The Turning Point (1952)

A crusading district attorney (Edmond O'Brien) is tasked to crack down on a powerful crime syndicate. He recruits a newspaperman pal (William Holden), his policeman father (Tom Tully) and his girlfriend (Alexis Smith) in this enterprise. But little does he know that the syndicate involvement will hit closer to home than he anticipated. Directed by William Dieterle (LIFE OF EMILE ZOLA), this is a straightforward no nonsense noir crime film. It slowly builds to an intense finale set in a boxing arena but I was taken aback by the downbeat ending which I wasn't expecting. Inspired by the Kefauver crime hearings of 1950, noir fans should find plenty to like here. Of interest to natives of Los Angeles, we get a view of the downtown Los Angeles area like the historical Bunker Hill which no longer exist (it was flattened for high rises) and the funicular railway. With Ed Begley, Russell Johnson, Ted De Corsia, Neville Brand, Ray Teal, Adele Longmire and in her film debut, Carolyn Jones. 

Take One False Step (1949)

On a business trip to Los Angeles, a happily married college professor (William Powell) meets an old flame (Shelley Winters). When driving her home, she attempts to seduce him but he rejects her advances. The next day she disappears and the professor becomes the number one suspect in her disappearance. Based on the short story NIGHT CALL by David and Irwin Shaw and directed by Chester Erskine (THE EGG AND I). This is one of those movies where the protagonist (in this case, Powell) does one stupid thing after another and gets deeper and deeper into trouble. Common sense could have avoided the contrived messiness that follows but then, of course, there wouldn't be much of a movie. But it's hard to sympathize with someone who gets into trouble because of his own stupidity. Still, it moves quickly and there's enough activity to hold our attention but when it's over, you feel duped. With Marsha Hunt, Dorothy Hart, James Gleason, Sheldon Leonard and Felix Bressart.

Été 85 (aka Summer Of 85) (2020)

Set on the coast of Normandy, a 16 year old boy (Felix Lefebvre, who's excellent) is rescued after his boat capsizes by an 18 year old boy (Benjamin Voisin). They eventually become lovers but when a young English girl (Philippine Veige) enters their lives, their relationship deteriorates until tragedy strikes. Based on the novel DANCE ON MY GRAVE by Aidan Chambers and directed by Francois Ozon (8 FEMMES). Although I liked the film very much, I still had some problems with it. The first one is purely personal. I found Boisin physically repugnant which didn't help the love angle of the story any but again, that's my hang up. Second, the film tended to romanticize a mental/emotional illness although to be fair, by the end of the film the character acknowledges his problem and perhaps more importantly, Veige's character points out a very salient fact to Lefebvre which he didn't comprehend and pinpoints his problem. Disappointing but still worthwhile.  With Valeria Bruni Tedeschi and Melvil Poupaud.

Hostsonaten (aka Autumn Sonata) (1978)

Set in rural Norway, the wife (Liv Ullmann) of a country parson (Halvar Bjork) invites her mother (Ingrid Bergman), a celebrated concert pianist, to visit her although they haven't seen each other for seven years. During a long and painful night, they confront each other with the pain inflicted in their stormy mother/daughter relationship. Written and directed by Ingmar Bergman, the highly anticipated and the only collaboration between Sweden's two most celebrated film icons, Ingmar Bergman and Ingrid Bergman. The near extraordinary performances of two of cinema's greatest actresses (Bergman and Ullmann) are reason enough to embrace the film but is it really a good movie? When the daughter rages and attacks her mother with such viciousness and venom and blames her for everything awful in her life yet never taking responsibility that perhaps she might have been complicit in her own unhappiness, it's painful to watch. The film ends with a coda of forgiveness but the damage is done. Could one blame Bergman's mother for avoiding her daughter. No, she's far from mother of the year but she's no mommie dearest either. As cinema, it's a belligerent one sided film but a must see for the staggering performances. With Lena Nyman, Erland Josephson and Gunnar Bjornstrand.

Charlie Chan In London (1934)

A pretty young girl (Drue Leyton) begs the famous Chinese detective Charlie Chan (Warner Oland) to help her by solving another case. Her brother (Douglas Walton) is on death row for murder but she is convinced he is innocent. With only three days to uncover the truth, Chan spends the weekend at a country manor which is the key to the killing. Based on the character created by Earl Derr Biggers and directed by Eugene Forde (CHARLIE CHAN AT MONTE CARLO). This is the sixth entry in the Fox Warner Oland Charlie Chan franchise and it's a mixed bag. The mystery itself isn't bad at all but the characters (Charlie Chan excepted) are pretty insipid. One can't even feel sorry for the innocent man sitting on death row awaiting a hanging. But as with all the Chan movies, the running times are short so it's over fairly quickly. Cast wise, the most notable is a supporting player billed as Raymond Milland (as Leyton's fiance) who would soon drop the "mond" and as Ray Milland became a popular leading man in 1940s Hollywood. With Mona Barrie, Alan Mowbray and E.E. Clive.

Square Dance (1987)

Set in rural Texas, a 13 year old girl (Winona Ryder) is raised by her grandfather (Jason Robards) after being abandoned by her mother (Jane Alexander). After a dispute with her grandfather, she runs off to Fort Worth to live with her mother and her live in boyfriend (Guich Koock) though he might be her husband, the film doesn't make it clear. Based on the novel by Alan Hines (who adapted his book for the screen) and directed by Daniel Petrie (A RAISIN IN THE SUN). A well intentioned coming of age drama with some good acting by Ryder and Alexander whose mother/daughter relationship is the linchpin of the movie. The story itself isn't particularly compelling but both Ryder and Alexander (in an atypical role) bring much needed nuance and shading to their one dimensional characters. With Rob Lowe, who received praise for his performance as a mentally challenged youth though I found his performance unexceptional and also Deborah Richter and Irma P. Hall.

