Daisy Kenyon (1947)

A commercial artist (Joan Crawford) finds herself caught in a romantic triangle with a married man (Dana Andrews) who she cannot have and a war veteran (Henry Fonda) whose love she can't return. Based on the novel by Elizabeth Janeway and directed by Otto Preminger (ANATOMY OF A MURDER). This is one of Crawford's better post MGM melodramas, perhaps because it was made at 20th Century Fox rather than Warners and she had a strong director in Preminger. She's not as hard edged and displays some vulnerability which makes her more appealing than the iron maidens she was playing at Warners. On the downside, we don't get the more realistic ending as 1940s morality ensures she'll do the "right thing". Fonda is his usual stiff self and Andrews' high powered attorney is infinitely more interesting. His character takes on the case of a Japanese American whose property had been been confiscated as he fought in Italy. Indeed, the movie might have been better if it had been written with him as the main character and not Crawford's Daisy. With Ruth Warrick, Peggy Ann Garner, Connie Marshall, Roy Roberts and Martha Stewart.

The Frogmen (1951)

Set during WWII, a new commanding officer (Richard Widmark) attempts to tighten the discipline of a group of Navy demolition divers. Replacing a popular officer whom the men idolized, he wins few converts with his strict style. Directed by Lloyd Bacon (MARKED WOMAN). I'm not a big fan of war movies but surprisingly, I enjoyed this one a lot. Probably because it emphasizes the camaraderie of the divers, the "frogmen" of the title, and the antagonistic relationship between Widmark's commander and the chief frogman (Dana Andrews) rather than dwell on battles and bombs. The film is in black and white and it would have benefited from being shot in color as the underwater scenes are murky and it's often difficult to identify who's who though to be fair, its cinematography was nominated for an Oscar. The original script had female roles but they were written out of the script and it's an all male cast. The testosterone laden supporting cast includes Jeffrey Hunter, Gary Merrill, Jack Warden, James Gregory, Warren Stevens, Robert Rockwell and Harvey Lembeck.

Fanchon The Cricket (1915)

A mischievous waif (Mary Pickford) living in the woods with her grandmother (Gertrude Norman) is looked down upon by the townspeople, who suspect the grandmother of being a witch. She finds herself attracted to a young man (Jack Standing) from the village but the differences in their class marks a schism in the relationship. Based on the novel LA PETITE FADETTE by George Sand and directed by James Kirkwood, better remembered as an actor than director. Long thought as a lost film, the simple plot is a slip of a movie (Sand's novel is much more complicated) but it's an opportunity to see Pickford at the height of her career. The public loved to see her playing little girls and waifs and although there's a romance in the movie, she appears to be playing a girl around 14 years old. Hardly an important film of the silent era but Pickford fans should be delighted. The transfer I saw was restored and looked great and was aided by a lively underscore by Julian Ducatenzeiler and Andy Gladbach. With Russell Bassett, Richard Lee and Lottie Pickford (Mary's sister).

The Day That Shook The World (1975)

On June 28, 1914, the Archduke Franz Ferdinand (Christopher Plummer) of Austria and his wife Sophie (Florinda Bolkan) were assassinated by a Bosnian Serb student (Irfan Mensur). It was this event that led to the outbreak of WW1. The film follows both the Archduke's final days and the students (there were six assassins in total) endeavors leading up to the assassination. Directed by Veljko Bulajic, one wouldn't think that such an important historical event would result in such a dull movie. The scenes involving the Archduke and his wife are fairly interesting but the scenes with the students fall flat. The film attempts to humanize the assassins but they come across as bland and not too bright. Surely, such dedicated terrorists (or revolutionaries if you prefer) would be more complex than the wholesome kids here. The production values are good and among the actors, Florinda Bolkan gives the strongest performance. With Maximilian Schell, Rados Bajic and Ivan Vyskocil.

