Annielo Mele) vows vengeance on the noblemen who sentenced his parents to death. As an adult (now Orson Welles), he becomes a famous sorcerer known throughout Europe earning wealth, fame and privilege. But when he becomes obsessed with a great beauty (Nancy Guild), it will lead to his downfall. Based on the novel JOSEPH BALSAMO by Alexandre Dumas and directed by Gregory Ratoff (INTERMEZZO). Outside of the films he himself directed, Orson Welles played very few leading man roles. The flashy role of Cagliostro seems tailor made for Welles, himself an excellent amateur magician. It's a beguiling piece of hokum full of intrigue and ample in ambience and one should have a good time at it. It also allows Nancy Guild to shine in a dual role. In addition to the sorcerer's unwilling lover, she plays Marie Antoinette. With Valentina Cortese, Akim Tamiroff, Raymond Burr, Margot Grahame, Stephen Bekassy and Frank Latimore.

Cattle Queen Of Montana (1954)

After her father (Morris Ankrum) is killed, a feisty young woman (Barbara Stanwyck) attempts to stake their claim in the cattle business despite threats from land grabbers (Gene Evans). At the same time, a young Blackfoot Indian (Lance Fuller) attempts to guide his tribe toward peace with the white settlers while his nemesis (Anthony Caruso) wants war with them. Directed by Allan Dwan (SLIGHTLY SCARLET). Under the aegis of producer Benedict Bogeaus, director Dwan made several fine films at RKO in the 1950s. He's a favorite of the auteur crowd and the auteurists have tried to make more of this pleasant but unexceptional western than is there. It's a programmer enhanced by John Alton's (AN AMERICAN IN PARIS) Technicolor lensing of the Montana locations (Glacier National Park). Already in her mid 40s (and only 10 years younger than the actor who plays her father) Stanwyck is perhaps a bit mature for the part but it doesn't tax her acting ability and, of course, she's always a welcome presence. With Ronald Reagan, Jack Elam, Chubby Johnson and Yvette Duguay. 

Antigone (1961)

In the aftermath of a bloody civil war that pitted brother against brother, the King of Thebes (Manos Katrakis) decrees that one brother be buried with honor while the other brother is refused a burial for having led an insurrection. The sister (Irene Papas) of both brothers goes against the King's order and buries her dishonored brother for which the penalty is death. Based on the classic tragedy by Sophocles and directed by George Tzavellas. The great Greek actress Irene Papas is perhaps Greece's greatest tragedienne. Her work in the Greek classics for director Michael Cacoyannis is exemplary: ELECTRA, IPHIGENIA, THE TROJAN WOMEN. Cacoyannis didn't direct ANTIGONE but Papas' performance ranks with her work in the Cacoyannis movies. Tzavellas keeps closely to the Sophocles' play (except for the ending) and doesn't go overboard in trying to make it cinematic. Filmed in stark B&W by Dinos Katsouridis, the cinematography is rich in mood and atmosphere. With Maro Kontou and Nikos Kazis. 

The Crowd Roars (1938)

In it solely for the money, a rising prizefighter (Robert Taylor) finds his career in peril when his ne'er do well father (Frank Morgan) sells his contract to a shifty bookmaker (Edward Arnold). Complications ensue when he falls in love with the bookie's daughter (Maureen O'Sullivan), who is unaware of her father's shady career. Directed by Richard Thorpe (IVANHOE), this is a modestly enjoyable MGM programmer with Taylor trying to move away from his romantic "pretty boy" image (CAMILLE, MAGNIFICENT OBSESSION) into grittier material. Indeed, the movie feels more like a Warners film than an MGM and Taylor gives a solid performance. As far as boxing movies go, this isn't a ROCKY or RAGING BULL but it's unassuming in its narrative and moves quickly. Remade in 1947 with Mickey Rooney as KILLER MCCOY. With Jane Wyman, Lionel Stander, William Gargan and Nat Pendleton.

Romance Of A Horsethief (1971)

Set in Polish Russia in 1904, a Cossack (Yul Brynner) in exile has control over a Jewish village. The villagers live by stealing horses under the leadership of a wily horse thief (Eli Wallach). The villagers tolerate the Cossack regime until he confiscates their horses for the Russian army. Based on the novel by Joseph Opatoshu and adapted for the screen by his son, the actor David Opatoshu and directed by Abraham Polonsky (BODY AND SOUL). The film attempts to be a rollicking comedy adventure but I found it tedious. To be fair, the transfer I saw left much to be desired (the film is in the public domain) but I doubt even a pristine print could resuscitate it. There's an air of desperation about it as if the director and actors realized the ship was sinking and play it louder and broader in an attempt to punch it up to no avail. With Jane Birkin, Lainie Kazan, Serge Gainsbourg, Oliver Tobias, Henri Serre, Marilu Tolo and David Opatoshu.