So Goes My Love (1946)

Set in 1860's Brooklyn, a gold digger (Myrna Loy) has intentions of finding a rich husband and she finds one in a real estate developer (Richard Gaines). But on the day of her wedding, she realizes she's in love with a penniless inventor (Don Ameche). Based on the non fiction book A GENIUS IN THE FAMILY by Hiram Percy Maxim (played by Bobby Driscoll in the movie) and directed by Frank Ryan (CAN'T HELP SINGING). The book focused on young Maxim's relationship with his father who invented the curling iron, the mousetrap and a type of machine gun among many other inventions. However, the movie shifts the focus to his mother played by Myrna Loy. This was first film Loy did as a free lance actor after her MGM contract was up. While she looks sensational, the movie does her no favors. It's a weak LIFE WITH FATHER (which would reach screens a year later) wannabe without the requisite folksy charm needed to make something like this work. Ameche's inventor is supposed to be eccentric but he comes across as self absorbed and after years of seeing Loy playing the sophisticated wife in the THIN MAN films who gives witty hubby William Powell a run for his money, it's disconcerting to see her play the housewife to a dullard like Ameche (his character, not the actor). With Rhys Williams and Molly Lamont.

Fall (2022)

Two best friends (Grace Caroline Currey, Virginia Gardner) who are risk takers and mountain climbers climb 2,000 feet to the top of a remote, abandoned radio tower. But they find themselves stranded with no way down when the old and rusty ladder breaks away and crashes. Will they be able to survive the elements? Co-written and directed by Scott Mann (HEIST), there are equal parts good and bad in the film. The good: the climbing sequences are awesome and Mann keeps the tension and suspense at peak level. It's a real nail biter. The bad: every time a character opens her/his mouth. I can't remember the last time I heard such amateurish writing. This would make a terrific silent movie. You just want everybody to shut up! Also, the the script cheats, it gets unnecessarily gross toward the end and the film skips what should have been a crucial scene. As for the acting, I'm not familiar with Currey and Gardner so I have no idea whether they can act or not. I'm not going to judge them here because even Meryl Streep couldn't make the dumb dialog work. So if you can put up with the cringe inducing dialog and focus on the survival thriller elements, you might enjoy it. With Jeffrey Dean Morgan.  

World In My Corner (1956)

An up and coming boxer (Audie Murphy) from the wrong side of the tracks catches the eye of a millionaire (Jeff Morrow) who invites him to train at his Long Island estate. He falls in love with the millionaire's daughter (Barbara Rush) but his lack of money causes him to make wrongheaded decisions regarding his career. Directed by Jesse Hibbs (TO HELL AND BACK), this is an enjoyable programmer with one of Murphy's best performances. I'm not big on boxing movies but the emphasis isn't so much on the ring as it is on Murphy's struggle to make something of himself and how that very ambition may cause him to lose what he desires most. I don't want to oversell it but it's a solid film. With John McIntire, Howard St. John, Tommy Rall and Dani Crayne.

Life For Ruth (1962)

After a boating accident, an eight year old girl (Lynn Taylor) needs a blood transfusion to survive. But because of his religious beliefs, her father (Michael Craig) refuses. When the child dies, he must contend not only with his guilt and the revelation that although his wife (Janet Munro) converted to his religion, she doesn't share his belief but also a manslaughter charge brought on by the doctor (Patrick McGoohan) on the case. Directed by Basil Dearden (SAPPHIRE), this is a film that brings up complex issues about parental rights, religious freedom, a state's obligation to protect children, biblical interpretation and more. The film presents both sides and while it doesn't take a stand on the subject, at least it doesn't cop out. There are no "winners" here. While (at least to me) it seems unthinkable that a parent would consciously let their child die for a "belief", the father is not presented as a wacko religious fanatic. He's sincere and the ramifications of his act are not lost on him and Craig's reaction after the verdict is read comes as a surprise. Well thought out and intelligent, seek it out if it comes your way. With Michael Bryant, Megs Jenkins and Frank Finlay.

The First Time (1952)

Expectant parents (Robert Cummings, Barbara Hale) are looking forward to their first baby. But when the little boy arrives, they are not prepared for the lack of sleep, the nonexistent social life and the overwhelming cost of raising a child. Co-written and directed by Frank Tashlin (THE GIRL CAN'T HELP IT), this is a dreary sitcomish family comedy with almost none of the wacky cartoonish style that marks the best of Tashlin's movies. Just about any episode of I LOVE LUCY does this kind of stuff much better. There is one genuinely funny sequence when Cummings mistakes a hooker (Jean Willes) for the babysitter he's picking up. If only the rest of the film were as amusing! Although the focus of the movie is the difficulty of being first time parents, ultimately the film's impractical romanticism about having a baby is out of sync with the harsh realities of bringing a baby into the world. But hey, it's the 1950s! With Jeff Donnell, Carl Benton Reid, Virginia Christine and Mona Barrie. 

Summertime (1955)

A lonely middle aged American spinster (Katharine Hepburn) spends her vacation in Venice, Italy where she finds love for the first time with a handsome Italian shopkeeper (Rossano Brazzi). Based on the play THE TIME OF THE CUCKOO by Arthur Laurents and directed by David Lean (DOCTOR ZHIVAGO). Funny that Lean is never thought of as a romantic director. I suspect most people associate Lean with his male dominated epics like LAWRENCE OF ARABIA and BRIDGE ON THE RIVER KWAI or his lauded Dickens adaptations like GREAT EXPECTATIONS and OLIVER TWIST. But films like this one, BRIEF ENCOUNTER, RYAN'S DAUGHTER and ZHIVAGO show a romantic at heart. Is it a great film? No but Hepburn's vulnerable performance and Jack Hildyard's cinematography (Venice has never been more lovingly photographed) might make it seem so. It may go a bit over the top (those fireworks and sunsets) but at least Lean was able (despite some cuts to appease the censors) to show adultery without anyone getting punished. I've not seen Laurents' play but I understand the romanticism is kept in check and it's more of a subtle rendering of an aging virgin reluctantly succumbing to the affair. With Isa Miranda, Darren McGavin, Mari Aldon, Gaetano Autiero and Jane Rose (the only cast member from the play repeating her stage role).

Applause (1929)

An aging showgirl (Helen Morgan) lives with a sleazy burlesque comic (Fuller Mellish Jr.) who's using her. At his insistence, she takes her daughter (Joan Peers) out of a convent school and pushes her to join the burlesque company which the daughter finds unsavory. Based on the novel by Beth Brown and directed by Rouben Mamoulian (SILK STOCKINGS). This sordid pre-code tale of burlesque backstage life was banned in some states and cuts were made by the local censor boards. I found the film overly sentimental but I admired Mamoulian's innovative techniques including taking the movie out of the studio and onto the streets of New York. I didn't care much for Morgan's boozy character and began to find her irritating after awhile but I found the romance between Peers as her daughter and a young sailor (Henry Wadsworth) rather sweet. Still, the film is much admired in certain cineaste quarters. With Jack Cameron and Dorothy Cumming.