Rain (1932)

Set in the South Seas, a ship on its way to Samoa is stranded due to a cholera outbreak which necessitates its few passengers stay at the island's general store. Among the passengers is a prostitute (Joan Crawford), a religious fanatic (Walter Huston) and his wife (Beulah Bondi). The preacher takes it upon himself to have the prostitute deported back to San Francisco where a prison sentence awaits her. Based on the 1922 play by John Colton and Clemence Randolph by way of the short story MISS THOMPSON by W. Somerset Maugham and directed by Lewis Milestone (OF MICE AND MEN). The play had previously been filmed in 1928 with Gloria Swanson and would be filmed again in 1953 with Rita Hayworth. This pre code entry is the least of the three versions. It's a rather stagnant movie and Milestone's direction does nothing to alleviate the monotony of an oppressive narrative. While on the face of it, Crawford as Sadie Thompson might seem like good casting (she was borrowed from MGM), the role seems beyond her capabilities. Crawford herself thought she was awful in it. Her "redemption" scene is unbelievable and she seems to be playing at the character rather than playing the character. With William Gargan, Guy Kibbee and Matt Moore. 

80 For Brady (2023)

Set in 2017, four "mature" female football fans (Jane Fonda, Sally Field, Rita Moreno, Lily Tomlin) win tickets to the Super Bowl where their favorite team (New England Patriots) and favorite player (Tom Brady) are competing. But the trip doesn't go as smoothly as planned. Directed by Kyle Marvin in his feature film directorial debut. Inspired by a real life group of Patriot fans known as the Over 80 For Brady Club, the film is produced by Tom Brady. I can see why Brady wanted to produce the movie which has the feeling of a vanity project because he's revered as some sort of football god. I have to be honest, I can't stand football, have zero interest in football and the name Tom Brady is just that to me ..... a name. So why did I even bother with the movie? Answer: its four leading ladies. The film is a mass of cliches (when Field is given the tickets to hold because she's the responsible one, you just know she's going to lose them) and the adoration of Brady left me creeped out. It never rises above sitcom material and not good sitcom material either. More importantly, there's an underlying sadness to the movie. You have four super talented actresses in the likes of Fonda, Field, Moreno and Tomlin and is this the best that Hollywood has to offer for actresses of their caliber? For shame! With Sara Gilbert, Billy Porter, Harry Hamlin, Bob Balaban and Guy Fieri.

Marty (1955)

An unmarried 34 year old Bronx butcher (Ernest Borgnine) is shy and uncomfortable around women. When he meets a schoolteacher (Betsy Blair) at a dance, he finds himself smitten with her and it's mutual. But his friends and family don't share his enthusiasm. Based on the 1953 television play by Paddy Chayefsky and directed by Delbert Mann (SEPARATE TABLES). The sleeper hit of 1955, MARTY won both the Palme d'Or at the Cannes film festival and the Academy Award for best picture. In addition, the movie won Oscars for Borgnine (best actor), Mann (best director) and a supporting actress nomination for Blair. I'm not Chayefsky's biggest fan but I found this simple romantic drama quite touching overall. Chayefsky has a tendency to go overboard (NETWORK, THE HOSPITAL, THE GODDESS for example) in his writing, pushing it as if he feared we wouldn't get it. With MARTY, he lets the story unfold without nudging us (too much). And the performances are uniformly excellent. The only sore spot is the hideous song played over the end cast credits. With Karen Steele, Esther Minciotti, Joe Mantell and Jerry Paris.

Le Choc (1982)

A professional assassin (Alain Delon) wants to retire but the organization that employs him won't let him. He flees to the country where he meets an unhappily married woman (Catherine Deneuve) and they begin an affair. But it isn't long before his violent past catches up with him. Based on the novel LA POSITION DU TIREUR COUCHE by Jean Patrick Manchette and directed by Robin Davis (LA GUERRE DES POLICES). This French crime thriller doesn't amount to much. Graphic in its violence, the plot suffers from illogical actions of its characters. For instance, Delon's cold blooded hit man is supposed to be the best in his field but he too often lets others get the best of him which makes you wonder he survived this long. The film rides on the star power of Delon and Deneuve (wasted) but star power can carry a movie only so long unless the movie has more to offer. With Stephane Audran, Alexandra Stewart, Francois Perrot, Etienne Chicot and Phillippe Leotard. 

