Cocaine Bear (2023)

Set in 1985, a man (Matthew Rhys) drops a shipment of cocaine from his plane over Tennessee. He attempts to parachute from the plane with a duffel bag filled with cocaine but he accidentally knocks himself unconscious and falls to his death. Meanwhile in Georgia, an American black bear eats some of the cocaine and attacks two tourists, killing one of them. It's just the beginning of the bear's coke fueled deadly rampage. Directed by Elizabeth Banks (PITCH PERFECT 2). The film is very loosely based on an actual event when a 175 pound black bear ingested the cocaine but he died (his body was found some three months later) and didn't kill anybody. The film's premise is that the bear lives and goes on a coke fueled rampage. If the film had been played straight, there's a good chance it could have invoked unintentional laughter so the film makers wisely made it an intentional over the top comedy not to be taken seriously. It's a one joke premise and perhaps sensing audiences would get tired of it, the movie runs about 90 minutes but it still drags in spots. I had a good time with it, the movie knows it's dumb and plays on it. It's the kind of movie where someone getting shot in the head or getting their leg chewed off is played for laughs. The acting is wildly all over the place but two performances stand out: Margo Martindale as a park ranger and Isiah Whitlock Jr. as a police detective. With Keri Russell, Ray Liotta, Alden Ehrenreich, Jesse Tyler Ferguson, O'Shea Jackson Jr. and Brooklynn Prince. 

L'Homme Qui Aimait Les Femmes (aka The Man Who Loved Women) (1977)

At a funeral attended only by women, in flashback we look back at the life of a middle aged man (Charles Denner) who was obsessed with the female sex. Never able to commit to one woman, he keeps seeking the feminine perfection which, of course, he'll never find. Directed by Francois Truffaut (JULES AND JIM), time has not been kind to this frustrating film. It isn't light enough for a comedy (it lacks charm) but not serious enough for a drama. Today, Denner's character comes across as a stalker who'll go to extreme lengths to track down a woman he's never met. He objectifies women, the world is a huge supermarket and he shops for them as he would for produce like melons or grapefruit. The movie does hint that there might be something wrong with his psyche and that the world is changing and objectification like his may no longer be tolerated in the future. Inexplicably, Blake Edwards thought it was a good idea to make an English language version of this in 1983. With Leslie Caron, Brigitte Fossey, Nelly Borgeaud, Genevieve Fontanel, Jean Daste and Nathalie Baye (voice only as a switchboard operator).

Až Přijde Kocour (aka The Cassandra Cat) (1963)

In a rural Czechoslovakian village,  a traveling magic show comes to town. Among the show's attractions is a cat who has the ability to expose people's true colors ..... literally. Lovers turn red, the unfaithful turn yellow, mean spirited people turn violet, hypocrites turn gray, etc. Naturally, an upset majority of the villagers want the cat killed. Directed by Vojtech Jasny (ALL MY COMPATRIOTS), this fable (or fairy tale if you wish) is an inventive and charming one of a kind movie. There was a small explosion of notable Czech film makers in the 1960s that got international attention (some of whom crossed over to English language films). Directors like Milos Forman (LOVES OF A BLONDE), Ivan Passer (INTIMATE LIGHTNING), Jiri Menzel (CLOSELY WATCHED TRAINS) and Jan Kadar (SHOP ON MAIN STREET). Vojtech Jasny didn't quite get the attention of his fellow Czech film makers even though THE CASSANDRA CAT won the Special Jury Prize at the Cannes film festival. Though the film isn't a musical, Jasny has a musical sense in his direction so that during certain segments it feels like a musical. The film might be too whimsical for some but I found its way of touching on subjects like political corruption and animal cruelty without being heavy handed refreshing. Kudos to Jaroslav Kucera's imaginative wide screen cinematography and Jan Chaloupek's excellent score. Definitely worth seeking out. With Jan Werich, Emilia Vasaryova, Vlastimil Brodsky and Jiri Sovak.