Susan Slade (1961)

A young teenage girl (Connie Stevens) has her first taste of love with a mountain climber (Grant Williams) aboard a ship sailing from Chile to San Francisco. When he is killed in an accident before they can marry, she finds herself pregnant. In an effort to avoid a scandal, her mother (Dorothy McGuire) will declare the child as her own. Based on the novel THE SIN OF SUSAN SLADE by Doris Hume and directed by Delmer Daves (3:10 TO YUMA). Movies about the "shame" of unwed mothers go all the way back to the days of silent cinema. This rather creaky effort seems quite archaic in the 21st century. Delmer Daves directed a string of excellent westerns in the 1950s but after the box office success of A SUMMER PLACE (1959), Warners made him the godfather of romantic soap operas aimed at the young crowd. Films like PARRISH, ROME ADVENTURE and this one. There's not much to be said about a movie like this. It's handsome to look at, cinematographer Lucien Ballard makes excellent use of the Monterey locations but its predictability limits its interest. I love melodrama but not even Douglas Sirk could do much with this material. With Troy Donahue, Lloyd Nolan, Brian Aherne, Bert Convy, Kent Smith and Natalie Schafer.

Death On The Nile (2022)

Set in 1937 Egypt, renowned detective Hercule Poirot (Kenneth Branagh) finds himself part of a group of passengers on a cruise ship traveling down the Nile. Before the cruise ends, five people will be dead. Based on the novel by Agatha Christie (previously filmed in 1978) and directed by Kenneth Branagh (HENRY V). I'm a huge Christie fan (I've read everything she ever wrote) but I was so appalled at Branagh's hideous 2017 adaptation of MURDER ON THE ORIENT EXPRESS that I swore I'd never watch another Christie adaptation that Branagh had anything to do with. Well, as a Christie completist if you're compelled, you're compelled and this is even worse than the 2017 movie. The film's plot and its characters have been washed of everything Agatha Christie. In an attempt to make it "relevant" to contemporary audiences, the film adds interracial romance, lesbian love and racism to the plot, none of which are in Christie's novel. If it was Branagh's intention to bring it into the 21st century then why set it in 1937 when he's changed everything else? Unlike the 1978 movie, the film is devoid of humor (so why cast Jennifer Saunders and Dawn French as a communist and her maid?) and Branagh's Poirot owes nothing to Christie's Poirot. Poirot running after a killer and brandishing a gun? Christie would be spinning in her grave. Poirot is given a backstory to make him more sensitive rather than cerebral. Despite the attempt at an "all star" cast, none of the actors stand out. Unlike the 1978 film which was shot in Egypt, this Egypt is all backdrops and CGI. Even the normally reliable Patrick Doyle can't drum up a decent score. Among the "all star" cast: Armie Hammer, Gal Gadot, Tom Bateman, Russell Brand, Sophie Okonedo, Ali Fazal, Emma Mackey, Letitia Wright and Annette Bening (along with Branagh, the closest to a "star" the film can provide).

Wife Wanted (1946)

When acting roles become scarce, an actress (Kay Francis) become a partner in a real estate company. But what she doesn't know is that it's a scam that will lead her to become unwillingly involved in blackmail and murder. Based on the novel by Robert E. Callahan and directed by Phil Karlson (KANSAS CITY CONFIDENTIAL). In the 1930s, Kay Francis was one of Hollywood's most popular stars (she was Warners highest paid actress for several years) but by the 1940s, her film career was fading and it ended with this poverty row B from Monogram, a far cry from her glamour days. It's not terrible but there's a definite low budget exploitation sleaziness to it and some of the acting is poor. Phil Karlson would go on to direct several admired noir films in the 1950s. With Paul Cavanagh, Robert Shayne, Veda Ann Borg and Teala Loring.

