The Omen (2006)

An American diplomat (Liev Schreiber) stationed in Italy is told his child is stillborn. Unbeknownst to his unconscious wife (Julia Stiles), he agrees to substitute a newborn orphan for the dead child. However, as the years pass and he becomes the youngest ambassador to Great Britain, the child exhibits unusual behavior as strange deaths occur. A remake of the 1976 horror film and directed by John Moore (A GOOD DAY TO DIE HARD). The 1976 film was written by David Seltzer and the remake is an almost scene for scene remake so Seltzer again gets screenplay credit although he had nothing to do with the movie. The remake seems pointless. The original film was pulp material elevated by the screen presence of Gregory Peck and Lee Remick who brought some, dare I say it, class to the movie. Schreiber and Stiles simply don't have the star power of Peck and Remick. It also had a terrific Oscar winning score by Jerry Goldsmith which aided the horrific proceedings. The remake also has some poor CGI effects which the 1976 film avoided (thankfully, CGI wasn't as heavily used at the time). On the plus side, there's the striking cinematography of Jonathan Sela (BULLET TRAIN) and best of all, the inspired casting of Mia Farrow as the nanny from Hell, the ghost of ROSEMARY'S BABY impossible to ignore. With David Thewlis, Pete Postlethwaite, Michael Gambon and Sean Davey Fitzpatrick.

Frenzy (1972)

Set in London, a serial killer commits a series of rapes and strangulations with a necktie which the newspapers label the necktie murders. When the ex-wife (Barbara Leigh Hunt) of a down and out ex-RAF flyer (Jon Finch) is murdered, he becomes the chief suspect. Based on the novel GOODBYE PICADILLY, FAREWELL LEICESTER SQUARE by Arthur Le Bern and directed by Alfred Hitchcock in his penultimate film. After the critical failures of TORN CURTAIN (1966) and TOPAZ (1969), critics hailed FRENZY as a return to form for Hitchcock and indeed, it's an excellent film with sequences (like the recovery of the pin in the potato truck, the humorous dinner sequences with Alec McCowen and Vivien Merchant) that rank with his best work. The screen had become very permissive in the 1970s and Hitchcock takes advantage of it with nudity and violence, perhaps too much so. Hitchcock lingers over the graphic rape and murder of Hunt's character with what almost seems like glee which gives rise to the accusations of misogyny. Unusual for a Hitchcock film, Finch's innocent man on the run is quite unlikable. He's got a chip on his shoulder, he's rude and ungrateful. All of which makes it more difficult to identify with him (unlike say Robert Donat or Cary Grant in THE 39 STEPS and NORTH BY NORTHWEST). With Barry Foster, Anna Massey, Billie Whitelaw, Jean Marsh, Bernard Cribbins and Elsie Randolph.

The Dragon Murder Case (1934)

At her party, a young socialite (Margaret Lindsay) suggests her guests all go for a night dip in the large natural pool on her estate. When her fiance (George Meeker) dives in and doesn't come up, the police are called in. But when the pool is drained, no body is found! Enter private detective Philo Vance (Warren William) to solve the case! Based on the novel by S.S. Van Dine and directed by H. Bruce Humberstone (SUN VALLEY SERENADE). Following in the footsteps of Basil Rathbone and William Powell, Warren William inherits the Philo Vance role. It has one of the more complex murder plots in the series but the list of suspects is small and rather obvious so I guessed the murderer and their motive early on. It's brief running time (1 hour, 6 minutes) keeps it tight and compact and to the point. Unfortunately, the cranky police sergeant as played by Eugene Pallette and the coroner (Etienne Girardot) who constantly has his meals interrupted return. They weren't amusing in the last installment and they haven't gotten any funnier this time around. With Lyle Talbot, Dorothy Tree, Helen Lowell, Robert McWade and Robert Barrat.

The Face Of Fu Manchu (1965)

The Chinese criminal mastermind Fu Manchu (Christopher Lee) kidnaps an esteemed scientist (Walter Rilla) who is doing research on a rare Tibetan flower, the Blackhill poppy. The poppy has the potential to be a deadly weapon whose poison can decimate thousands of lives at a time. Based on the charachter created by Sax Rohmer and directed by Don Sharp (KISS OF THE VAMPIRE). This was the first of five Fu Manchu movies (1965-1969) produced by Harry Alan Towers and starring Christopher Lee. This might be the best of the series as it downplays the racist "yellow peril" inherent in the Fu Manchu movies and instead focuses on the adventurous aspects of it. The film is set in 1912 which makes the silly exoticism of the whole thing slightly (very slightly) more plausible. If this sort of nonsense tickles your fancy then you should enjoy it (I did in spite of myself) but the more politically correct might find it irritating. Handsomely shot in Ireland in Techniscope by Ernest Steward (CARRY ON SERGEANT). With Nigel Green, Karin Dor, Tsai Chin, James Robertson Justice and Joachim Fuchsberger.

Luxury Liner (1948)

The teenage daughter (Jane Powell) of an ocean liner's captain (George Brent) stows away on her father's ship in the hope of showcasing her singing skills to a famous opera star (Lauritz Melchior). Directed by Richard Whorf (TILL THE CLOUDS ROLL BY), this Technicolor pastry from MGM should be lighter than air but it's more like a fruitcake that's been on the shelf too long. Powell's perky teen irritates after awhile especially as she sticks her nose where it's not needed or wanted. Between Powell's trilling and Melchior's bellowing, the Latin rhythms of Xavier Cugat are a welcome relief. The most interesting character is the passenger played by Frances Gifford. Overwhelmed by a wealthy man (Richard Derr) used to getting what he wants and who refuses to accept her rejection, she's torn between giving in or standing her ground. But the movie was a success at the box office and pushed Powell into star status (she's billed below Brent here) at MGM. With Marina Koshetz, John Ridgely and Connie Gilchrist.