The Forgiven (2022)

Set in Morocco, a wealthy London doctor (Ralph Fiennes in a terrific performance) and his American wife (Jessica Chastain) speed through the desert to attend a gay couple's (Matt Smith, Caleb Landry Jones) lavish weekend party. The husband is drunk and they hit and kill an Arab boy. They attempt to cover up the details of the killing but the boy's father (Ismael Kanater) shows up seeking justice. Based on the novel by Lawrence Osborne and adapted for the screen and directed by John Michael McDonagh (CALVARY). Alas, this is one of those movies that slipped through the cracks and deserved a better fate than obscurity. Its reviews were decent enough but it never found an audience (it was released in July of this year) and I doubt it was released outside of the major film markets. I can see why mainstream audiences stayed away but more adventurous filmgoers should seek it out. The movie is difficult to get into at first but if you stick with it, you'll be rewarded with an often fascinating look at culture clash and the arrogant privilege of rich Caucasians. The wealthy and white gay couple have a lavish villa in the desert because they can afford it while poverty surrounds them as the indigenous people struggle to survive. Worse, these WASPs have a contempt for the natives (the natives despise them right back) of the country they choose to live in. Fiennes' haughty alcoholic prick is the worst of the lot but he's the only character who finds redemption in himself although at a heavy price. Everyone else is repugnant in their attitude and behavior. Sure, some are "nice" to the Arabs but their niceness is condescending and insincere. With Said Taghmaoui, Christopher Abbott and Marie Josee Croze.

La Llorona (1933)

A doctor (Ramon Pereda) is skeptical of the legend of La Llorona: a woman (Adriana Lamar) who killed her child in revenge against her lover (Pereda in a dual role) and father of her son for abandoning her. But when the doctor's son turns four years old, mysterious and unexplained incidents makes him fear for the life of his child. Directed by Ramon Peon, this was the first horror film with sound made in Mexico. While the movie tends to be stagnant, it is of curiosity to anyone interested in the history of the horror film especially Mexican horror. It's rather crude film making but it its own way, it's as compelling as its Hollywood counterparts: Whale's FRANKENSTEIN and Browning's DRACULA, both 1931. Unfortunately, no 35 millimeter print exists (presumed to be lost) so a restored 16 millimeter transfer is the best that's currently available. The legend of La Llorona continues to fascinate film makers, most recently with THE CURSE OF LA LLORONA (2019). With Virginia Zuri, Carlos Orellana, Alberto Marti and Maria Luisa Zea.

Torn Curtain (1966)

At an international congress of physics in Copenhagen, the fiancee (Julie Andrews) of a famous scientist (Paul Newman) mistakenly intercepts a message meant for him and discovers he is defecting to East Germany. Directed by Alfred Hitchcock. Although Brian Moore (LONELY PASSION OF JUDITH HEARNE) is the only credited screenwriter, Hitchcock was not happy with Moore's script and Moore disliked working with Hitchcock so other writers were brought in. The film is generally considered one of Hitchcock's worst movies but he's done worse (I won't bother to name them here) and it's biggest fault is that except for two sequences, it's dull and bloated. The two highlights being the murder of Gromek (Wolfgang Kieling) which is as good as anything Hitchcock has done and the bus escape creates genuine tension. Also a major problem is  the casting of the two leads, Newman and Andrews who were arguably the biggest stars in Hollywood at the time. Hitchcock had used big movie stars before (Cary Grant, Ingrid Bergman, Gregory Peck, Kim Novak etc.) but they were well cast in their parts. Newman and Andrews seem out of place, we're too aware of them being Newman and Andrews. Hitchcock wanted Samantha Eggar but Universal insisted on Andrews. Hitchcock also replaced Bernard Herrmann's excellent score with a merely adequate one by John Addison (TOM JONES). With Lila Kedrova (in the film's best performance), David Opatoshu, Ludwig Donath, Tamara Toumanova, Mort Mills and Carolyn Conwell.

Natural Enemies (1979)

On the surface, a Manhattan magazine publisher (Hal Holbrook) would seem to have it all: a farm house in Connecticut, an artist wife (Louise Fletcher) and three kids. But one morning he wakes up and plans to kill his wife and kids that night. Based on the novel by Julius Horwitz and directed by Jeff Kanew (V.I. WARSHAWSKI). This is the type of film I would classify as an ambitious failure. It raises a lot of issues about the protagonist's alienation but doesn't provide any real understanding of his situation. He doesn't seem keen on getting therapy or attempting to resolve those issues, he just seems to have given up! Surely a divorce would be the answer rather than massacring his family. With all the problems the working class has just struggling to survive, it's difficult to empathize with a privileged upper middle class Caucasian male who's unhappy with his lot in life. Of course, a true film artist (like a Bergman or Antonioni) could do exactly that but Kanew is no Bergman. The acting is good though. The score is by Don Ellis (THE FRENCH CONNECTION). With Jose Ferrer, Viveca Lindfors and Patricia Elliott.

Annie (1999)

A young orphan girl (Alicia Morton) in an orphanage run by a mean spirited harridan (Kathy Bates) gets a break when she spends Christmas with a billionaire (Victor Garber). Meanwhile, the harridan concocts a plan to profit from the billionaire's generosity. Based on the hit Broadway musical and choreographed and directed by Rob Marshall (CHICAGO). Done for Disney television, this is the second film version of ANNIE. In addition to the 1982 film, it was remade as a feature film in 2014 and again for TV in 2021. This is the best of the filmed ANNIE incarnations. It's not overproduced, it's not made more musically "contemporary", it adheres closely to the original stage production except for having Bates trying to pass herself off as Annie's mother. In the play, it's her brother's girlfriend (played here by Kristin Chenoweth) who does the passing. Surely Annie (Morton) would have seen through Bates' disguise while she never met Chenoweth's character. With Audra McDonald, Alan Cumming, Dennis Howard and Andrea McArdle (who played Annie in the original stage production). 