When Tomorrow Comes (1939)

An internationally known concert pianist (Charles Boyer) stops into a diner for lunch and promptly falls in love with a waitress (Irene Dunne). Based on the short story A MODERN CINDERELLA by James M. Cain (THE POSTMAN ALWAYS RINGS TWICE) and directed by John M. Stahl (LEAVE HER TO HEAVEN). The pairing of Boyer and Dunne in LOVE AFFAIR earlier in the year resulted in a box office hit so they were quickly reteamed for this romantic melodrama which was also a big hit. The film was not without controversy when Universal was sued by James M. Cain claiming they inserted a scene from his book SERENADE (not filmed until 1956) into the film. He lost the lawsuit. As to the film itself, fortunately Boyer and Dunne have a pleasing chemistry which compensates for the flat screenplay. It's a pleasant enough endeavor but star power can only go so far. The movie's highlight is a hurricane sequence that traps the lovers who seek shelter in a church. The film's best performance comes from Barbara O'Neil as Boyer's mentally unstable wife. Remade by Douglas Sirk in 1957 as INTERLUDE. With Onslow Stevens, Nydia Westman and Fritz Feld.

The Mysterious Dr. Fu Manchu (1929)

During the 1900 Boxer Rebellion, the wife and child of the wise and kindly Dr. Fu Manchu (Warner Oland) are killed by allied troops. He then swears vengeance on the Caucasians he considers responsible for their deaths and becomes the diabolical Fu Manchu! Based on the novel by Sax Rohmer and directed by Rowland V. Lee (BRIDGE OF SAN LUIS REY). Filmed during the transition from silent cinema to sound, this was filmed in both a silent and talkie version and both played theatres. The transfer I watched was the talkie version. It's pretty creaky and stagnant and the awkwardness eventually does the movie in. After a Fu Manchu sequel two years later, Oland would abandon Fu Manchu but still play Chinese for the Charlie Chan franchise at Fox. As Fu Manchu's ward, Jean Arthur shows none of the spark that would make her one of Hollywood's biggest stars in the 1930s and 40s. It's a chilling reminder of what her career might have been if she hadn't been rescued by Columbia who saw her ability as a comedienne. Interesting as an archival blip in the trajectory of Oland and Arthur's career as well as the Fu Manchu character. With Neil Hamilton and O.P. Heggie.   

Bloodhounds Of Broadway (1989)

Set on New Years Eve 1928, four different stories intertwine with each other: a gangster (Rutger Hauer) is stabbed, a socialite (Julie Hagerty) throws a party, a guy (Randy Quaid) sells his body to a doctor for an experiment so he can get money to impress a girl (Madonna) and a gambler (Matt Dillon) cheats on his girlfriend (Jennifer Grey). Based on four short stories by Damon Runyon (A VERY HONORABLE GUY, THE BRAIN GOES HOME, SOCIAL ERROR, BLOODHOUNDS OF BROADWAY) and directed by Howard Brookner, who died at age 34 before the movie opened. This ensemble comedy doesn't work at all. One can see Brookner attempting a Runyonesque period comedy but his actors just don't have the acting style necessary to make it work and Brookner's direction is flat. The characters have names like Minnie The Shrimp, Whining Willie, Hotfoot Harry and Feet Samuels. Something like this would have been slam dunk if it had been made in the 1930s with the likes of James Cagney, Ginger Rogers and Edward G. Robinson in the cast but the young actors here come across as amateurs in a high school production playing roles they don't understand. Pretty much a dud on all levels. With Esai Morales, Anita Morris, Josef Sommer, Steve Buscemi, Dinah Manoff, Madeleine Potter and Ethan Phillips.

Full Circle (aka The Haunting Of Julia) (1977)

After losing her daughter (Sophie Ward) in a tragic accident, her mother (Mia Farrow) has a nervous breakdown. After her recovery, she leaves her emotionally cold husband (Keir Dullea) and moves into a new house. But something horrible happened in that house many years ago and the evil is still present. Based on the novel JULIA by Peter Straub (GHOST STORY) and directed by Richard Loncraine (MY HOUSE IN UMBRIA). A ghost story rich in atmosphere that plays out more like a mystery than a horror film though it is that, too. Straub's books are difficult to adapt for the screen and this is the only novel besides GHOST STORY (1981) that have made the transition to the screen to date. There have been some changes from the novel: the film's Julia is more innocent than the Julia of the book, a major (and wicked) character who survives in the book is killed off in the movie, etc. There are no jump scares which might bother some die hard horror movie fans but Loncraine provides an atmosphere of dread and an unsettling mood which works for me! A strong central performance by Farrow clinches it. A perfect example of an arthouse horror film. With Tom Conti, Jill Bennett, Cathleen Nesbitt, Robin Gammell and Nigel Havers.