Cocoon (1985)

When visitors from a distant galaxy return to Earth on a secret mission, their other worldly power to rejuvenate afford a group of senior citizens an opportunity to recapture their youth. Directed by Ron Howard (APOLLO 13). When I first saw this film during its original 1985 release, I found it delightful. While I still enjoy the movie (though somewhat less), now that I'm around the same age as the seniors in the movie, I found it rather condescending. The film's idea of senior citizens recapturing their "youth" is acting like children (riding a tricycle. tossing a ball in a sporting goods store, playing tag etc.). No, thank you. It has a terrific cast of older actors including Jessica Tandy, Hume Cronyn, Maureen Stapleton, Gwen Verdon, Jack Gilford, Wilford Brimley and in an undeserved Oscar winning performance, Don Ameche. Howard does manage to whip up an exciting finale. The film was a big hit and spawned a sequel, the dreadful COCOON: THE RETURN three years later. With Brian Dennehy, Steve Guttenberg, Tahnee Welch (Raquel's daughter), Herta Ware, Linda Harrison and Oliver Barrett.

Island Of Lost Men (1939)

The daughter (Anna May Wong) of a general (Richard Loo) accused of embezzling $300,000 of government funds goes undercover to investigate his disappearance. This leads her to the sadistic commander (J. Carrol Naish) of a labor camp deep in the jungles of Singapore. Based on the play HANGMAN'S WHIP by Norman Reilly Raine and Frank Butler and directed by Kurt Neumann (THE FLY). The play was previously filmed in 1933 under the title WHITE WOMAN and this is a loose remake. The film was not a success and pretty much ended Wong's Hollywood career (she did only three films in the 1940s). It's a potboiler set in a Paramount sound stage jungle but still highly watchable, mainly because of Wong. With Anthony Quinn, Broderick Crawford, Ernest Truex and in a rare dramatic role, Eric Blore.

A Thousand And One Nights (1945)

Nothing goes right for Aladdin (Cornel Wilde) when attempting to win the heart of a Princess (Adele Jergens) ... until he discovers the magic lamp that houses a wisecracking  genie (Evelyn Keyes). But when the genie falls in love with him, she thwarts his romantic plans for the Princess. Directed by Alfred E. Green (THE JOLSON STORY). Universal studios pretty much owned the Arabian fantasy genre in the 1940s with movies like ARABIAN NIGHTS and ALI BABA AND THE 40 THEIVES. So instead of doing it straight, Columbia decided to satirize the genre and the result is this movie. It's an anachronistic movie with Phil Silvers wearing horn rim glasses and using words like groovy and referencing Lana Turner. Evelyn Keyes' lovesick genie is petty and vindictive which renders her unappealing. Actually the basic narrative is good and if the film had been done straight instead of comedic, I would have found it more enjoyable. A truly odd film. Ray Rennahan's (GONE WITH THE WIND) Technicolor cinematography is quite attractive. With Dennis Hoey, Rex Ingram, Jeff Donnell and Nina Foch. 

Repulsion (1965)

A withdrawn young girl (Catherine Deneuve) working as a manicurist in London is tenuously holding on to her sanity. When her sister (Yvonne Furneaux) goes off on a holiday with her married lover (Ian Hendry), that tenuous hold begins to unravel. Directed by Roman Polanski (ROSEMARY'S BABY), this disturbing psychological "horror" film was the follow up to his international breakthrough KNIFE IN THE WATER and his first English language movie. One of Polanski's most impressive films, it also indicated that under Deneuve's great beauty was a real actress. The reason for Deneuve's psychosis is never explained but a telling family photo with her as a child provides a possible explanation. Handsomely shot in B&W by Gilbert Taylor (STAR WARS), Polanski takes his time as we oh so slowly watch Deneuve's disintegration and the subsequent tension eventually explodes into a surreal nightmare and violence. With John Fraser, Patrick Wymark, Renee Houston, James Villiers and Valerie Taylor.

Outside The Wall (1950)

Sent to prison at the age of 16 for murder, a young man (Richard Basehart) is paroled after serving 15 years. Having "grown up" behind prison walls, he is ill prepared for the outside world ..... and its women. A blonde gold digger (Marilyn Maxwell) may well be the temptation that sends him back to prison. Directed by Crane Wilbur (STORY OF MOLLY X), this is an above average film noir with a solid performance by Basehart as a naive ex-convict perplexed by the world outside of prison walls and ripe to be taken advantage of by the opposite sex. Wilbur keeps a tight rein on the narrative and the clipped pacing leaves no time for excess. Unusual for a 1950 film, the credits are at the end of the film rather than its start. With Dorothy Hart as the only decent female character in the film, Signe Hasso, John Hoyt, Peggie Castle, Harry Morgan, Tracey Roberts and Joseph Pevney, who would soon give up acting to direct (MAN OF A THOUSAND FACES, TAMMY AND THE BACHELOR).