Sky West And Crooked (1966)

After a childhood tragedy, a young girl (Hayley Mills) is rendered what used to be called "simple minded" and has blocked the tragedy out of her memory. But a bitter and resentful old man (Laurence Naismith) is bent on his own personal revenge on the girl. Directed by actor John Mills (RYAN'S DAUGHTER), the film's title is an English slang word for someone who's "not right in the head". The film is a family (in addition to her father directing, her mother wrote the script) showcase for the young Hayley Mills in a more dramatic role than the kind of parts she was doing at Disney and she gives a strong performance here as the child like innocent on the verge of womanhood. But I wish there weren't so many other stories crammed into the narrative, less is definitely more here. But we have subplots about discrimination against gypsies with Ian McShane playing a young gypsy attracted to Mills and a country parson (Geoffrey Bayldon) dealing with a small minded parish. Those subplots aren't given their full due and are only superficially addressed. Overall, it's a movie that deserves to be better known, flaws and all. Malcolm Arnold (BRIDGE ON THE RIVER KWAI) contributes one of his best scores. With Annette Crosbie, very good as Mills' alcoholic mother and Pauline Jameson, Norman Bird and Judith Furse.

Ladies In Lavender (2004)

Set in the Cornwall coast of 1936, a young Polish man (Daniel Bruhl)) is swept overboard from a ship during a storm. When he washes ashore on the beach, two elderly sisters (Judi Dench, Maggie Smith) find him and nurse him back to health. But the sisters' attachment to the young Pole becomes almost possessive. Based on the short story by William J. Locke and adapted for the screen and directed by the actor Charles Dance (WHITE MISCHIEF). I'm not overly fond of these genteel British period dramas but the expert performances of Smith and Dench are difficult to resist so I didn't even try. Their chemistry is off the charts and why shouldn't it be, they're BFFs in real life. It's a slight piece aided by cinematographer Peter Biziou's (THE TRUMAN SHOW) lovely Cornwall coastal landscapes. It's literate, intelligent and engrossing although the ending seems rushed and abrupt. In its way, it's the British equivalent of THE WHALES OF AUGUST which is a far superior film but in no way do I mean to put shade on this enchanting movie. Dance's screenplay was later adapted for the English stage with Hayley Mills getting excellent reviews in Dench's role. With David Warner, Natascha McElhone, Miriam Margolyes, Toby Jones and Freddie Jones. 

Gypsy Wildcat (1944)

When a Count is found dead, a wicked baron (Douglass Dumbrille) blames a local settlement of gypsies. The only witness to the killing is a gypsy dancer (Maria Montez) but she remains silent because of her attraction to the main suspect (Jon Hall) in the killing. Directed by Roy William Neill (BLACK ANGEL), this is yet another Technicolor Maria Montez vehicle that apparently 1940s audiences couldn't get enough of. Universal wisely understood that she couldn't always play exotic Arabian or Egyptian dancing girls or the public might tire of her quickly so here they made her a gypsy dancing girl. But changing the time and location didn't really alter the plots or simplistic dialogue (reportedly an uncredited James M. Cain worked on the script) much, it's as silly as ever. But the movie (and Montez) are gorgeous to look at and at a brief one hour and fifteen minutes, it's painlessly over before you know it. With Gale Sondergaard, Leo Carrillo, Nigel Bruce and Peter Coe. 

Man Of The West (1958)

When the train he is on is robbed, a reformed outlaw (Gary Copper) finds himself unwillingly reunited with his old gang. To survive, he must take up his old ways but he is accompanied by two other train passengers: a saloon singer (Julie London) and a gambler (Arthur O'Connell). Is there a way out? Based on the novel THE BORDER JUMPERS by Will C. Brown and directed by Anthony Mann (FALL OF THE ROMAN EMPIRE). Mann directed many excellent westerns in the 1950s but this one has to be the most sordid and brutal. Cooper's casting produces a conundrum of sorts. He's excellent and gives one of his best performances. On the other hand, at age 56 he's way too old for the role. He's ten years older than Lee J. Cobb who plays his uncle and fourteen years older than John Dehner who plays his childhood cousin. Mann's conflictive tale of a man who's found redemption only to find himself back at square one is absorbing. American critics dismissed the film when first released and it took European film critics (including Jean Luc Godard) to elevate its reputation. Ernest Haller's use of the CinemaScope frame and the rural California locations standing in for Texas is first rate. With Jack Lord, Robert J. Wilke and Royal Dano.

Le Journal D'une Femme De Chambre (aka Diary Of A Chambermaid) (2015)

A resentful Parisian chambermaid (Lea Seydoux) finds herself exiled to a position in the provinces where she immediately chafes against the noxious rigidity and pettiness of her high handed bourgeois mistress (Clotilde Mollet). But she finds herself attracted to the brooding anti Semitic groom (Vincent Lindon) on the estate. Based on the 1900 novel by Octave Mirbeau and directed by Benoit Jacquot (FAREWELL MY QUEEN). Mirbeau's novel, an attack on the slavery of domestic servitude and the decadent upper classes, has been filmed twice before. Jean Renoir directed it in 1946 with Paulette Goddard and Luis Bunuel directed it in 1964 with Jeanne Moreau. Both film versions were freely adapted from Mirbeau's book rather than adhere to the novel and indeed, this version has more in common with the 1964 Bunuel film than Mirbeau's book. I liked it well enough though I found Jacquot's style unsure of itself and parts of the narrative inconsistent. Luckily, Seydoux is very good and conveys a wounded animal's hostility though the script's final moments fail her. Her final act seems arbitrary. With Herve Pierre and Adriana Asti.

Marriageable Male (1954)

An advertising executive (Jack Lemmon) is mistaken for a model by an illustration artist (Ida Lupino). Since the ad man is attracted to her, he plays along and poses as a model but his unorthodox ideas on the roles of men and women in society leave her overwhelmed. Directed by Ted Post (HANG 'EM HIGH), this was originally shown on the Ford Television Theatre. The boyish Lemmon had only one movie under his belt (IT SHOULD HAPPEN TO YOU) and his pairing with the veteran Ida Lupino who'd been in movies for over 20 years by this time makes her seem much older than him although she was only seven years his senior. That aside, the sexual politics are very much of its era and the idea of a "house husband" hardly raises an eyebrow in today's society except for ultra conservative households. It's a mild comedy, too mild in fact. So much so that the laughs are non existent. Still, it's interesting to see Lemmon so early in his career and Lupino is always worth watching. With Phillip Terry and Julie Bennett.