Glass Onion (2022)

Having a reputation as the world's greatest detective, Benoit Blanc (Daniel Craig) receives an invitation from a billionaire (Edward Norton) to his private island in Greece where he intends to have a murder mystery weekend where the billionaire will be the victim and his guests have to solve his murder. But things go awry when a real murder occurs and it's not the billionaire! Directed by Rian Johnson, this is a sequel to the 2019 hit KNIVES OUT also directed by Johnson. This is a corker of a murder mystery and even better than its predecessor. Rich in humor with a gaggle of unpleasant suspects, the film recalls Agatha Christie's TEN LITTLE INDIANS and the 1971 film THE LAST OF SHEILA. The film's elaborate whodunit puzzle is clever with a few twists and turns tossed in, it's the kind of film best seen knowing as little as possible to avoid spoilers. Returning as the eccentric Blanc, Daniel Craig is marvelous and as far away from his Bond persona as possible. The ensemble cast is perfect with exceptional performances, notably the wonderful Janelle Monae and Kate Hudson channeling mom Goldie Hawn as a ditzy ex-model. For murder mystery buffs, this is not to be missed. With Hugh Grant, Kathryn Hahn, Leslie Odom Jr., Dave Bautista, Serena Williams and in their final film roles, Angela Lansbury and Stephen Sondheim.

Moonage Daydream (2022)

A documentary on David Bowie which incorporate musical performance with archival interviews and rare footage from his personal archives. Directed by Brett Morgen, the film explores the enigma that was David Bowie as a performer but not artist as he tries different personas but sheds them as he grows more confident as an artist. One of the most original pop/rock performers of the latter 20th century, he pioneered androgynous "glam rock" as he eventually moved toward the mainstream amongst cries of selling out. In his own words, Bowie discusses his attitude toward his art and what he is trying to accomplish, dropping personas like Ziggy Stardust as he becomes more comfortable performing as himself without the glam make-up. Morgen crams the film with Bowie's performing whether on stage or music video. Unlike most documentaries, there are no interviews with those who knew him, there's only Bowie to speak for himself and his music. If you're a Bowie fan, this is a must but if you're not musically disposed toward him, you may find it on the pretentious side. 

Love On The Dole (1941)

Set in England in 1930 at the height of the great depression, a family struggles to survive as they lose their jobs and can't find work. Based on the novel by Walter Greenwood and directed by John Baxter (CROOK'S TOUR). This bleak and unflinching look at working class poverty has lost none of its power since its debut in 1941 (the book came out in 1933). How does one hold onto their dignity and their moral structure when they can't put food on the table and being evicted from their home? Yes, there are structures put in place to help like unemployment but there's a time limit on unemployment and somehow if you're unable to find work, it's deemed your fault. You're not trying hard enough but the work just isn't there! Can we judge a young girl (Deborah Kerr) from a good family for becoming the mistress of an oily bookie (Frank Cellier) to escape poverty and help her family? Are we to judge an old woman living on a meagre pension for evicting a penniless man (Geoffrey Hibbert), his wife (Joyce Howard) and their newborn baby because they can't pay the rent? A film version was planned soon after the book was published but the subject was considered "too sordid" so it took eight years to get a movie made. Despite a "hopeful" epilogue at the very end, this is a pretty grim and unsentimental movie. With Clifford Evans, George Carney, Mary Merrall and Marjorie Rhodes.

Rendezvous (1935)

Set during WWI, a decoding expert (William Powell) is assigned to office work instead of the combat role he longed to play. But far from a dull desk job, he finds himself involved with German spies, betrayal, murder, suicide and a ditzy socialite (Rosalind Russell). Based on the novel THE BLONDE COUNTESS by Herbert O. Yardley and directed by William K. Howard (FIRE OVER ENGLAND). This is an odd mixture of romantic comedy and spy thriller that doesn't consistently match up. The rapid switch between a suicide or a cold blooded murder and bantering lovers tossing quips doesn't always transition smoothly. Fortunately, there's the star power of William Powell and Rosalind Russell to hold the movie together. MGM didn't always do right by Rosalind Russell. They were always giving the juicy roles to Norma Shearer, Joan Crawford, Jean Harlow or Myrna Loy (who Russell replaced here) with Russell frequently cast in secondary roles. Here, she gets to exhibit some of the comic elan that would come to fruition with THE WOMEN and HIS GIRL FRIDAY. It's just an okay film, not one of better examples of the MGM style. With Binnie Barnes, Cesar Romero, Lionel Atwill, Henry Stephenson and Margaret Dumont. 

Le Orme (aka Footprints) (1975)

A young woman (Florinda Bolkan) wakes up one morning and discovers that three days have elapsed that she can't account for. Her only clues are an unmailed postcard from a city she's never been to and a dream about a dying astronaut. Based on the novel LAS HUELLAS by Mario Fenelli and directed by Luigi Bazzoni (THE FIFTH CORD). This Italian mystery thriller teases us for most of the film as its heroine tries to unravel those missing days but the final payoff is unsatisfactory to say the least. Still, if the destination is disappointing at least the journey is enjoyable. The central performance by the wonderful Florinda Bolkan is intense and the cinematography courtesy of the great Vittorio Storaro (THE CONFORMIST) is efficacious. I watched the Italian cut which is about three minutes longer than the U.S. cut. With Lila Kedrova, Peter McEnery, Klaus Kinski and Evelyn Stewart.

I The Jury (1953)

After an old war buddy (Robert Swanger) is shot in the stomach and left to die, a detective (Biff Elliot) vows to find his killer and make them die the same way. A guest list from a recent party of the murdered man provides a roster of suspects. Based on the 1947 novel by Mickey Spillane and directed by screenwriter Harry Essex (CREATURE FROM THE BLACK LAGOON). In 1953, Spillane's detective Mike Hammer was at the height of his popularity and this was the first Hammer novel adapted for the screen. Ironically, the same month (August 1953) that I THE JURY opened so did the musical THE BAND WAGON which contained a perfect parody of the Spillane books. Watching it today, I THE JURY seems like a spoof on the genre itself rather than the real thing. Elliot's Hammer is a brute who as soon kick your face in as shake your hand (unless you're female). The stone faced Elliot with his tough talking monotone voice comes off as a caricature. Much better are two of the film's ladies: Peggie Castle as a femme fatale psychiatrist and Margaret Sheridan as Hammer's wry secretary. For fans of film noir, this should temporarily satisfy their craving but two years later, the best Hammer film Robert Aldrich's KISS ME DEADLY showed how Hammer should be done. Originally released in 3D, John Alton's (AN AMERICAN IN PARIS) B&W cinematography is perfect, however. With Preston Foster, Mary Anderson, Alan Reed and Elisha Cook Jr.