The Scarlet Hour (1956)

An unhappy wife (Carol Ohmart) who is having a romantic affair with an employee (Tom Tryon) of her husband (James Gregory) uses her powers of manipulation to draw the infatuated man into an ill fated jewel heist. Co-written by Frank Tashlin (THE GIRL CAN'T HELP IT) and directed by Michael Curtiz (CASABLANCA). Despite the contributions of writer Tashlin and director Curtiz, this is a rather routine film noir. There's a neat little surprise toward the end of the movie but other than that, this is a by the numbers effort by all involved. This was an attempt by Paramount to make a star out of Carol Ohmart. She was given a big build up with lots of publicity but when the film flopped, Paramount dropped her. Ohmart had a nice screen presence and was a decent actress but this film pretty much torpedoed any film career she might have had. Not terrible but not very good either but some noir fans are disposed to it. With Elaine Stritch (in her film debut), E.G. Marshall, Nat King Cole, Edward Binns and Jody Lawrance. 

The Dead (1987)

Set in 1904 Dublin, two spinster sisters (Helena Carroll, Catherine Delany) and their niece (Ingrid Craigie) host their annual Epiphany dinner party. Their favorite nephew (Donal McCann) and his wife (Anjelica Huston) are among the guests and for them, it will be a pivotal moment. Based on the short story by James Joyce and directed by John Huston, his final film and surely one of the greatest director swan songs. The works of James Joyce aren't very cinematic, they tend to be cerebral and internal which is why very few movies have been made from his books. Yet while still being faithful to the source material (the screenplay was written by Huston's son, Tony) which T.S. Eliot called one of the greatest short stories ever written, somehow Huston found a way to translate Joyce's delicate tale to the screen without opening it up or adding (much) material. It's full of tenderness and loss and the acceptance of what life gives us. It's an ensemble film and with the exception of Anjelica Huston, most of the actors are probably unknown to most moviegoers. But the acting is impeccable down to the smallest roles, these are actors who can give us a lifetime in an expression. The production design by Stephen Grimes is superb and so authentic that you'd never know the movie was filmed in Los Angeles instead of Ireland (most of the cast were imported to L.A.). With Dan O'Herlihy, Donal Donnelly, Marie Kean, Sean McClory and Frank Patterson.

An Unlocked Window (1965)

On a dark and stormy night in a secluded old dark house (the PSYCHO house recycled), two nurses (Dana Wynter, T.C. Jones) watch over a patient (John Kerr). But a string of murders in the area by a serial killer targeting nurses has them terrified. Based on the short story by Ethel Lina White and directed by Joseph M. Newman (THIS ISLAND EARTH). Originally shot for THE ALFRED HITCHCOCK HOUR, this remains of the classic episodes of the entire series. If you saw it when it originally aired, you never forgot it! The pedigree is there: it's based on a short story by Ethel Lina White whose novels were the basis of THE LADY VANISHES and THE SPIRAL STAIRCASE, the script is by James Bridges (THE CHINA SYNDROME), the cinematography by Stanley Cortez (THE MAGNIFICENT AMBERSONS) and the score is by Bernard Herrmann (TAXI DRIVER). It all adds up to a terrifying and atmospheric thriller. With Louise Latham and E.J. Andre.

Third Man On The Mountain (1959)

Set in Switzerland, a young kitchen worker (James MacArthur) is determined to conquer the Citadel, a jagged snowcapped peak that claimed his father's life. Encouraged by a his devoted girlfriend (Janet Munro) and a famous British climber (Michael Rennie), he goes through a grueling training period before he is ready to climb the killer mountain. Based on the novel BANNER IN THE SKY by James Ramsey Ullman and directed by Ken Annakin (THOSE MAGNIFICENT YOUNG MEN IN THEIR FLYING MACHINES). Although it's a family friendly Walt Disney production, this is skewered as much to adults as kids, perhaps even more so. Sentimentality and schmaltz are eliminated and what we get in an often exciting peek into the world of mountain climbers. The Swiss location and the stunning mountain vistas bring a sense of authenticity to the movie. The film inspired the Matterhorn bobsled ride at Disneyland. With Helen Hayes (MacArthur's mother), Joyce Bulifant (MacArthur's wife), Herbert Lom, James Donald, Lee Patterson, Laurence Naismith and Nora Swinburne. 