Symphonie Pour Un Massacre (aka Symphony For A Massacre) (1963)

Five men with ties to businesses with varying degrees of legality pool their money to go in on one huge narcotics deal that can set them up for life. But one (Jean Rochefort) decides he wants it all so he concocts a plan to steal the money. But he isn't as clever as he thinks he is and deceit, betrayal, double crosses and murder follow. Based on the novel LES MYSTIFIES by Alain Reynaud Fourton and directed by Jacques Deray (BORSALINO). This is a marvelous heist thriller done with style and tightly directed by Deray. That he's able to keep the suspense momentum strong is commendable considering that if you pay attention very early in the movie, you're pretty much able to figure out exactly where it's going to go. While the use of the word massacre in the film's title is an exaggeration, by the movie's end we still have five of the film's seven lead characters dead (though not all at once). The ensemble cast is excellent right down the line and a shout out to Claude Renoir's expressive B&W lensing. If you're into heist thrillers, this is for you! With Claude Dauphin, Charles Vanel, Michel Auclair, Michele Mercier, Daniela Rocca and Jose Giovanni.

The Black Phone (2022)

Set in 1978 Colorado, a masked serial child abductor (Ethan Hawke) called The Grabber prowls the streets of his Denver neighborhood kidnapping adolescent boys. His latest victim (Mason Thames) uses a disconnected phone to communicate with the deceased previous victims in order to discover a means of escape. Based on the short story by Joe Hill and directed by Scott Derrickson (THE EXORCISM OF EMILY ROSE). The film was a box office success which is understandable but more inexplicably, it also received mostly positive reviews. While there are a few genuinely intense moments, overall I found it rather silly. There's a scene of child abuse with a creepy father (Jeremy Davies) beating the crap out of his small daughter (Madeleine McGraw, who's best thing about the movie) that I found more horrifying than any of the Grabber scenes! Since the film was a hit, I've no doubt we'll be seeing a sequel soon which I'll be skipping. Don't get me wrong, I didn't hate it, there's an artfulness about it but really, it's just another horror movie. I suspect I'm not the demographics for a movie like this. It's more the horror equivalent of a YA novel. With James Ransone and Miguel Cazarez Mora.

International Lady (1941)

Set during WWII (but before the entry of the U.S.), a ring of saboteurs are interfering with the flow of American airplanes in Great Britain. An FBI agent (George Brent) and a Scotland Yard detective (Basil Rathbone) combine forces to expose the Nazi threat. Their suspicions fall upon a beautiful singer (Ilona Massey) who they believe is passing vital Allied secrets. Directed by Tim Whelan (THE THIEF OF BAGDAD), this B programmer starts off with some glimmer but never quite lights up and by the movie's end, it has sputtered into tediousness. Brent is dully sincere, Rathbone brings some wit but in spite of being tagged the new Dietrich (although when she sang, she was more Jeanette MacDonald than Dietrich), the Hungarian born Massey never became a Star though MGM tried. After this film, she went to Universal where she co-starred in horror movies like FRANKENSTEIN MEETS THE WOLF MAN and THE INVISIBLE WOMAN. The movie held my interest for about 3/4 of its length before descending into apathy. With George Zucco, Gene Lockhart and Marjorie Gateson.

The Devil Makes Three (1952)

Set in post WWII Germany, an Air Force pilot (Gene Kelly) returns to find the family that hid him from the Nazis. The only survivor is their daughter (Pier Angeli), who is working as a bar girl. He wants to help her but she wants to use him to smuggle contraband into Austria. But what looks like a small time black market scheme hides something far more sinister. Directed by Andrew Marton (KING SOLOMON'S MINES), this is one of many movies filmed on location in postwar Germany and dealing with the corruption (including unrepentant Nazis) in a devastated Germany and Austria struggling to recover from the war. As far as these kinds of films go, this one is no THIRD MAN or THE MAN BETWEEN. It's an okay film enhanced by the presence of Gene Kelly and Pier Angeli at the center of the story but there are far better movies dealing with the same subject that make this one pale in comparison. With Richard Egan, Richard Rober and Margot Hielscher.

Black Widow (1987)

An agent (Debra Winger) for the Department Of Justice is convinced that a woman (Theresa Russell) marries wealthy men for their money and murders them soon after the wedding. Without any real evidence to back her up, she follows the woman to Hawaii where she has already met her next target (Sami Frey). Directed by Bob Rafelson (FIVE EASY PIECES), the most interesting aspect of the film isn't the suspense factor but the cat and mouse relationship (which has a strong sexual undercurrent) between the two female protagonists. Both Winger and Russell give fine performances but ultimately it's Russell's fascinating black widow that steals the movie. Winger's obsessive federal agent eventually becomes tiresome so that I found myself almost rooting for Russell's deadly viper to get away with her crimes. To the film's credit, it doesn't try to explain Russell's motives which makes her character ambiguous and even more compelling. As a thriller, it's rather routine, so it's the performances that make it worth a watch. With Dennis Hopper, Nicol Williamson, Diane Ladd, Lois Smith, Terry O'Quinn, Rutanya Alda and James Hong.

Midnight (aka Call It Murder) (1934)

A jury foreman (O.P. Heggie) on a crime of passion murder case is a firm believer in following the letter of the law and convinces his fellow jurors to vote a first degree murder charge on a woman (Helen Flint) charged with murdering her lover. But on the night of her execution, murder comes closer to home and he is confronted with his own words. Based on the play by Paul and Claire Sifton and directed by Chester Erskine (THE EGG AND I). This drama doesn't bother to hide its theatrical origins but if you can excuse its static, you'll find a crude but engrossing movie about the hypocrisy of the sanctimonious. Those who view life not as gray but black and white but when they are placed in the precarious position of involvement in the very act they condemn, it soon changes to circumventing the very law they choose to uphold. The film isn't preachy at all, it just lets the story unveil and we get a sense of where it's going to end up but it hits its target. Humphrey Bogart has a supporting but pivotal role (eighth billed) but when the movie was re-released in 1949 under the title CALL IT MURDER, he was given top billing. With Sidney Fox, Henry Hull, Margaret Wycherly, Cora Witherspoon and Lynne Overman. 