The Wolf Man (1941)

Returning to his father's (Claude Rains) mansion in Wales after many years in America, a man (Lon Chaney Jr.) encounters the local legend of the werewolf. When a local girl (Fay Helm) is attacked by a wolf, he kills the wolf but not before he is bitten by the wolf. Directed by George Waggner (THE CLIMAX), this was the first entry in what would become another lucrative horror franchise for Universal studios. It was preceded by the 1935 WEREWOLF OF LONDON which was not a success. It's a simple and direct version of the Werewolf legend and Chaney would go on to play the Wolf Man in all the Universal sequels. Aided by Bela Lugosi and Maria Ouspenskaya as gypsies, Waggner is able to create a shroud of mystery and paranoia that is essential to provide the requisite atmosphere. With Ralph Bellamy, Patric Knowles and Universal's resident scream queen, Evelyn Ankers.

Bandit Queen (1994)

A lower caste girl (Seema Biswas) in rural India's patriarchal society is "married" at age 11 and repeatedly raped and brutalized. She finds her freedom only as an avenging bandit warrior. Based on the non-fiction book BANDIT QUEEN: THE TRUE STORY OF PHOOLAN DEVI by Mala Sen and directed by Shekar Kapur (ELIZABETH). Beginning in 1968, the film documents the horrific but true story of Phoolan Devi who went from abused child bride to rape victim (several times) and eventually became a sort of national heroine after becoming the head of a gang of bandits and a sort of female Robin Hood. After serving 11 years in prison, she became a member of the Indian Parliament before being assassinated in 2001. It's a fascinating story, almost impossible to believe. It's a difficult watch and why wouldn't it be? Almost two hours watching a girl/woman repeatedly raped and physically abused, it gets to the point where you want to cry out, "Enough!". Yet one can't deny its potency as it focuses its eyes on India's class/caste system and its patriarchal dismissive attitude of women who are the chattel of its men. With Nirmal Pandey, Saurabh Shukla and Aditya Srivastava.

Omar Khayyam (1957)

Set in the 11th century Persian city of Nishapur. The poet, astronomer and military strategist Omar Khayyam (Cornel Wilde) loses the woman (Debra Paget) he loves to the ruling Shah (Raymond Massey) and attempts to foil a plot by assassins to dethrone the Shah. Directed by William Dieterle (STORY OF LOUIS PASTEUR), this exotic combination of romance and action contains very little historical accuracy. While the film looks great thanks to Ernest Laszlo's (KISS ME DEADLY) wide screen VistaVision lensing, it's a potboiler of an Arabian nights fantasy. Not a good movie but not bad enough to qualify as camp. If it had been done at Universal in the mid 1940s, it would have had Jon Hall and Maria Montez in the Wilde and Paget roles. The last film score of Victor Young (AROUND THE WORLD IN 80 DAYS) who died before the film was released. With Michael Rennie, John Derek, Margaret Hayes, Sebastian Cabot, Perry Lopez, Yma Sumac and Joan Taylor.

Dangerous To Know (1938)

A gangster (Akim Tamiroff) has a firm grip on the political landscape of the town he rules. But he aspires to be accepted by the social set of the city who consider him a thug and want nothing to do with him. When he meets a socialite (Gail Patrick), he becomes determined to make her his wife and use her as his entry into polite society. Based on the play by Edgar Wallace and directed by Robert Florey (MURDERS IN THE RUE MORGUE). It's a rare leading man role for character actor Tamiroff (if the film had been done at Warners, Edward G. Robinson would have played the role) but it's the top billed (in the film credits) Anna May Wong as his mistress who the movie belongs to. Recreating her stage role, she looks sensational in her Edith Head costumes and although the film is a programmer, it's one of her best film roles of the sound era. An enjoyable B movie that allows Wong to shine. With Anthony Quinn, Lloyd Nolan, Hedda Hopper and Harvey Stephens. 