Age Of Consent (1969)

An Australian artist (James Mason) lives in Manhattan where he has a successful career but he feels the need to go back to his roots and get inspired to create again. He goes back to Australia and rents a shack on a secluded island on the Great Barrier Reef. Into his life comes a young girl (Helen Mirren) who brings back his desire to create. Based on the semi autobiographical novel by Norman Lindsay and directed by Michael Powell (BLACK NARCISSUS). The film was a huge success in Australia, both critically and at the box office but fared less well with the rest of the world where it was cut in many countries (Mirren's nude scenes). Personally, I wouldn't count the film as one of Powell's best but there's a certain charm and the cinematography of Hannes Staudinger is stunning, making the Great Barrier Reef look like a paradise. Mason, no surprise, is excellent and in one of her earliest movie roles, Mirren is delightful. I could have done without the annoying scheming leech played by Jack MacGowran, who serves no real purpose in the story other than provide comedy relief (I didn't laugh). With Peggy Cass, Frank Thring and Clarissa Kaye, who would marry James Mason two years later.

White Savage (1943)

A shark hunter (Jon Hall) falls in love with the princess (Maria Montez) of Temple Island but a hidden treasure on the island's sacred pool brings greedy scoundrels to the island. Written by Richard Brooks (ELMER GANTRY) of all people and directed by Arthur Lubin (BUCK PRIVATES). More South Seas nonsense with Maria Montez and the usual suspects (Hall, Sabu, Turhan Bey) but this one isn't much fun. It's rather dumb and dull and except for a campy "native" dance number and an earthquake finale, not very lively. But the film was a huge hit anyway! Hey, WWII was raging on and these exotic escapist movies provided some relief from wartime anxieties on the home front. It's no coincidence that Montez's post WWII career did a quick fade. When the film was rereleased in 1946, it added WOMAN to the title. With Thomas Gomez and Sidney Toler (not Chan this time but still playing Chinese).

胭脂扣 (aka Rouge) (1987)

Set in 1934, a humble courtesan (Anita Mui) and the son (Leslie Cheung) of a wealthy family embrace a suicide pact after his family rejects her as a possible wife. Jump some 50 years later and the courtesan's ghost comes looking for her lover. Based on the novel by Lilian Lee and directed by Stanley Kwan (CENTER STAGE). Despite its gorgeous imagery courtesy of cinematographer Bill Wong, I just couldn't get into this supernatural ghostly romance. I've never found double suicides particularly romantic (no, not even in ROMEO AND JULIET) and Kwan's tale of a beautiful ghost searching the streets of contemporary Hong Kong for her long ago lover didn't resonate with me. The mundane contemporary couple (Alex Man, Emily Chu) that assist the courtesan in finding her lover are offered as a more practical romantic liaison but pale against the exoticism of the doomed lovers from the past. With Irene Wan and Sin Hung Tam.

The Good Nurse (2022)

A single mother and nurse (Jessica Chastain) works in the intensive care unit. When a new experienced nurse (Eddie Redmayne) is assigned to work the night shift with her, they bond instantly. What she doesn't know is that he is a serial killer who has taken it into his own hands to to terminate the lives of his patients. Based on the true crime book by Charles Graeber and directed by the Danish director Tobias Lindholm (A WAR). This true crime drama is bolstered by the performances of the two leads, Chastain and Redmayne. The film itself is a quite decent (and sometimes more than that) crime drama and focuses on the book's last third which is devoted to Chastain's character. The first 2/3 gave background on Redmayne's character but the screenplay (by Krysty Wilson Cairns) renders his background almost superfluous. We never know exactly why he committed the killings even after the movie ends. What's more important is the outrage one feels at how the (medical) system which could have reported Charles Cullen (Redmayne's character) to the authorities and thus prevent future killings (which might have been as high as 400!) and instead chose to cover their asses! Of its kind, compelling stuff. With Noah Emmerich, Kim Dickens, Nnamdi Asomugha and Maria Dizzia. 

The Kennel Murder Case (1933)

A wealthy dog fancier (Robert Barrat) is found dead in his bedroom which is locked from the inside, a bullet hole in his head and a gun in his hand. It would appear to be a suicide. But the private detective Philo Vance (William Powell) suspects foul play and this is confirmed by the coroner Etienne Girardot) who says the man was already dead when he was shot. Based on the novel by S.S. Van Dine and directed by Michael Curtiz (WHITE CHRISTMAS). Powell returns as Philo Vance for the fourth and final time. The next year he would play detective Nick Charles in THE THIN MAN, a role he would play on and off until 1947. As for his final foray as Philo Vance, this is a perplexing murder mystery with a plethora of suspects, all of who had reasons to kill the victim. My head was spinning trying to keep abreast of who was where at the time of the murder and what their particular motive was. Eventually, I stopped trying to guess and let Powell's Vance do the work. This might be the best of the Philo Vance mysteries (certainly Powell made the part his own) and murder mystery buffs should have fun with it. Remade in 1940 as CALLING PHILO VANCE. With Mary Astor, Eugene Pallette, Helen Vinson, Jack La Rue, Ralph Morgan and Paul Cavanagh.

Bullet Train (2022)

Set in Tokyo, a professional assassin (Brad Pitt) is assigned to retrieve a briefcase from a bullet train traveling from Tokyo to Kyoto. What seems like a simple assignment turns into a nightmare when the clueless assassin discovers that fellow passengers include several other assassins as well as an innocent looking schoolgirl (Joey King) with a diabolical plan. Based on the novel MARIA BEETLE by Kotaro Isaka and directed by David Leitch (JOHN WICK). This action comedy is over the top and over complicated and doesn't know when to stop as it piles absurdity after absurdity onto its plate. That being said, I don't think I've had so much pure fun at any other movie in 2022. Like the bullet train of the title, the film races rapidly and it becomes a task to keep track of the characters and who's who and who's doing what to who, etc. But it's best just to let your mind take a break and enjoy the craziness of it all. Still, if you insist on realism and logic, this is not the movie for you. With Sandra Bullock, Channing Tatum, Ryan Reynolds, Michael Shannon, Aaron Taylor Johnson, Brian Tyree Henry, Andrew Koji, Hiroyuki Sanada and Zazie Beetz.