Blazing Saddles (1974)

Set in the 1874 Old West, the state's corrupt Attorney General (Harvey Korman) realizes that he can make millions from land where the railroad will pass through but first he must get rid of the town that stands on the land. To that end, he appoints a black sheriff (Cleavon Little) in the hopes the racist citizens will abandon the town. Directed by Mel Brooks (YOUNG FRANKENSTEIN) who co-wrote the screenplay with four other writers including Richard Pryor. It could be said that Brooks has made an art out of bad taste (though he's no John Waters) but this politically incorrect western parody remains outrageous (could he get away with it today?). Brooks' rat-a-tat-tat brand of comedy has the jokes and quips coming left and right so that some of the jokes are bound to hit their target and if one fizzles, there's always the next one. Little lacks a comic actor's spark (it's a pity Richard Pryor didn't take on the part) but there's Gene Wilder showing he doesn't need to be hysterical to be funny and Madeline Kahn's Oscar nominated Dietrich impersonation is hilarious. I have to confess I laughed more than I did not. With Slim Pickens, Dom DeLuise, Alex Karras, John Hillerman and Count Basie. 

Homicide (1949)

What seems like a routine suicide sparks the interest of a Los Angeles police detective (Robert Douglas). Delving further into the case leads him to the heart of Southern California's farm country and a murder cover up. Directed by Felix Jacoves,  this noir-ish crime drama has an interesting narrative but is undone by some very weak casting. As the tough talking L.A. cop, Robert Douglas comes across as Ronald Colman giving a Humphrey Bogart impersonation. He's just not leading man material. Douglas would grow a mustache and excel at playing bad types in movies like THE FOUNTAINHEAD and THE FLAME AND THE ARROW but here he's out on a limb. Robert Alda as the bartender and part time assassin fares much better. It should have been much better than it is. Jacoves who directed only one other movie brings no style or sense of urgency to the proceedings. With Helen Westcott, Warren Douglas and Esther Howard who comes as close to stealing the movie as anybody. 

The Oregon Trail (1959)

A New York newspaper reporter (Fred MacMurray) is sent out West to confirm rumors that President James K. Polk (Addison Richards) is sending military agents disguised as settlers in the event of a war with British North America. Directed by Gene Fowler Jr. (I MARRIED A MONSTER FROM OUTER SPACE). Despite the presence of an A list star like Fred MacMurray in the lead as well as being filmed in CinemaScope and color by Deluxe, this is a low budget B western. Many of the exteriors are obvious painted backdrops and most outdoor scenes are clearly filmed on a soundstage as well as the use of previously filmed footage. All that aside, it wouldn't matter if it were a solid western but it's routine. Aside from Gloria Talbott as an Indian maiden, the performances are nondescript. Even western fans would have a hard time defending this one. With William Bishop, Nina Shipman, Henry Hull, John Carradine, Elizabeth Patterson and Tex Terry.

The Trials Of Oscar Wilde (1960)

The famous playwright Oscar Wilde (Peter Finch) brings a libel suit against the Marquess Of Queensbury (Lionel Jeffries) after he accuses Wilde of seducing his son (John Fraser). But the trial exposes Wilde's private life and his penchant for young boys. Based on the play THE STRINGED LUTE by John Furnell and directed by Ken Hughes (CHITTY CHITTY BANG BANG). This being 1960, the film is skittish about discussing Wilde's actual sex life. It's a sympathetic portrait of Wilde and Finch gives a noble performance. But the movie leaves a lot out, possibly due to the censorship restrictions of the day and possibly because it would make Wilde unsympathetic (bedding 16 year old boys). Finch's Wilde comes off as naive, surely he would have realized the disastrous results that would result from when his private life is exposed. Quite possibly, the real Wilde's arrogance might have precipitated such a decision but Finch's Wilde is played as sincere. As the self centered pretty boy, Fraser is pompous and off-putting. What can Wilde see in him outside of his looks? But the film goes out of the way to prevent Wilde from looking shallow and presents it as a genuine affection. The film looks great thanks to Ken Adam's production design and Elsa Fennell's costumes. With James Mason, Yvonne Mitchell, James Booth, Emrys Jones and Maxine Audley.

Maciste Alla Corte Del Gran Khan (aka Samson And The 7 Miracles Of The World) (1961)

Set in the 13th century, hordes of Mongol warriors descend upon China, enslaving its people and plotting to assassinate its beautiful young princess (Yoko Tani). Enter the muscle bound Maciste (Gordon Scott) to save the day! Directed by Riccardo Freda (THE HORRIBLE DR. HICHCOCK), I'm not sure this movie could be considered a peplum or even a sword and sandal movie as it's set in China and outside of Scott's wandering beefcake, the rest of the characters are Asian (though not always played by Asian actors). It's not much fun either although there is some amusing silliness as when Scott wrestles with what appears to be a tiger rug. The American title is a misnomer as there is no Samson in the movie and he only performs one "miracle". With Helene Chanel and Gabriele Antonini. 

Casque d'Or (1952)

When a gangster's moll (Simone Signoret) falls in love with a reformed criminal (Serge Reggiani) now working as a carpenter, their romance incites an underworld rivalry that leads to tragedy. Directed by Jacques Becker (TOUCHEZ PAZ AU GRISBI), the film is an evocative representation of the Belle Epoque period (roughly between 1880 and 1914) as well as a heartbreaking love story. While the setting with its Apaches, ladies of the night and colorful dives are fascinating, it's the lovely romance between Signoret's prostitute and Reggiani's ex-con that holds our attention. Their love for each other is so palpable that it makes the tragic ending almost unendurable. For those who think of Signoret mostly for her post ROOM AT THE TOP career, her luscious beauty here is startling. She's sensual without even trying and you can see why Reggiani falls in love with her instantly (who wouldn't?). Shockingly, the film was a flop in France when first released although it was highly praised outside of France. Many years later the film was reissued in France where it was the success it should have been earlier. With Claude Dauphin and Raymond Bussieres.