The Spy With My Face (1965)

In order to penetrate a secret government organization called United Command For Law And Enforcement, its criminal rival performs plastic surgery on one of their own agents so that he can take the place of one (Robert Vaughn) of the government agents. Directed by John Newland, this was one of several two part episodes of the TV series MAN FROM UNCLE with new footage filmed  and released both domestically and overseas as a theatrical feature film. It has added footage including new characters (such as Donald Harron as an Australian UNCLE agent) and more sexual scenes (Robert Vaughn and Senta Berger as an enemy agent taking a shower together). It's just okay and sometimes less than that. Although much of the action takes place in Switzerland, the terrain places it smack in Southern California. With Sharon Farrell, David McCallum, Paula Raymond, Leo G. Carroll and Jennifer Billingsley.

The Prince And The Showgirl (1957)

Set in 1911 London during the coronation of King George V, an arrogant Prince (Laurence Olivier) of a small Balkan country attempts to seduce an American showgirl (Marilyn Monroe) but she proves not to be the naive pushover he expected. Based on the play THE SLEEPING PRINCE by Terence Rattigan (who adapts his play for the screen) and directed by Laurence Olivier (RICHARD III). It's a pretty static piece of cinema which doesn't bother to hide its theatrical roots but the highly anticipated acting match between the world's biggest movie star (Monroe at her most luscious) and the world's greatest actor (Olivier) is a draw. Not surprisingly Olivier is perfect but Monroe matches him every step of the way with the added benefit that the camera (in this case, under the direction of Jack Cardiff) adores her. Their different acting styles work to the movie's advantage. The film drags a bit (the coronation parade goes on forever with no payoff). Apparently, it wasn't the easiest shoot (Olivier was exasperated with Monroe's behavior) but you'd never know it from the result. With Sybil Thorndike, Richard Wattis, Jeremy Spenser and Jean Kent.

Mayflower Madam (1987)

A young socialite (Candice Bergen) with roots going all the way back to the original Mayflower descendants is in a financial crisis after being fired from her job as a buyer for a department store. Reduced to answering the telephones for a sleazy escort (that's a euphemism) service, she decides to begin her own service catering to a prestige clientele. Based on the autobiographical memoir by Sydney Biddle Barrows and directed by actor turned director Lou Antonio. It's not an especially good movie but the story of a Manhattan socialite running a high class call girl business is just too fascinating not to be interesting. As Barrows, Candice Bergen fits the part to the manor born which brings a strong sense of authority to the project. There's not much you can say about a telefilm like this. It is what it is and accomplishes what it sets out to do. Whether or it was worth doing in the first place is another question. With Chris Sarandon, Chita Rivera and Caitlin Clarke (DRAGONSLAYER).

You Gotta Stay Happy (1948)

Having second thoughts, a young bride (Joan Fontaine) flees her husband (Willard Parker) on their honeymoon night. She charms her way onto a cargo plane heading to California. The pilot (James Stewart) is an ex-air force vet trying to trying to start up his own flying freight business. Romance follows. Directed by H.C. Potter (THE FARMER'S DAUGHTER), this wan screwball romcom doesn't have much going for it. Joan Fontaine was never known for her comedic abilities and having given one of her best performances earlier that year in Max Ophuls' LETTER FROM AN UNKNOWN WOMAN, this is a real disappointment. She and Stewart have little chemistry but honestly, even if the roles had been played by Tracy & Hepburn, it still wouldn't fly though the star power would have helped. The film's highlight isn't comedic at all but a tense emergency landing in a mud field. The film grasps for laughs where it can, like a cigar smoking chimpanzee! With Eddie Albert, Roland Young, Percy Kilbride and Porter Hall.

Marlowe (2023)

Set in 1939, a down on his luck detective Philip Marlowe (Liam Neeson) is hired to find the lover (Francois Arnaud) of the daughter (Diane Kruger) of an ex-movie star (Jessica Lange). What seems at first like a simple missing person case soon turns into a bewildering tale of murder, kidnapping and drugs. Based on the novel THE BLACK EYED BLONDE by John Banville and directed by Neil Jordan (THE CRYING GAME). This neo noir crime thriller is a misfire. Although the period costumes and music are spot on, the fictional Bay City locale appears to be Los Angeles but the exteriors were filmed in Spain and the interiors filmed in Ireland so it has an unreal atmosphere to it. Neeson looks tired and worn as the part requires but he lacks the cynical tough guy persona that a Bogart or Mitchum (who both have played Philip Marlowe) would have brought to the role. Kruger makes for a suitable femme fatale but the film is stolen by Lange as her movie star mother. As a fan of mysteries, I enjoyed it on that level but as a film noir it's a failure. Entertaining but a major disappointment. With Alan Cumming, Danny Huston, Colm Meaney and Daniela Melchior.