Pretty Baby (1978)

Set in the New Orleans Red Light district in 1917, a young child (Brooke Shields) lives in a brothel where her mother (Susan Sarandon) works as a prostitute. Although still a child, it's inevitable that she will follow in her mother's footsteps. Directed by Louis Malle (MURMUR OF THE HEART), this is a film that could never be made today. If it was, the lead would never be played by an 11 year old actress (Shields' age at the time). They would probably cast a 16 year old actress or an 18 year old who looked 16 which destroys what the film is about. A child (not a teenage) prostitute maintaining her innocence in a sordid surrounding until the reality forces her eyes open. Like the child Elizabeth Taylor, Shields has a woman's face on a child's body which is disconcerting. The part doesn't require Shields to act so much as let natural innocence shine through. It's an uncomfortable film to sit through but that's the point, we should be uncomfortable. Bourgeois minds (like gossip columnist Rona Barrett) attacked the film as child pornography when it opened but today, it stands proudly next to Malle's best films. Malle has always had a penchant for the darker aspects of childhood and adolescence (AU REVOIR LES ENFANTS, LACOMBE LUCIEN, MURMUR OF THE HEART) and PRETTY BABY may be his darkest. Thumbs up for Sven Nykvist's superb precise lighting and cinematography. With Keith Carradine, Barbara Steele, Diana Scarwid, Antonio Fargas, Mae Mercer and as the brothel's madam, cabaret singer Frances Faye.

Cry Wolf (1947)

A recent widow (Barbara Stanwyck) visits her husband's (Richard Basehart) family for the first time and finds herself drawn to a man she knows she should fear: her husband's remote, controlling uncle (Errol Flynn). Meanwhile, there are screams in the night, a sudden death and a locked laboratory in a windswept mansion. Based on the novel by Marjorie Carleton and directed by Peter Godfrey (CHRISTMAS IN CONNECTICUT). The one and only pairing of two screen icons, Stanwyck and Flynn, is a bit of a disappointment. No so much for the movie itself which is a moderately entertaining and competent piece of mystery (though when its "mystery" is revealed, it's a letdown) but because Stanwyck and especially Flynn are miscast. In an atypical role, Flynn is a rigid scientist and displays none of the swash of his adventure movies and tough cookie Stanwyck is hardly a damsel in distress. With Geraldine Brooks, Jerome Cowan and Patricia Barry.

The Rain People (1969)

Two months pregnant and feeling trapped, a young wife (Shirley Knight) leaves her sleeping husband a note and drives away from her Long Island home and hits the road hoping to find herself. Written and directed by Francis Ford Coppola (THE GODFATHER). Several years before early feminist films like A WOMAN UNDER THE INFLUENCE, ALICE DOESN'T LIVE HERE ANYMORE and AN UNMARRIED WOMAN were acclaimed, Coppola turned his camera's eye toward examining a contemporary woman's dilemma: unhappy in the traditional "wife" role thrust on her by a patriarchal society, unsure if she even wants to be a mother, going from her father's identity as his daughter to her husband's identity as his wife, who is she?  As she stumbles awkwardly on her road trip, Coppola doesn't give us any answers. When Knight picks up a mentally challenged child like hitchhiker (James Caan), she's attracted to him yet she also realizes she doesn't want the responsibility of taking care of him which mirrors her own fear of impending motherhood. The film ends without closure. Will Knight return to her husband? Has she "found" herself? Is she any better off than when she began her journey? With Robert Duvall and Tom Aldredge.

Give Me Your Heart (1936)

Set in England, a young woman (Kay Francis) has an affair with a married man (Patric Knowles). When she becomes pregnant, he and his wife (Frieda Inescort) adopt the baby as their own. She moves to New York where she marries but her guilt over giving up her child threatens her marriage. Based on the play SWEET ALOES by Joyce Carey and directed by Archie Mayo (THE PETRIFIED FOREST). Yes, it's Kay Francis suffering and suffering and suffering again. Not even her adoring husband (George Brent), her closet stuffed with glamorous designer clothes and a spacious New York apartment at a fancy address can ease her suffering! The poor dear! Not to worry, by the movie's end everything is tied in a neat little ribbon and Kay is happy again. If you're a Kay Francis fan (I'm quite partial to her) then you know what you're in for. As her good friend, the affable Roland Young is around to provide a few laughs to alleviate Kay's angst. With Henry Stephenson and Elspeth Dudgeon.

Casanova (1927)

Set in 1760's Venice, the renowned philanderer Casanova (Ivan Mosjoukine) enjoys a sumptuous and flirtatious existence until his indiscreet behavior alerts his rivals and forces the the city's authorities to banish him. But before they can, he escapes and heads to Russia. Directed by Alexandre Volkoff, the film is a grandiose and lavish (including a spectacular color sequence during carnival) entertainment and that's all it is. There's not much there other than the opulent visuals and at 2 hours and 40 minutes, it wears thin after awhile. Mosjoukine was a popular Russian silent film star who emigrated to France where he had a successful career. In 1926, he was signed by Universal and came to America but after one film (1927's SURRENDER), he returned to Europe. The film remains of interest because of its technical features but the lack of substance along with its self indulgent length may be off putting to potential audiences. But I love silent cinema so I gave it a pass which I might not have if it had been a sound film. With Suzanne Blanchetti as Catherine the Great, Diane Karenne, Jenny Jugo, Paul Guide and Rudolf Klein Rogge. 

The Singing Nun (1966)

Set in Belgium, a young nun (Debbie Reynolds) leaves her convent in Antwerp for a convent in a poverty stricken area in Brussels. When it is discovered she plays guitar and has a lovely singing voice, the parish priest (Ricardo Montalban) arranges to have her songs recorded. A fictionalized version of the life of Jeannine Deckers, who briefly found fame as Sister Sourire aka The Singing Nun and directed by Henry Koster (THE ROBE). A throwback to those saccharine priest/nun films of the 1940s (GOING MY WAY, BELLS OF ST. MARY'S, COME TO THE STABLE etc.), this film creaked even in 1966. It's not as bad as GOING MY WAY (what could be?) but it's a calculated "wholesome" family movie (it was the Easter attraction at Radio City Music Hall) with not an honest moment in the whole movie. None of it the fault of Debbie Reynolds who gives it her spunky all but this mawkish mishmash was doomed from the start. Actually, the story of the real singing nun would make a fascinating film: she never saw a penny from her hit album, left the convent and lived in poverty and eventually committed suicide with her longtime companion. With Greer Garson, Katharine Ross, Chad Everett, Agnes Moorehead, Juanita Moore and Michael Pate.