Dinner At Eight (1933)

A New York society matron (Billie Burke) is throwing a dinner party for some British aristocrats. But it's her dinner guests that provide the drama that unfolds. Among them a washed up movie star (John Barrymore), a crude business magnate (Wallace Beery) and his socially ambitious wife (Jean Harlow) and a legendary now retired actress (Marie Dressler). Based on the play by George S. Kaufman and Edna Ferber and directed by George Cukor (GASLIGHT). A perfect example of how well the Hollywood studio system worked when they used grade A material and populated the movie with talent, both in front and behind the camera. This is the kind of movie one thinks of when they hear MGM. The glamour factor is in full swing and the sophisticated dialogue is often pungent and witty. It's pure pleasure and the acting excellent. Notably John Barrymore who manages to keep the ham to a minimum, Jean Harlow at her most delightfully brass and Marie Dressler who steals the movie. With Lionel Barrymore, Lee Tracy, Karen Morley, Edmund Lowe Madge Evans, Louise Closser Hale and Jean Hersholt.

Go West (1940)

Two brothers (Chico and Harpo Marx) are friends with an old prospector (Tully Marshall) who hands over the deed to his land as collateral in exchange for a loan from the brothers. Meanwhile, a shady saloon owner (Robert Barrat) and a crooked railroad executive (Walter Woolf King) plot to steal the deed because when the railroad builds tracks through that property, whoever owns it will be very rich. Directed by Edward Buzzell (BEST FOOT FORWARD), this is one of the Marx Brothers weaker efforts. Granted I'm not the Marx Brothers biggest fan but I doubt even the most die hard Marx Brothers fan could make a case for it. As usual the film is padded out with Chico's piano playing, Harpo plucking the harp plus John Carroll gets to sing a song. Most of the laughs (as few as they are) are provided by Groucho Marx as a con man who's easily swindled. If you're a fan of the trio, you might get a kick out of it. With Diana Lewis, Iris Adrian and the statuesque June MacCloy.

Toute Une Vie (aka And Now My Love) (1974)

The spoiled daughter (Marthe Keller) of a wealthy Jewish manufacturer (Charles Denner) becomes dissatisfied with her life and becomes politicized. A petty thief (Andre Dussollier) after multiple incarcerations discovers a passion for cinema and a new career. They are destined to meet ..... eventually. Co-written, produced and directed by Claude Lelouch. Lelouch's 1966 film A MAN AND A WOMAN became a massive international hit (Lelouch's screenplay won an Oscar) and arguably, one of the great movie romances. What was good about A MAN AND A WOMAN was its simplicity and visual flair. Here, Lelouch takes a similar theme and crams it with political rhetoric and an unfocused story that takes to much time to tell (2 1/2 hours). While Keller and Dussollier are good, they lack the screen magnetism of Anouk Aimee and Jean Louis Trintignant which was an important factor in the 1966 film. It doesn't help that Keller's character seems to be playing politics when her real desire is to get a man. The two stories run parallel to each other but it's a given they will eventually meet at the end of the movie. As with most of Lelouch's movies, it's visually arresting but here it's undone by an unrealistic mish mash screenplay (which inexplicably got an Oscar nomination!). With Gilbert Becaud, Carla Gravina, Gabriele Tinti and Daniel Boulanger.

The Patsy (1964)

When a popular entertainer meets with an untimely death, his shocked show business associates scramble desperately to find a quick replacement. That replacement is a meek hotel bellboy (Jerry Lewis) who suddenly finds himself plucked from obscurity and groomed for stardom. Co-written and directed by Jerry Lewis, this is one of his best movies. With the exception of THE NUTTY PROFESSOR (1963), the quality of his comedy is often inconsistent. That's true here too but there are sequences that are true gems (the Chaplin influence is strong) and one can see why the French consider him a comedy genius. The barbershop scene is hilarious, the visit to a vocal teacher (Hans Conreid) is almost a master class in physical comedy and some sight gags are hysterical (Lewis as a trio of girl backup singers). What's good is so good that it overrides the bits that don't work. Lewis has gathered a great supporting cast including Peter Lorre, Keenan Wynn, Ina Balin, Everett Sloane, John Carradine, Phil Harris and a roster of guest stars like Rhonda Fleming, Ed Wynn, George Raft, Mel Torme and Hedda Hopper that add to the fun.

The House Across The Street (1949)

When the managing editor (Wayne Morris) of a major newspaper blasts the police for bungling a case where a witness is murdered, the owner (Alan Hale) of the paper assigns him to the advice to the lovelorn column. Undeterred, he continues to investigate the murder case. Directed by Richard Bare (FLAXY MARTIN), this is an unusual blend of crime and comedy. The film starts out with a cold blooded killing but it isn't long before you realize this is no film noir but a crime comedy with the emphasis on the humor although the film is not without some brutality. This is the fourth movie version (others were 1936, 1937, 1942) and I had a good time with it. It's an unpretentious programmer that accomplishes what it sets out to do. With Janis Paige, Barbara Bates, Bruce Bennett and James Mitchell.