La Strada (1954)

A simple minded young woman (Giulietta Masina) is "bought" from her mother (Anna Primula) by a brutish strongman (Anthony Quinn) who takes her on the road as his assistant. Directed by Federico Fellini, I've never been able to embrace this much beloved and acclaimed Oscar winning classic. I'm not an admirer of Masina's waif Gelsomina, she looks like Harpo Marx channeling Charlie Chaplin. She's also a born victim that we're supposed to empathize with but characters who don't do anything to take control of their life don't appeal to me. But regarding her performance, I'm in the minority. Others seem to adore it while I much prefer her performance in NIGHTS OF CABIRIA where she doesn't overdo the gamin bit. American actors Anthony Quinn and Richard Basehart (as a clown) are dubbed into Italian although they are clearly speaking their lines in English. It's disconcerting not hearing their real voices although the dubbing is typical of Italian film making at the time, even the Italian actors were usually dubbed. The score by Nino Rota is lovely. I can see what others admire in the film but it just doesn't work for me. With Aldo Silvani and Marcella Rovere. 

Starman (1984)

When his spacecraft crash lands over Wisconsin, an alien (Jeff Bridges in an Oscar nominated performance) clones the dead husband of a grieving widow (Karen Allen). He coerces her into taking him to Arizona where he will be picked up by his mothership in three days. Meanwhile, government agents are hot on their trail. Directed by John Carpenter (HALLOWEEN), it took five years to reach the screen due to script problems and went through five different directors. Similarities to E.T. THE EXTRATERRESTRIAL concerned the producers and an emphasis was made on the romantic aspect of the film, namely the Bridges and Allen relationship. Despite good reviews, the box office returns were modest. Bridges is very good here. He is able to project a genuine innocence without coming across as a backward rube (think FORREST GUMP) and Allen gives a tender heartfelt performance making for a believable love story. Their chemistry prevents the love story from getting too sappy. The film is not without its flaws, namely the cliched military goons as exemplified by Richard Jaeckel's National Security agent and the soft hearted SETI scientist played by Charles Martin Smith. With Richard Phalen and Lu Leonard.

The White Warrior (aka Agi Murad: Il Diavolo Bianco) (1959)

A 19th century Chechen chieftain (Steve Reeves) leads his small band of mountain warriors against the invading armies of the Russian Czar Nicholas I's (Milivoje Zivanovic) army. But he must deal with the treachery of one of his own (Renato Baldini). Very loosely based on the posthumous novel by Leo Tolstoy and directed by Riccardo Freda (THE HORRIBLE DR. HICHCOCK). Perhaps the most "serious" of Steve Reeves Italian output but let's face it, he's not much of an actor. I much prefer his peplum films like HERCULES, GOLIATH AND THE BARBARIANS, LAST DAYS OF POMPEII, GIANT OF MARATHON etc. which are more fun. But even in this 19th century period piece, Reeves is encouraged to strip to the waist and flex his muscles. Photographed by Mario Bava before he turned to directing, it looks good but it's a phlegmatic piece of film making. With Giorgia Moll, the stunning Scilla Gabel and Gerard Herter.

Tonight Or Never (1931)

A rising Hungarian opera singer (Gloria Swanson) can't seem to reach her potential ..... until she meets a young man (Melvyn Douglas in his screen debut) living with an older woman (Alison Skipworth). But she suspects he's a gigolo and he does nothing to discourage her suspicions. Based on the play by Lily Hatvany and directed by Mervyn LeRoy (QUO VADIS). This pre-code romantic comedy begins promisingly and for the first forty minutes, I found it rather charming. But after that it loses its way and becomes talky and tedious. Being a pre-code film, it's rather audacious and it's clear that Swanson and Douglas (recreating his stage role) had pre marital sex after which Swanson gives him her emeralds as "payment" for his services. One of the few talkies Swanson made which allowed her to show off her talent for comedy so it's a pity it isn't better. Swanson's wardrobe is designed by Coco Chanel. With Boris Karloff, Warburton Gamble and Robert Greig.