Bright Victory (1951)

Set during WWII, an army Sergeant (Arthur Kennedy in an Oscar nominated performance) is blinded by a German sniper and lands in a military hospital where he begins a long and painful road to recovery. Based on the novel LIGHTS OUT by Baynard Kendrick and directed by Mark Robson (VALLEY OF THE DOLLS). Much admired in its day (Kennedy won the New York Film Critics award for best actor), today it resembles a well intentioned TV movie of the week. This situation was better done in THE BEST YEARS OF OUR LIVES with Harold Russell as the disabled veteran trying to adjust to a post military life. The most interesting aspect of the movie is Kennedy's racism and how his blindness helps him overcome the bigotry he was taught as a child. I also appreciated the fairness in which Kennedy's fiancee (Julie Adams) was portrayed. She's unable to deal with his blindness but the film doesn't make her a "bad" person for being honest. With Peggy Dow, Rock Hudson, Richard Egan, Murray Hamilton, Jim Backus and James Edwards.

It's A Great Feeling (1949)

The stable of contract directors at Warner Brothers refuse to work with actor Jack Carson (who plays himself) because of his ego and temperament so he decides to direct his next movie himself. The next problem is finding a leading lady since like the directors, the actresses under contract refuse to work with Carson too. Enter a fresh young face (Doris Day) and Carson and his friend and leading man Dennis Morgan (who plays himself) decide to build her up as the star of the movie. Directed by David Butler (CALAMITY JANE), this piece of Technicolor fluff is agreeable enough and in her third movie, Day solidifies her position as Warners premier musical star. But the real fun is spotting all the Warner contract players and directors crammed into the movie, many of them like Gary Cooper, Edward G. Robinson and Joan Crawford having fun spoofing their screen personas. For film buffs, it's like a visit to the candy store! The huge cast also includes Errol Flynn, Jane Wyman, Danny Kaye, Patricia Neal, Ronald Reagan, Eleanor Parker, Sydney Greenstreet, Raoul Walsh, Michael Curtiz, King Vidor, Bill Goodwin and Jacqueline DeWit.

The Shopworn Angel (1938)

Set during WWI, a naive Texas cowboy (James Stewart) in the Army will soon be shipped overseas. He meets a sophisticated Broadway actress (Margaret Sullavan), who while in love with another man (Walter Pidgeon), strings him along out of kindness while he falls in love. Based on the short story PRIVATE PETTIGREW'S GIRL by Dana Burnet which had been filmed twice previously (1919,1928) and directed by H.C. Potter (THE FARMER'S DAUGHTER). The first two versions were pre-code so this had to be cleaned up a bit from its sexual elements. The story has a lot of tenderness and charm and if it had gone with a more realistic ending instead of the tear jerking Hollywood ending, it would have been more satisfying. As it is, the ending is a cop out but the movie was a hit so I guess it was okay with 1938 audiences. In a rare glamorous role, Sullavan looks lovely and fortunately she has the ability of making the most awkward lines (and they are a lot of them) sound natural and, of course, she and Stewart have a proven chemistry. With Hattie McDaniel in one of her best roles, Sam Levene, Virginia Grey and Nat Pendleton. 

Trash (1970)

A heroin addict (Joe Dallesandro) is impotent because of his drug use which frustrates his live in girlfriend (Holly Woodlawn). She eventually concocts a plan to get on welfare by pretending to be pregnant. Written and directed by Paul Morrisey (CHELSEA GIRLS), this underground film is perhaps a perfect specimen of the 16 millimeter improv films turned out by the Andy Warhol factory from the mid 1960s to the mid 1970s before they petered out. It's certainly one if not the most "commercial" entries and it was a hit in art houses in the urban film markets. The "acting" is almost non existent (most of the enervated actors sound like they're reading their lines off a cue card) although the transgender actress Holly Woodlawn gives a vigorous comic performance. The movie has a feel for the squalor of the 70s subculture and even today, some of its scenes are quite shocking. Its use of graphic drug taking (shooting up with needles), nudity (Dallesandro's casual full frontal) and sex (Woodlawn has sex with a beer bottle) are both gasp inducing and hilarious, often at the same time. With Jane Forth, Michael Sklar, Bruce Pecheur, Andrea Feldman and Geri Miller.

Gone In The Night (2022)

When a woman (Winona Ryder) and her new boyfriend (John Gallagher Jr.) arrive at a remote cabin they've rented, they find a mysterious young couple (Owen Teague, Brianne Tju) already there. But when her boyfriend disappears with the young woman, she becomes obsessed with finding an explanation but there is a more diabolical plot behind the disappearance. Co-written and directed by Eli Horowitz in his directorial debut. While the first half of the film sets up a genuine sense of dread, we get flashbacks which gives us clues that Ryder's character is not privy to so we are able (if we pay attention) to solve the mystery before she does. The ending is pretty preposterous by the time we arrive there but Horowitz cheats a bit. There's one important question that Ryder's character (or anyone in her position) would ask but she never does. That she never asks that question and with the introduction of the cabin's owner (Dermot Mulroney), if one adds one and one, you should come up with two and the "secret" begins to unravel. All that aside, I rather liked it despite its obviousness.

Les Miserables (1935)

Set in 19th Century France, a man (Fredric March) is sent to prison for ten years (in the book it's five years) for stealing bread. Upon his release, he takes on a new identity and becomes a beloved and respected citizen. But a fanatical police inspector (Charles Laughton) hounds him because he broke his parole and wants to bring him back to prison. Based on the classic novel by Victor Hugo and directed by Richard Boleslawski (THEODORA GOES WILD). There have been over fifteen adaptations (at least) of LES MISERABLES on film, on stage and on television. This is one is a straightforward telling of the novel but with many changes from the book (some of which have been incorporated in subsequent versions). For example: this being a post code film Fantine's (Florence Eldridge) descent into prostitution is eliminated, Eponine (Frances Drake) is a totally different character than in the novel where she has no connection to the revolutionaries, etc. It's a rather dry film made without much artistry and some dubious choices as when Javert commits suicide, there's a hallelujah chorus on the soundtrack. It contains excellent work from March, Laughton and Drake. Far from the definitive LES MISERABLES film adaptation but a solid rendering of the book. With Cedric Hardwicke, Rochelle Hudson, John Beal, Leonid Kinskey, John Carradine and Eily Malyon. 