Hustle (1975)

A young girl's (Colleen Brennan) dead body is found on a beach. Her death is listed as a suicide from an overdose of barbiturates. But the girl's father (Ben Johnson) refuses to believe the autopsy report and two cops (Burt Reynolds, Paul Winfield) investigate further. Directed by Robert Aldrich (THE DIRTY DOZEN). Not only did the film not work for me, I found it morally reprehensible. But if you're one of those people who love movies where people take the law into their own hands and bend it to suit their personal agenda then maybe this is a movie for you. It just made me feel slimy. There are really three stories contained in the film and that's part of the problem. If it had focused on one more than other two, that might have helped. In addition to the police procedural, there's the father's story and then the romance between Reynolds and a call girl (Catherine Deneuve). Deneuve is wasted, it's not much of a role and I suspect she did it to work for Aldrich who the French admire very much. But it's really an ugly movie. With Ernest Borgnine, Eddie Albert, Eileen Brennan, Jack Carter and Robert Englund.

Three Thousand Years Of Longing (2022)

During a trip to Istanbul, a British scholar (Tilda Swinton) accidentally unleashes a Djinn (Idris Elba) trapped in an antique bottle she purchased. He grants her three wishes which she refuses to make because she doesn't trust him. He tells her three tales from his past which caused him to be trapped in the bottle. Based on the short story THE DJINN IN THE NIGHTINGALE'S EYE by A.S. Byatt and directed by George Miller (THE ROAD WARRIOR). A film that can truly be called magical. Miller balances the reality of the modern day conversation between Swinton's scholar and Elba's ancient Djinn with the fantastical forays into his exotic past. Its leisurely pacing makes the film seem longer than it is (108 minutes) when it felt like it ran past the two hour mark. Other than that, we're rewarded with a rich adventure that ponders the mystery of love without giving us a definitive answer (as if any movie could). Giving exemplary performances, Elba and Swinton hold the film together and their commitment makes the unbelievable believable while we're caught in its web. It's a pity the film isn't doing well at the box office but I hope it eventually finds the audience it deserves. With Aamito Lagum and Matteo Bocelli.

Not Wanted (1949)

A young and naive "good" girl (Sally Forrest) falls in love with a jazz musician (Leo Penn) but after he abandons her, she finds herself pregnant. Co-written, co-produced and co-directed by actress Ida Lupino. Although the credited director is Elmer Clifton, this was Lupino's directorial debut. She took over the director reins after Clifton suffered a heart attack. Clifton was a director of B films, mostly westerns, so one can safely assume the impressive directorial flourishes are all Lupino's. Essentially a low budget exploitation film about unwed motherhood, Lupino brings an almost documentary feel to the project with location shooting around Los Angeles yet is also very cinematic in her highly expressive visualization. I just wished the acting were a little better. With Keefe Brasselle, Dorothy Adams and Lawrence Dobkin.

Ryan's Daughter (1970)

Set in rural Ireland circa 1917, a young naive girl (Sarah Miles) has romantic notions and a huge crush on the local schoolmaster (Robert Mitchum). But when their eventual marriage doesn't live up to her dreams, she finds herself attracted to a handsome British officer (Christopher Jones) which doesn't endear her to the anti-British village she resides in. Written by Robert Bolt (A MAN FOR ALL SEASONS) and directed by David Lean (BRIDGE ON THE RIVER KWAI). Despite its four Oscar nominations (winning two), the film wasn't received well by the critics. Reputedly, director Lean was so devastated by Pauline Kael's review that he didn't make another movie for another 14 years (A PASSAGE TO INDIA). Although what should have been a simple love story has been blown up to epic proportions, I'm an unabashed admirer of the film and even prefer it to Lean's "masterpiece" LAWRENCE OF ARABIA. In fact, it's that very "epic" quality of the movie that I love. Freddie Young's Oscar winning cinematography (shot in 70 millimeter) is stunning and the film's set piece, the entire village rescuing crates of weapons against the English during a massive storm is awesome. Today, it would have been done with CGI but we're seeing real people amid a fearsome real storm. In a change of pace from his machismo roles, Robert Mitchum is impressive as a mild mannered school teacher. As the village "idiot", John Mills can't resist hamming it up so of course, he won an Oscar. Maurice Jarre's underscore could have used some subtlety. With Trevor Howard, Leo McKern, Barry Foster and Marie Kean.