United 93 (2006)

On September 11th 2001, four domestic flights were hijacked by Al-Qaeda members. Two of the flights crashed into the World Trade Center (causing it to collapse), one into the Pentagon and the fourth plane United 93 was the only one not to reach its target due to intervention by the passengers and crew. This is their story. Written and directed by Paul Greengrass (CAPTAIN PHILLIPS), who received an Oscar nomination for his direction. To keep the film's documentary feel, Greengrass uses no familiar or famous actors in the cast. It's not a slick film and Greengrass's three editors give the movie a coarse texture. Using the 9/11 commission report, Greengrass recounts the flight with as much accuracy available at the time although there has been some modest dramatic license used. It remains a devastating emotional experience and thankfully, it never feels exploitative of the tragedy. Among the ensemble cast: Christian Clemenson, Cheyenne Jackson, David Alan Basche, Peter Hermann and Khalid Abdalla.

Bloody Mama (1970)

Set in rural depression era Arkansas, a psychologically disturbed mother (Shelley Winters) overindulges her four sons. She decides to abandon her husband (Alex Nicol) and goes off on a robbing and killing spree with her sons and becomes known as the infamous Ma Barker gang. Very loosely based on the real Ma Barker and directed by Roger Corman (MASQUE OF THE RED DEATH). While I'm a big fan of Corman's Poe inspired horror films, I find the rest of his filmography hit and miss. I have mixed feelings about this one. I can't dismiss its entertainment value but it never rises above its B movie origins into anything really interesting. In short, it's no BONNIE AND CLYDE (clearly an inspiration for this movie). Then there's Winters at her shrill over the top worst! Fortunately, the supporting cast give subtler performances. Corman attempts to utilize the screen violence of BONNIE AND CLYDE but it feels sleazy and exploitative. With a young Robert De Niro, Diane Varsi, Bruce Dern, Don Stroud, Pat Hingle and Robert Walden.

Moment To Moment (1966)

Set on the French Riviera, the lonely wife (Jean Seberg) of a globetrotting psychiatrist (Arthur Hill) can't resist the attentions of a handsome naval officer (Sean Garrison). But their illicit affair has deadly consequences. Based on the short story LAUGHS WITH A STRANGER by Alec Coppel (VERTIGO) and directed by Mervyn LeRoy (I AM A FUGITIVE FROM A CHAIN GANG). Part trashy romance and part psychological thriller and unsuccessful at both. Though there was some location shooting in the South of France, the bulk of the movie was shot on the Universal backlot in Hollywood and it looks it. Outside of LILITH (her performance) and AIRPORT (a massive financial success), Jean Seberg didn't have much luck with her American films. Here, Seberg channels Lana Turner as she heaves and frets in her Yves St. Laurent wardrobe. As her oversexed neighbor, Honor Blackman attempts to breath some life into the movie but she can't resuscitate it. As Seberg's lover, Sean Garrison is a cipher and makes the stolid Arthur Hill look good. On its own terms, it's entertaining in the way bad movies so often are. Henry Mancini provided the lush score. With Gregoire Aslan, Donald Woods and Georgette Anys. 

The Cat And The Canary (1927)

On a dark and stormy night, a group of greedy relatives gather at a gloomy mansion for the reading of a will. A young cousin (Laura La Plante) is named the heir to the fortune but will she survive the night with not only the avaricious relatives but a homicidal maniac on the loose escaped from the local asylum. Based on the play by Jack Willard and directed by Paul Leni (THE MAN WHO LAUGHS). This horror comedy is quite influential in the horror genre. Leni's expressionism lends a sense of creepiness to the whole affair and while I didn't find the humor particularly amusing, it adds some levity to the enterprise. I'm a fan of these old dark house with hidden passages while a storm rages outside movies so I'm partial to the genre. Willard's vehicle is popular enough to have been remade three more times as well as TV adaptations and stage revivals. Alas, the transfer I saw was compromised by a mediocre score by Franklin Stover. It would have been more effective with a stronger underscore. With Creighton Hale, Forrest Stanley, Tully Marshall and Gertrude Astor.