Rasputin The Mad Monk (1966)

In early 20th century Czarist Russia, a wild eyed peasant monk (Christopher Lee) mysteriously demonstrates healing powers. He begins using his evil charm and powers to become increasingly manipulative and violent and it isn't long before he insinuates himself into the Russian court and the confidence of the Czarina (Renee Asherson). Directed by Don Sharp (KISS OF THE VAMPIRE). This being a product of Hammer studios, the tale of Rasputin (the mystic who ingratiated himself into the confidence of Alexandra, the Czarina of Russia) has been turned into a horror movie! The events are highly fictionalized and Lee's Rasputin is played as an evil monster with supernatural powers. He's like HALLOWEEN's Michael Myers, he refuses to die and keeps coming back! Historical inadequacies aside, it's enjoyable for what it is and it features one of Lee's best performances. His Rasputin is evil enough to make your skin crawl. With Barbara Shelley, Richard Pasco, Suzan Farmer and Francis Matthews.

In The Good Old Summertime (1949)

Set at the turn of the 20th century in Chicago, the head clerk (Van Johnson) in a music shop and a new employee (Judy Garland) dislike each other intensely. Little do they know that they are anonymously communicating with each other as romantic pen pals. Based on the play PARFUMERIE by Miklos Laszlo by way of its previous screen incarnation THE SHOP AROUND THE CORNER (1940) and directed by Robert Z. Leonard (THE GREAT ZIEGFELD). Ernst Lubitsch's 1940 film version is one of the screen's great romantic comedies. Someone at MGM thought it might be a good idea to add songs and Technicolor but the lightning doesn't strike twice. The magic isn't there except when Garland sings and the plot has been altered to be more wholesome (the adultery angle is eliminated). For Garland fans, it's de rigeur but it's one of her weaker vehicles but 1949 audiences lapped it up and it was a big hit. Technically, it's first rate as you would expect from MGM: Harry Stradling's Technicolor lensing, Helen Rose's costumes and Randall Duell's and Cedric Gibbons' art direction. A good musical of SHOP AROUND THE CORNER was made in 1963 on Broadway that would make a marvelous film musical. With Buster Keaton, Spring Byington, S.Z. Sakall, Clinton Sundberg, Marcia Van Dyke and in her film debut, Liza Minnelli. 

La Fille Prodigue (1981)

A young woman (Jane Birkin) suffering from depression and on the verge of a nervous breakdown leaves her husband (Rene Feret) and returns home. She discovers her father (Michel Piccoli) has taken a mistress (Eva Renzi) and when her mother (Natasha Parry) leaves to be by her other daughter's (Audrey Matson) side for the birth of their first grandchild, she confronts her father about her incestuous feelings toward him. Directed by Jacques Doillon (PONETTE), this film was never released in the U.S. and it's easy to see why. As a film subject, incest is an uncomfortable and disturbing subject and as presented here, it's downright creepy. Birkin's daughter is obviously disturbed and one wonders why no one is trying to get help for her. Instead, they indulge her self destructive behavior as she alienates almost everyone around her. Her father appears complicit in her breakdown as there appears to have been abuse as a child, certainly physically but an implication of possible sexual abuse too. It's an awkward sit but the acting is very good.  

The High Cost Of Loving (1958)

When the company he works for is taken over by a huge conglomerate, an executive (Jose Ferrer) hopes for a promotion. But when he isn't invited to a luncheon thrown for the executive staff, he fears he's going to be let go. Directed by Jose Ferrer, this subtle satire on corporate politics is mildly amusing. It's a slight film but it captures the frustration and panic of working in the corporate world where your job is at the whims of whomever pulls the strings. I'm not a fan of Jose Ferrer who can be as scenery chewing as a Rod Steiger or Lee J. Cobb but he's on target here. As his wife, Gena Rowlands (in her film debut) is breathtakingly beautiful but fortunately Ferrer doesn't use her merely for her looks. She brings a sensible calm to contrast to Ferrer's nervous energy. Shot in B&W, Ferrer and his cinematographer George J. Folsey (FORBIDDEN PLANET) make excellent use of the CinemaScope frame. With Jim Backus, Bobby Troup, Joanne Gilbert, Nancy Kulp, Edward Platt and Abby Dalton.

The Bishop Murder Case (1929)

A man is found dead with an arrow in his chest in the yard of an elderly professor (Alec B. Francis). The district attorney (Clarence Geldart) calls in private detective Philo Vance (Basil Rathbone) for assistance in solving the murder. Based on the novel by S.S. Van Dine and directed by David Burton and Nick Grinde. Some ten years before playing Sherlock Holmes in a series of films, Basil Rathbone plays detective Philo Vance for one time only. The Philo Vance series would continue but with different actors taking over the role of Vance. This entry is an early talking film so it's quite static and stage bound and the acting is often very crude though not by Rathbone or Roland Young as one of the murder suspects. In spite of it being stagnant, I'm a pushover for murder mysteries so I enjoyed it although others may not be so charitable. With Leila Hyams, George F. Marion, Zelda Sears and Delmer Daves (who did this and one other film as an actor before turning to writing and directing such films as 3:10 TO YUMA and A SUMMER PLACE). 