Let Them All Talk (2020)

A rather pompous writer (Meryl Streep) refuses to fly so when she must travel to England to accept a prestigious literary award, she takes a ship for the crossing. She brings two friends (Candice Bergen, Dianne Wiest) and her nephew along for the voyage. Directed by Steven Soderbergh (SEX LIES AND VIDEOTAPE), this is an engaging dramedy where the emphasis is on style rather than plot. Shot on an extremely low budget, Soderbergh shot the film on the Queen Mary 2's two week crossing from New York to England in August 2019 for authenticity. As his own cinematographer (holding the camera as he was pushed in a wheelchair) and editor, Soderbergh used the pseudonyms of Peter Andrews and Mary Ann Bernard respectively. Most of the dialogue is improvised by the actors (there are a lot of ums, uhs and pauses) but it lends a natural feeling to the lines rather than an overworked scripted feel. The performances are all good although Bergen should shoot the costume designer unless she was intentionally made to look a yokel. I quite enjoyed the movie's little surprises. With Gemma Chan and Daniel Algrant.

The Guilty (1947)

Told in flashback, an ex-soldier (Don Castle) and his mentally unstable room mate (Wally Cassell) are in love with twin sisters (Bonita Granville in a dual role). When one of the twins goes missing, evidence points to the mentally unstable army buddy. Based on the short story HE LOOKED LIKE MURDER (republished as TWO MEN IN A FURNISHED ROOM) by Cornell Woolrich (THE BRIDE WORE BLACK) and directed by John Reinhardt (HIGH TIDE). A "B" entry in the film noir canon courtesy of poverty row studio, Monogram Pictures. Its pedigree may be low budget but this is a nifty little noir with a few twists and turns that keep you glued to the screen. The acting may be a little crude but Granville (a long way from her NANCY DREW days) does very well as the twin sisters, so much so that at first I thought it was another actress playing the "bad" twin. Economical in its storytelling, noir fans should be pleased. With Regis Toomey and John Litel (who played Granville's father in the Nancy Drew series) as an older boarder whose interest in the sisters is anything but fatherly.

Mahogany (1975)

Residing in a Chicago ghetto, a young secretary (Diana Ross) studies fashion at night school and has high ambitions of being a fashion designer. Her dreams are stymied by her boyfriend (Billy Dee Williams) who looks upon her ambition as unimportant compared to his rising political career. When the opportunity arises to go to Rome and model, she grabs it. Directed by the Motown music mogul Barry Gordy. Gordy (who produced the film) took over as director after firing the original director Tony Richardson (TOM JONES) saying he "didn't understand the black experience". Judging by the final result, Gordy did Richardson a favor. If this was the same script Richardson was working from, it was hopeless from the get-go. Ross made a sensational film debut in LADY SINGS THE BLUES (1972) displaying a strong screen presence and showing strong acting chops. Why she chose this creaky melodrama as a follow up, heaven only knows. The film could have been a discarded old Lana Turner script and dusted off with race and kinky sex added to make it up to date. The dialogue is cringe worthy. "Success means nothing without someone you love to share it with" spoken by Billy Dee Williams has got to be the worst movie line since "Love means never having to say you're sorry" from LOVE STORY (1970). The film damaged Ross's film potential and THE WIZ (1978) pretty much buried it. Anthony Perkins as a fey fashion photographer gives a hideous performance, perhaps his worst. The film isn't enjoyable enough to qualify as "camp", one just shivers for the talent involved. With Jean Pierre Aumont, Nina Foch, Beah Richards and Marisa Mell. 

Miquette Et Sa Mere (aka Miquette And Her Mother) (1950)

Set at the turn of the 20th century, when the weak willed man (Bourvil) she loves acquiesces to his father's (Saturnin Fabre) demand that he marry another woman, a young girl (Danielle Delorme) accepts his father's offer to go to Paris and become an actress. Based on the 1922 play by Robert De Flers and Gaston Arman De Caillavet (previously filmed in 1934 and 1940) and directed by Henri Georges Clouzot (LE CORBEAU). This was a paycheck job for Clouzot (he was contractually obligated to do the movie) yet it's still a charming romantic comedy and farce. Clouzot uses silent film intertitles and actors breaking the fourth wall to wink at the audience and its quirky characters grow on you. If you love movies about the theatre (as I do) then there's much here to delight you. It's certainly not prime Clouzot but you'd have to be a sourpuss not to give in to its wackiness. With Louis Jouvet, Mireille Perrey and Pierre Olaf.