One Of Our Spies Is Missing (1966)

A secret agent (Robert Vaughn) is on a mission to locate a missing 83 year old biologist (James Doohan). This leads him to a fashionable salon owned by a mysterious haute couture designer (Vera Miles), who does not want the biologist found, even if it means murder. Based on the novel THE BRIDGE OF LIONS by Henry Slesar and directed by E. Darrell Hallenbeck (THE GREEN HORNET). Yet another feature film cobbled together from a two part episode of THE MAN FROM UNCLE. Notable in that it's the only UNCLE episode based on a novel rather than an original script. Changes from the TV episode included scrapping footage with another actress and refilming her scenes with Yvonne Craig, the introduction of a new character not in the original episode played by Ahna Capri and an off screen murder is now shown. As to the film itself, it's just not very good. The screenplay, not so surprisingly, is choppy and the padding out slows the action down. With Maurice Evans and Leo G. Carroll.

Blues In The Night (1941)

A group of unemployed St. Louis jazz musicians head out for New Orleans to perfect an authentic blues sound. However, while riding the rails, an encounter in a boxcar with a thug (Lloyd Nolan) escaped from prison will alter their lives considerably. Based on the play HOT NOCTURNE by Edwin Gilbert and directed by Anatole Litvak (ANASTASIA). The closest thing to a film noir musical as has ever been made. It's a rather bizarre hybrid being neither good noir or a good musical. Elia Kazan (used as an actor here) was the driving force behind the play and if he had directed it, it might have had some punch. As it is, it's a string of cliches, a Mickey Rooney and Judy Garland "let's put on a show" for grown ups. The erratic screenplay makes no sense. Examples: Richard Whorf as a jazz composer has no time for anything but music when suddenly out of the blue he declares his love for Betty Field as a psychotic slut when he didn't have any time for her earlier!  Jack Carson is a prick then suddenly his wife ((Priscilla Lane) gets pregnant and suddenly he's Mr. Nice Guy! It's saving grace are the songs by Harold Arlen and Johnny Mercer including the title song which was Oscar nominated for best song and is now a classic jazz tune. With Wallace Ford and Howard Da Silva.

The Mighty (1998)

A very intelligent 12 year old boy (Kieran Culkin) suffering from a crippling disease called Morquio Syndrome and a massively built but learning challenged 14 year old (Elden Henson) form an unlikely friendship. Based on the novel FREAK THE MIGHTY by Rodman Philbrick and directed by Peter Chelsom (FUNNY BONES). Although at times manipulative and contrived, it's almost impossible not to respond to this tender tale of how friendship can transform us. Culkin's character is broken physically and Henson's character broken emotionally but together they form a unique bond that will prove healing to both of them. Ultimately, it gravitates into a tearjerker but its emotions are sincere and one need not feel exploited by the movie. With two exceptions, the acting is good especially from Henson. The two exceptions are Gillian Anderson, who seems miscast and too actressy as a not very bright tramp and James Gandolfini who overdoes the psychotic cretin bit. With Sharon Stone, Gena Rowlands, Harry Dean Stanton, Jenifer Lewis and Meat Loaf.

Armageddon Time (2022)

Set in 1980 Queens, a young Jewish boy (Banks Repeta) from a middle class family is spoiled by his indulgent family. When he strikes up a friendship with a black schoolmate (Jaylin Webb), he begins to sense the race and class inequality in society. Written and directed by James Gray (AD ASTRA). After this and Spielberg's THE FABELMANS, I never want to see a period coming of age movie ever again ..... or at least for a very long time. The Spielberg was a major disappointment and this film is only marginally better. I found it pretty pointless but it had some strong performances, notably Anne Hathaway and Jeremy Strong as the parents and Anthony Hopkins as the grandfather. I had no empathy for Repeta's spoiled brat and almost broke out in applause when his father began beating him with a belt! I think a more interesting film might have been made if Gray had focused on the black schoolmate's character instead of Repeta's little monster. The film received positive reviews but audiences stayed away and who could blame them? With Jessica Chastain, Tovah Feldshuh, Marcia Jean Kurtz and Ryan Sell.

Pet Sematary (1989)

A family relocates from Chicago to a small town in Maine. Their neighbor (Fred Gwynne) leads the family to an old pet cemetery where children bury their pets. When the daughter's (Blaze Berdahl) pet cat is run over by a truck, the neighbor takes the father (Dale Midkiff) to a burial ground hidden beyond the pet cemetery to bury the cat. Then, the horror begins. Based on the novel by Stephen King (who adapted his book for the screen) and directed by Mary Lambert (SIESTA). Probably one of the weakest films made from a Stephen King book. I really liked King's novel and his screenplay isn't bad but poor casting and Lambert's inferior direction (which often elicits unintentional laughs) do the movie in. Midkiff gives a truly horrendous performance and it doesn't help that he and Denise Crosby as his wife are dull actors. As the child returning from the dead, Miko Hughes is more amusing (he looks like a Chucky doll) than frightening. A sequel was released in 1992 and a remake in 2019. With Brad Greenquist and Stephen King.