Tár (2022)

A renowned world famous and sought after composer and conductor (Cate Blanchett) is currently the conductor of the Berlin Philharmonic. But her seemingly perfect life unravels with the suicide of a former student (Sylvia Flote) when rumors and accusations question the propriety of her relationship with the student. Directed by Todd Field (LITTLE CHILDREN), I had some misgivings going into the film. I'm not an admirer of Blanchett's actress-y performances where she overwhelms her characters with her acting with a capital A and it's the acting we become focused on, not the character. However, in this case, that very quality which ruins her work as "normal" people is a perfect match for her egotistical "take no prisoners" conductor. I enjoyed the movie's peek into the politics of the classical performance world. Alas, the movie comes completely unglued in the movie's last 20 minutes or so. It's as if Field realized he had to end the movie immediately so he rushed through to the end giving us patches and bits sewn together from scraps. Its lengthy two hours and 38 minutes seem self indulgent. I'm not sure how we're intended to feel about Blanchett's Tar. It's hard to empathize with the downfall of someone who appears to be an arrogant sexual predator. With Nina Hoss, Julian Glover and Noemie Merlant.

Claire (1956)

A doctor (George Montgomery) brings his new bride (Angela Lansbury) to the home he shared with his first wife, who died in a drowning accident. The Siamese cat in the household seems to resent the new wife's presence, perhaps because she knows the bride's dark secret. Directed by Frank Tuttle (THIS GUN FOR HIRE), this was originally shot for the Screen Director's Playhouse, a television anthology series. It's a straightforward mystery with just a touch of the supernatural ably acted by Lansbury and Montgomery. Lansbury might go a tad too far with her hysterics which makes it a bit easier to figure out the ending. It's refreshing that the cat is presented as a source of good as opposed to the movies' usual association of cats with evil. With Lillian Randolph and Jean Willes. 

Time Out Of Mind (1947)

Set in 19th century Maine, a young housekeeper (Phyllis Calvert) falls in love with the son (Robert Hutton) of her employer, a wealthy retired sea captain (Leo G. Carroll). Although his first love is music, the son is forced to go to sea by his father to uphold the family tradition. Based on the best selling novel by Rachel Field and directed by Robert Siodmak (THE SPIRAL STAIRCASE). The film started off promisingly and I was anticipating a Gothic unrequited romance between a wealthy aristocrat and the household maid and for about half the movie, it was a decent enough romance. Then, it falls into a maudlin, almost sickly, spiral and I lost interest in it. Nothing annoys me more than films about women who pine away for weak willed men and keep pushing them to be great when they'd rather get drunk and wallow in self pity. Perhaps if a stronger actor than the bland Hutton had played the son, the film might have worked but Hutton is a cipher and one wonders why the appealing Calvert wastes her time on him especially when a robust fisherman (Eddie Albert) is obviously romantically interested in her. This was an attempt to launch Calvert, a popular actress in England, on a Hollywood career but the film was a flop so it never happened. Siodmak directed some classic gems in the 1940s  including THE SPIRAL STAIRCASE, PHANTOM LADY, CRISS CROSS and THE KILLERS and this represents one of his rare failures. With Ella Raines (wasted), Helena Carter and John Abbott.

Miracolo A Milano (aka Miracle In Milan) (1951)

A baby is found in a cabbage patch by an old woman (Emma Gramatica) who adopts him as her own. After her death, the boy (Gianni Branduani) is sent to an orphanage. As a young man (Francesco Golisano, who looks like Jay Leno), he has a kind and naive nature. Along with a group of poverty stricken people, they take a piece of abandoned land and turn it into a shantytown. Directed by Vittorio De Sica, this slight piece of whimsical fantasy came between his two dramatic neorealist classics, THE BICYCLE THIEF and UMBERTO D. The film has been compared to the works of Chaplin and Rene Clair and its satirical eye has an affection for its common folk who don't seem unduly disturbed by their poverty. It's probably best not to make too much out of the movie which finds De Sica in a playful mood. The film's final fantastic fantasy takes away the pain of the actuality of what would have happened to these people in "real" life. With Brunella Bovo and Paolo Stoppa.

Frankenstein (1931)

An obsessed scientist (Colin Clive) is convinced he can create new life by assembling the body parts of corpses. But his assistant (Dwight Frye) steals an "abnormal" criminal brain and the result is a living monster (Boris Karloff). Based on the novel by Mary Wollstonecraft Shelley (the screen credits read based on the novel by Mrs. Percy Shelley) and directed by James Whale (SHOW BOAT). I know the film is considered a classic of the horror genre but honestly, of all the Universal monster franchises, the Frankenstein movies have never appealed to me much though I'm quite fond of BRIDE OF FRANKENSTEIN and ABBOTT & COSTELLO MEET FRANKENSTEIN but they are the exceptions. I don't dislike them but I find very little sense of true horror or atmosphere and worst of all, they tend to be dull. Whale's pre-code FRANKENSTEIN has some good moments (the Monster playing with the little girl before he murders her) but overall it's a bit monotonous and creaky, something I don't find with the Mummy, Dracula or even the Wolf Man franchises. I realize I'm in the minority but there you go. Jack Pierce is responsible for Karloff's justifiably iconic make up. With Mae Clarke, John Boles, Frederick Kerr and Marilyn Harris. 

The Sugarland Express (1974)

A young woman (Goldie Hawn) helps her husband (William Atherton) break out of jail with the intention of forcibly retrieving their baby (Harrison Zanuck) from the foster home he has been placed in. They kidnap a Texas patrolman (Michael Sacks) and force him at gunpoint to take them to their baby. Based on an actual incident that happened in 1969 and directed by Steven Spielberg in his feature film debut. Although a "true" story, Spielberg fictionalized much of the movie for more dramatic effect. The film is a kissin' cousin to RAISING ARIZONA but whereas ARIZONA was a black comedy, SUGARLAND's schizophrenic nature can't seem to decide whether it wants to be a good ol' boy SMOKEY AND THE BANDIT chase movie (which came three years after) or a BONNIE AND CLYDE lovers on the run from the law crime drama. The strongest parts of the movie are the latter. Not surprisingly, the film is condescending to the rural Texans (the yokels shooting up the car lot never happened, it's an invention for the film). On the plus side, the film contains what is perhaps Hawn's best performance and she might have nabbed an Oscar nomination if the film weren't a box office disappointment. This was the first collaboration between Spielberg and composer John Williams. JAWS would come out the following year. With Ben Johnson, Louise Latham and Gregory Walcott.