The Gauntlet (1977)

A Phoenix cop (Clint Eastwood) is assigned to travel to Las Vegas and extradite a hooker (Sondra Locke) for a trial. It's described as "a nothing witness for a nothing trial". But after several attempts on their lives, he realizes that this is not a "nothing" case and some vital information was withheld from him. Will they make it back to Phoenix alive? Directed by Clint Eastwood, this potboiler is so contrived and convoluted that by the time of the preposterous shoot 'em up finale, I'd given up on it. It's poorly structured so it's the action pieces that grab your attention. A helicopter chase in the desert is well done but a sequence with Eastwood's cop and a slew of bikers makes no sense at all except to pad out the movie. The only worthwhile performance comes from Locke but the film treats her so brutally that it's almost exploitative. I can enjoy mindless entertainment but this borders on stupidity. With Pat Hingle, William Prince, Carole Cook and Mara Corday.

Bonnie And Clyde (1967)

Set in Texas during the Great Depression, a bored young woman (Faye Dunaway) working as a waitress catches an ex-con (Warren Beatty) trying to steal her mother's car. Wanting to escape her dull existence, she partners with him and they go on a crime spree and it isn't long before they are known nation wide as Bonnie and Clyde of the Barrow gang. Directed by Arthur Penn (THE MIRACLE WORKER), this film was a game changer in American cinema. Its fusion of graphic violence (for its day, contemporary violence in movies has far surpassed it) and dark humor was shocking. But its violence wasn't gratuitous and there's a lyricism to much of its violence, it's certainly there in the film's bloody finale. Yet despite the violence, it's not a gritty vision of the actual Bonnie and Clyde, it's a romanticized version of the myth of Bonnie And Clyde. The acting is very good and in the case of Gene Hackman as Clyde's brother and Estelle Parsons (in an Oscar winning performance) as his wife, better than good. In her breakout role, Dunaway is stunning even if she looks more like a high fashion model than a depression era waitress but as I said, this is a romanticized version. With Michael J. Pollard, Gene Wilder, Evans Evans and Denver Pyle.

The Gilded Lily (1935)

A stenographer (Claudette Colbert) and a newspaper reporter (Fred MacMurray) are friends. He has a crush on her but she's not interested. When she falls in love with a British aristocrat (Ray Milland) visiting the U.S. incognito, her life is changed considerably when she becomes tabloid fodder. Directed by Wesley Ruggles (I'M NO ANGEL), this screwball comedy is hampered by the heroine's suitor choices. Neither MacMurray's or Milland's character are very appealing and one can't help but think Colbert could do better. As a romantic comedy, there's no doubt who'll Colbert will end up with but there's no sparkle to the proceedings. Colbert is charming and the film makes a point about people who become celebrities for no reason other than underserved media attention. It's just an okay movie. With C. Aubrey Smith and Donald Meek.

The First Deadly Sin (1980)

On the verge of retirement, a veteran police detective (Frank Sinatra) must deal with not only the serious illness of his wife (Faye Dunaway) but a serial killer (David Dukes) prowling the streets of Manhattan. Based on the novel by Lawrence Sanders and directed by Brian G. Hutton (WHERE EAGLES DARE). After his Oscar winning turn in FROM HERE TO ETERNITY, Sinatra continued to prove what a fine actor he was in films like MAN WITH THE GOLDEN ARM, SOME CAME RUNNING among many others. But after THE MANCHURIAN CANDIATE (1962), he got lazy as an actor and didn't push himself. This film is a return to Sinatra the actor and he's very good but it's a pity the movie isn't stronger. For a crime thriller, the pacing is lugubrious and there's a lack of tension. Director Hutton showed some talent for adventure in films like KELLY'S HEROES and WHERE EAGLES DARE but as evidenced here, he's out of his depth. And why does he keep Duke's face hidden from us for most of the movie after we've seen it? The film changes the book's ending to keep more in line with the DEATH WISH appeal for movie audiences. With Brenda Vaccaro, James Whitmore, Martin Gable, Anthony Zerbe and George Coe.

L'Amant Double (aka Double Lover) (2017)

A fragile young woman (Marine Vacth) falls in love with her psychoanalyst (Jeremie Renier). They later move in together but she soon discovers that her lover is concealing a big secret. Based on the novel LIVES OF THE TWINS by Joyce Carol Oates and directed by Francois Ozon (8 FEMMES). Whew! With shades of De Palma and Cronenberg, this is one twisted psychological thriller and quite the rollercoaster ride. Since our heroine is psychologically unstable, we're never sure if what we're watching is real or the product of her twisted psyche. But Ozon's vision is both terrifying and erotic. Playing twin brothers, Renier gives a marvelous performance that I was almost sure it was two different actors playing the parts. Highly recommended and the less you know about it going in, the more engrossing it should and no, I haven't given away any spoilers. With a nice turn from Jacqueline Bisset and also with Myriam Boyer and Dominique Reymond.

Springtime In The Rockies (1942)

Tired of her boyfriend and dance partner's (John Payne) philandering, a Broadway musical comedy star (Betty Grable) breaks off both their romance and their professional partnership. Not one to give up, he follows her to the Canadian Rockies where she is performing at a posh resort but finds she's engaged to her new dance partner (Cesar Romero). Based on the short story SECOND HONEYMOON by Philip Wylie (previously filmed in 1937) and directed by Irving Cummings (THE DOLLY SISTERS). This Technicolor musical romp is typical 20th Century Fox musical fare. Lightweight, colorful and insubstantial. But it has the immensely likable Betty Grable, the Brazilian bombshell Carmen Miranda murdering the English language and expert second bananas like Edward Everett Horton and Charlotte Greenwood amid the Technicolor Rockies so it's hard to resist despite (or maybe because of) the silliness of it all. With Jackie Gleason, Harry James and Helen Forrest.