The Halliday Brand (1957)

The son (Joseph Cotten) of a corrupt sheriff (Ward Bond) becomes disillusioned with his father after he allows a lynch mob to hang an innocent man (Christopher Dark). Coincidentally, the man was his daughter's (Betsy Blair) lover and half Indian. Directed by Joseph H. Lewis (MY NAME IS JULIA ROSS), this is perhaps a western in name only. Rather than the usual gunfights, outlaws, Indian attacks, farmers vs. cattlemen etc. that are the usual scenario of the genre, the focus is on a dysfunctional family suffering under the thumb of a cruel and harsh patriarch whose hate knows no bounds. Personally, I think forgiveness is an overrated virtue. Some things are unforgivable and for awhile I was worried that the movie would go all Oprah ("Forget what has happened. Forgive others. Forgive yourself") on me. But the film stays unapologetically on its severe path. Worth checking out if it comes your way. With Viveca Lindfors, Bill Williams, Jay C. Flippen and Jeanette Nolan.

The Mystery Of Mr. Wong (1939)

A wealthy gem collector (Morgan Wallace) gains possession of the largest star sapphire in the world after it has been stolen from China. At a party while playing a game of charade, he is shot dead but the gun contains blanks. Enter the eminent detective Mr. Wong (Boris Karloff) to solve the case. Based on the character in a series of magazine short stories by Hugh Wiley and directed by William Nigh (STRANGE CASE OF DR. RX). Detectives of Asian descent were popular in the 1930s. Although not as popular as Charlie Chan or Mr. Moto, Karloff taking a vacation from horror did three Mr. Wong movies. This entry isn't half bad. The mystery is good and the revelation of the murderer comes as a surprise and it all comes in at a compact one hour and 8 minutes. If you're into B (it's a Monogram production) murder mysteries, you should enjoy it. With Dorothy Tree, Grant Withers, Craig Reynolds, Chester Gan and Lotus Long.

Certain Women (2016)

Three vignettes exploring three different women and their fractured lives: 1) an attorney (Laura Dern) must deal with an unhinged client (Jared Harris) who's a walking time bomb. 2) A wife (Michelle Williams) feels her husband (James LeGros) doesn't appreciate her. 3) A lonely rancher (Lily Gladstone) becomes obsessed with her night school teacher (Kristen Stewart). Based on short stories by Maile Meloy and directed by Kelly Reichardt (FIRST COW). Although the film received critical acclaim, I have mixed feelings about it. The first story with Laura Dern was the most interesting to me and I was with it all the way. I found the other two problematic. The second segment with Michelle Williams meandered without finding its center. The third tale takes up most of the running time and while I found Lily Gladstone's performance marvelous, her character's loneliness is palpable and one aches for her, Reichardt's direction tilts toward self indulgence. Did we really have to see Gladstone wandering around all night when a few tightly edited (Reichardt did her own editing) scenes or a montage would have accomplished the same thing. Worth seeing for the Dern portion and Gladstone's performance but Reichardt's leisurely direction is often a drag. With Rene Auberjonois and John Getz.

Outrage (1950)

A young woman (Mala Powers) lives in a small town with her family and is recently engaged. One night while working late, she is raped but can't remember her attacker except for the scar on his neck. Co-written and directed by Ida Lupino (THE BIGAMIST). While the subject of rape had been used in movies before (JOHNNY BELINDA, STORY OF TEMPLE DRAKE), this was the first time that rape was the focus of the film although the word is never used, it's referred to as a criminal assault. It's fitting that the movie is directed by a woman, which brings some needed sensitivity to the subject. The rape victim is treated as a freak by the townspeople and the trauma of the attack causes the victim to flee the small town for Los Angeles but leaves her bus before she reaches there. It's a crude (in its execution, not in its sensitivity) film in many ways but Lupino explores the victim's emotional breakdown with understanding. Today, we're more enlightened to the trauma suffered by rape victims but there were no rape counselors or rape victims organizations or sensitivity training for police in 1950. My only complaint (and it's a minor one) is the slight religious bent of the movie personified by the minister played by Tod Andrews. With Robert Clarke, Hal March and Jerry Paris.