Irene (1940)

An Irish shopgirl (Anna Neagle) suddenly finds herself a top model at Madame Lucy's fashion house. It isn't long before she's mistaken for Irish aristocracy and the shop manager (Roland Young) encourages the deception by putting her up at a Park Avenue residence and footing the bill. Based on the hit 1919 stage musical (successfully revived in 1973 with Debbie Reynolds as Irene) and directed by Herbert Wilcox (NO NO NANETTE). The movie jettisons most of the songs from the original musical retaining about three or four of them which makes the film more of a semi-musical. Anna Neagle and her producer/director husband Herbert Wilcox were a popular combination at the British box office and IRENE was made during their brief sojourn to Hollywood (1939-1943) before returning to England where she enjoyed continued success as one of Britain's most popular actresses. While she never attained the popularity in the U.S. that she enjoyed in England, IRENE was a hit in the U.S. As to the film itself, it's rather sweet but it can't sustain its charm all the way through and by the end, it's run out of steam. Although shot in B&W by Russell Metty (WRITTEN ON THE WIND) the film's highlight is the Alice Blue Gown sequence which is in Technicolor. With Ray Milland, Marsha Hunt, Billie Burke, May Robson and Alan Marshal.

Ema (2019)

A choreographer (Gael Garcia Bernal) and his dancer wife (Mariana Di Girolamo) have an adopted child (Cristian Felipe Suarez). When a tragedy occurs due to the boy's pyromania, they return him to the orphanage. Their marriage begins to crumble, not only due to their guilt for abandoning the boy but as the wife embarks on a new life of sexual freedom and liberation. Directed by Pablo Larrain (JACKIE), this is a very disturbing film. We don't get to see the couple before the adoption so we don't know if the tragedy made them wacko or if they were always this crazy. It boggles the mind that these two freaks would ever have been allowed to adopt a kid. The film ends on an equally distressing note as it suggests the craziness is not over. Just what is Larrain trying to say? What is the point of the movie? I couldn't begin to tell you. Still,  there's no denying it has a certain hypnotic pull to it and the dance excerpts are wonderful but Larrain never brings them to completion. With Paola Giannini and Santiago Cabrera.

Atout Cœur à Tokyo Pour OSS 117 (aka 0SS 117: Mission To Tokyo) (1966)

A secret agent (Frederick Stafford) is assigned to Tokyo, Japan to ferret out an organization blackmailing the U.S. government by blowing up U.S. military bases if their money demands are not met. Based on a story by director Terence Young (DR. NO) and directed by Michel Boisrond (LA PARISIENNE). This was the fourth entry in the popular five film OSS 117 franchise produced by Andre Hunebelle in the 1960s and Stafford's second and final appearance as agent OSS 117. As a Eurospy thriller, it looks marvelous thanks to Marcel Grignon's (IS PARIS BURNING?) wide screen (Franscope) lensing of the Japanese landscape but it feels tired and bereft of any originality. The next year, the Bond franchise would go to Japan for YOU ONLY LIVE TWICE and do it with more vigor. With Marina Vlady, Henri Serre and Jitsuko Yoshimura.

Crossings (1986)

Set in 1939 and continuing through the end of WWII. The young wife (Cheryl Ladd) of a French diplomat (Christopher Plummer) finds herself attracted to a steel magnate (Lee Horsley) on a transatlantic voyage from New York to France. Although he's married to an unfaithful wife (Jane Seymour), he attempts to hold his fragile marriage together for the sake of their young son (Carl Steven). Based on the best selling novel by Danielle Steel and directed by Karen Arthur (THE MAFU CAGE). This is the kind of lush pulpy trash that can be fun as long as it doesn't take itself too seriously. Unfortunately, it addresses some serious issues like Jews being sent to concentration camps and the resistance movement fighting Nazis in France which seems out of place with the trashy romantics. The film also has a double standard when it comes to adultery. Ladd's character is a "good" person so she gets a pass when she sleeps with Horsley while her husband is risking his life in Vichy France. Meanwhile, Seymour's wife is "bad" because she's mean to her husband and neglects her child so her adultery is frowned upon. Actually, Jane Seymour gives the best performance in the movie, she's the only character who resembles an actual human being, flaws and all. Ladd, Seymour and Joan Fontaine (wonderful in her one scene as a bitchy Countess) look sensational in their Nolan Miller frocks. Still at 7 1/2 hours, there's a lot of excess fat. With Stewart Granger, Horst Buchholz, Kelsey Grammer, Joanna Pacula, Zach Galligan and Jan Rubes.

Svengali (1954)

Set in Paris at the turn of the 20th century, an artist's model (Hildegard Knef) falls in love with a struggling painter (Terence Morgan). But she falls under the spell of a Machiavellian minstrel (Donald Wolfit) who pushes her to become a great opera singer. Based on the novel TRILBY by George Du Maurier and directed by screenwriter Noel Langley (THE WIZARD OF OZ). I don't know why Du Maurier's tale holds a fascination for film makers, it's been made five times as a silent film and in the sound era, 1931 with John Barrymore and in 1983 with Peter O'Toole and Jodie Foster. This one feels more LA BOHEME than TRILBY and the art direction (Frederick Pusey) and costumes (Beatrice Dawson) are striking but it's still pretty hokey. The book's anti-Semitic bent (Svengali is Jewish in the book) has fortunately been ditched by all movie versions. Neff's singing voice was dubbed by the renowned soprano Elizabeth Schwarzkopf. With Paul Rogers, David Kossoff, Michael Craig and Harry Secombe.

Jimmy The Gent (1934)

An unscrupulous private detective (James Cagney) specializes in locating missing heirs and collecting 50% of the inheritance. But when the girl (Bette Davis) he loves leaves him to work for a rival (Alan Dinehart), he plots to get her back. Based on the short story THE HEIR CHASER by Ray Nazzaro and Laird Doyle and directed by Michael Curtiz (WHITE CHRISTMAS). This quick and economic (it runs an hour and 7 minutes) programmer is a lot of fun. Cagney does what Cagney does best, fast talking a mile a minute and dispensing an impudent charm although it takes a few minutes to get used to his hair cut (the sides are shaved off). It's product right off the Warners assembly line but the reviews were positive and it did well at the box office. Don't expect anything special but it's amusing enough. Still in her blonde phase, Davis is cute as a button but it's the kind of generic "the girl" role that any Warners contract player could have done. With Allen Jenkins, Mayo Methot and Dennis O'Keefe.