Woman In The Dark (1934)

Recently released from prison after serving three years for manslaughter, a man (Ralph Bellamy) attempts to live a quiet life in a secluded cabin. But his plans are interrupted when a beautiful girl (Fay Wray) arrives at his cabin in the middle of a storm asking for shelter. Things continue to go awry when he's falsely accused of a murder attempt and he's forced to flee from the law along with the girl. Based on the short story by Dashiell Hammett (THE MALTESE FALCON) and directed by Phil Rosen (MYSTERY OF MARIE ROGET). Limited by its low budget status, the movie is restricted to playing out on a small series of sets like a play. I can't recall a film where all the men are portrayed as either jerks, boors, criminal or sleazy as they are here. Poor Fay Wray is constantly being pawed and molested through out the film, even by its "hero" (Bellamy). As cinema, it's moderately entertaining if overly complicated. With Melvyn Douglas (in a rare scumbag role), Roscoe Ates, Nell O'Day and Ruth Gillette.

Welcome Stranger (1947)

A crotchety old physician (Barry Fitzgerald) in a small Massachusetts town decides to take his first vacation in decades. He requests a substitute doctor but he clashes immediately with his replacement (Bing Crosby) as they both rub each other the wrong way. Directed by Elliott Nugent (THE CAT AND THE CANARY), this folksy comedy has two strikes against it going in for me. I'm not a fan of Crosby and Fitzgerald's pixie-ish appeal escapes me. But GOING MY WAY was an Oscar winning big hit and their reunion here resulted in one of the highest grossing movies of 1947. The sentiment is high and one's tolerance for this sort of thing depends on your affection of its two leading men. I couldn't decide who was more irritating, Crosby or Fitzgerald, though to be fair they are supposed to be irritating to each other but it's the actors, not the characters that were annoying me. Fortunately, Crosby keeps the singing down to a minimum and there's the appealing Joan Caulfield to provide some pulchritude. Thankfully not as horrid as GOING MY WAY! With Wanda Hendrix, Robert Shayne, Frank Faylen and Elizabeth Patterson.

Cinderella (2021)

An ambitious young woman (Camila Cabello) wants to be a dress designer but she lives in a society where women are expected to marry and become wives and mothers. When the country's King (Pierce Brosnan) and Queen (Minnie Driver) give a ball inviting all the eligible ladies of the kingdom in the hopes that their son (Nicholas Galitzine) will choose a wife, she attends with the stipulation from her "fab" godmother (Billy Porter) that she leave at midnight. Based on the classic fairy tale by Charles Perrault and directed by Kay Cannon (best known for writing the PITCH PERFECT films). This jukebox musical which incorporates hit songs made famous by Madonna, Janet Jackson, Queen, Salt-N-Pepa and Earth Wind & Fire among others has a decidedly feminist bent. Cabello's Cinderella wants a career, not a Prince Charming. Galitzine's Prince isn't interested becoming King and ruling the country but his Princess sister (Tallulah Greive) wants to rule the kingdom and has all kinds of politically progressive ideas. Hey, it's a fairy tale so all bets are off. The casting exemplifies diversity and the music consists of pop, rap and Latin sounds. Does it work? Actually, I quite enjoyed it even if it too often seems calculated to be politically correct. There's no magic and what's a fairy tale without magic? But it's colorful and some of the musical numbers are pretty good like Idina Menzel as the wicked stepmother singing Madonna's Material Girl or the princesses at the ball singing and dancing to En Vogue's Whatta Man. I don't know that I can honestly recommend it but you ought to know whether this is your cuppa tea. With James Corden and Beverley Knight.

Decision At Sundown (1957)

An ex-Confederate soldier (Randolph Scott) rides into the town of Sundown with only one thing on his mind ..... vengeance against the man (John Carroll) responsible for his wife's death. Based on the novel by Vernon L. Fluharty and directed by Budd Boetticher (THE TALL T). Part of the Ranown cycle of westerns directed by Boetticher, produced by Harry Joe Brown and starring Scott between 1957 and 1960. Although reputedly, Boetticher wasn't fond of the film, it's really one of the best films of the cycle. What starts off as a seemingly revenge western slowly reveals itself to be anything but a routine revenge film and the irony at the film's end is striking. As the movie's "bad" guy, Carroll gets the happy ending and rides off into the sunset with the woman (Valerie French) he loves while the hero is left bereft with a bitter truth and an uncertain future. Like all the other Boetticher/Scott collaborations, it's tight and economical without an ounce of cinematic fat. With Karen Steele, John Archer, Noah Beery, Andrew Duggan, Ray Teal and James Westerfield.

Les Granges Brulees (aka The Burned Barns) (1973)

Set in the French countryside bordering Switzerland, the body of a young woman is found savagely murdered near an isolated farm. Suspicion falls on the family who own the farm which is ruled by a determined matriarch (Simone Signoret). The investigating policeman (Alain Delon) suspects that one of her two sons (Bernard Le Coq, Pierre Rosseau) may have played a role in the killing and she is protecting them. Directed by Jean Chapot (LA VOLEUSE), the movie plays out like a murder mystery but the focus isn't so much on finding the killer as how the suspicions and the investigation affect the farm family and the secrets and lies which may or may not have anything to do with the murder that they've been hiding are revealed. The film benefits from the screen presence of those two French film icons, Delon and Signoret. Delon's character isn't very interesting so it's Signoret who holds the film together. Not essential cinema but I quite liked it. With Renato Salvatori, Miou Miou, Paul Crauchet and Catherine Allegret.

Little Man What Now? (1934)

Set in Germany, a young man (Douglass Montgomery) is fired for marrying his sweetheart (Margaret Sullavan, luminous as usual) instead of his boss's daughter (Muriel Kirkland). He moves his pregnant wife to Berlin where he gets a job as a sales clerk. But their lives only seem to get more difficult as they struggle to exist against an indifferent world. Based on the novel by Hans Fallada (previously filmed in Germany the year before) and directed by Frank Borzage (A FAREWELL TO ARMS). The quality of Borzage's output in the 1930s was erratic. Despite some flaws, this is one of his better movies of the era. Borzage had dealt with a depression era romance in MAN'S CASTLE (1933) the year before and while this film isn't as successful as that one, it's still a potent look at the overwhelming struggle of a young couple to survive in an often apathetic society. While some characters are unconcerned like the protagonist's money greedy mother (Catherine Doucet), they are offset by the kindly characters like the furniture maker (Christian Rub). Alas, the film is compromised by Montgomery who gives an awkward performance, I found him stiff and almost wooden. Then there's the deus ex machina which comes out of nowhere and ties everything up too neatly. With Alan Hale, Alan Mowbray and Mae Marsh.