Bluebeard (1944)

A 19th century artist and puppeteer (John Carradine) has a habit of murdering his models when they don't meet his expectations. When he falls in love with a dressmaker (Jean Parker), he hopes that she will be the good woman who stops his homicidal tendencies. Based on the French folk tale BARBE BLEUE and directed by Edgar G. Ulmer (DETOUR). Greatly admired in certain circles (Ulmer is an auteur favorite), I found the film rich in style but not much else though to be fair, the transfer I watched was poor. In a rare leading role, Carradine is surprisingly effective. Along with his cinematographer Eugene Schufftan (THE HUSTLER), Ulmer creates a suitably tense atmosphere and though there's an element of seediness in the movie, it's balanced by Ulmer's artistry. Fallen in the public domain, it's definitely a film that needs a major restoration. With Nils Asther, Teala Loring, Ludwig Stossel and Iris Adrian.

To Trap A Spy (1966)

A housewife (Pat Crowley) is recruited by a secret government organization called the United Network Command for Law Enforcement into hooking up with her college boyfriend (Fritz Weaver), who is a wealthy industrialist suspected of being an officer in an international criminal organization called WASP. Her mission is to spy on him and get information about an upcoming assassination. Directed by Don Medford (THE HUNTING PARTY), this was the original 1964 pilot for the TV series THE MAN FROM UNCLE and released theatrically in the U.S. in 1966. The pilot was shown in B&W but the film is in color and with new footage including a subplot with Luciana Paluzzi as a femme fatale bad girl, not unlike her Fiona Volpe in THUNDERBALL (1965). When the pilot was picked up, Will Kuluva as the head of UNCLE was replaced by Leo G. Carroll. On its own merits as a feature film, it's not bad at all and added footage with Luciana Paluzzi is "hotter" than anything the series was allowed to show. With Robert Vaughn, Victoria Shaw, David McCallum (whose role would be considerably enlarged for the series), Ivan Dixon, Rupert Crosse and William Marshall.

Last Of The Dogmen (1995)

A bounty hunter (Tom Berenger) is hired to track down three escaped convicts in an unknown part of the Rockies where no white man has ever returned from. He never finds the bodies of the convicts, only the signs of a struggle and an arrow. With the help of an expert (Barbara Hershey) in Native American culture, they set out in search of a mystery involving a Cheyenne tribe massacred a 100 years prior and what they find is astonishing. Directed by Tab Murphy, a screenwriter (GORILLAS IN THE MIST) whose only feature film this is. I love the premise of the film and though what we get is good enough, I still wish it were better. If it were, this might have been a classic of its kind. The main problem are the two protagonists who are cliched characters: the rough mountain man lone wolf (Berenger) and the independent career woman (Hershey) who has no time for romance. The dialog they're given is uninspired to say the least. The wide screen cinematography courtesy of Karl Walter Lindenlaub (PRINCESS DIARIES) is eye candy and makes excellent use of the Canadian and Mexican exteriors. With Kurtwood Smith and Parley Baer.

Celebrity (1998)

Following their divorce, a writer (Kenneth Branagh) and his neurotic wife (Judy Davis) find their lives taking different paths. He explores his newfound freedom with various women while she meets a man (Joe Mantegna) and transforms herself into a more confident woman. Written and directed by Woody Allen, this erratic look at fame, fortune and celebrity is too fragmented and holds our interest only intermittently. The movie is filled with shallow, self centered characters who are no different from the usual pretentious characters of countless other Allen films so we view them from a distance. Allen isn't in the movie but Branagh apes Allen's mannerisms and speech pattern so flawlessly that one wonders why Allen didn't just do the role himself though the image of Charlize Theron (as a supermodel) shoving her tongue down Allen's throat is unsettling. Handsomely shot in B&W by Sven Nykvist (FANNY AND ALEXANDER), Not among Allen's best but far from his worst either. As usual, Allen has a collection of excellent actors in the film. Among them Leonardo DiCaprio, Winona Ryder, Melanie Griffith, Allison Janney, Hank Azaria, Famke Janssen, Bebe Neuwirth, J.K. Simmons, Debra Messing, Andre Gregory, Jeffrey Wright, Celia Weston, Aida Turturro, Kate Burton and Gretchen Mol.