Speed (1994)

A revenge driven psycho (Dennis Hopper) has planted a bomb on a Los Angeles bus. If the speed drops below 50 miles per hour, the bomb will be automatically detonated. Enter LAPD SWAT specialist (Keanu Reeves) to attempt to diffuse the bomb and carry the bus passengers to safety. Directed by cinematographer (DIE HARD) turned director (TWISTER) Jan de Bont. When Halle Berry was offered the female lead in SPEED, she turned it down thinking it was a dumb movie and she wasn't wrong. The movie was a massive hit and it's a hell of a rollercoaster ride but it's also preposterous and the dialogue so inane that it's cringe inducing. But one doesn't go to a thrill ride movie like SPEED for scintillating dialog or believable plots, you go for the thrills and on that level, SPEED delivers. One also doesn't go to a movie like this for the acting but Reeves and Sandra Bullock are so likable that one overlooks (or tries to) the ridiculous lines they're forced to say. As the cackling bomber, Hopper does his patented psycho act and collects his paycheck. With Jeff  Daniels, Joe Morton and Beth Grant.

La Chambre Verte (aka The Green Room) (1978)

Set in a small French town some 10 years after WWI. A veteran (Francois Truffaut) of WWI is now working as the editor of a small newspaper. He is obsessed with the dead people he has known throughout his life and builds a memorial to them. Based on three stories by Henry James (ALTAR OF THE DEAD, BEAST IN THE JUNGLE, THE WAY IT CAME) and directed by Francois Truffaut (DAY FOR NIGHT). This is one of the most morbid movies I've ever seen. I found the obsession with dead people by Truffaut's character emotionally and mentally unstable yet I suspect Truffaut saw him as some kind of noble protagonist. Apparently, Truffaut's connection to the subject matter was so strong that he chose to play the lead himself. As an actor, Truffaut isn't very interesting though his gloominess certainly fits the part. The French critics were highly impressed by the movie (many calling it one of his very best) but its reception in the U.S.. was indifferent. With Nathalie Baye, Jean Daste and Jean Pierre Ducos. 

Peking Express (1951)

Set in the People's Republic Of China, a doctor (Joseph Cotten) with the World Health Organization is traveling on the express train to Peking to perform an operation on a high ranking Nationalist general. His fellow passengers include an old flame (Corinne Calvet), a Catholic priest (Edmund Gwenn), a communist reporter (Benson Fong) and a mysterious businessman (Marvin Miller). Directed by William Dieterle (HUNCHBACK OF NOTRE DAME), this is a remake of the 1932 Josef von Sternberg film SHANGHAI EXPRESS. It's been updated to make an emphasis on the "horrors" of communism which turns the film, unintentionally or not, into one those typical 1950s "red scare" movies. The movie lapses into ludicrousness toward the end when the peace loving doctor played by Cotten suddenly grabs a machine gun and starts killing commies. I have a soft spot for movies set on trains so I might be more tolerant of it than others. The film is nicely shot in B&W by Charles Lang (SOME LIKE IT HOT) and has a rousing score by Dimitri Tiomkin. With Soo Yong and Victor Sen Yung.

Unwelcome (2023)

After a home invasion where both are brutally attacked, a British couple (Hannah John Kamen, Douglas Booth) escape their urban London nightmare to the tranquility of rural Ireland. However, they discover that even in the idyllic Irish countryside there are monsters of both the human and creature kind. Directed by Jon Wright (GRABBERS), this is a frustrating horror film that might have been a classic of its kind. For the first 3/4 of the film Wright is able to create an unsettling atmosphere and keeping the "beasties" out of sight only increases the tension. But it can't sustain the mood and descends into outright silliness and invokes giggles, intentional or not. It's a genuine pity because I was captivated by the first 3/4 which aren't without its own problems. Mainly, the two protagonists who behave like idiots. Hannah John Kamen's pregnant wife puts herself in precarious positions that put her in danger that no sensible pregnant woman (more concerned with her unborn child) would do. Booth's husband is a wussy cry baby who lets himself be humiliated by the sadistic cretins working on his house instead of firing them. I'd still recommend it because when it's good, it's very good but be prepared to groan in disappointment as it stumbles its way toward the end. With Colm Meaney.

Pancho Villa (1972)

After being double crossed by an arms merchant (Luis Davila) from the U.S., the Mexican revolutionary Pancho Villa (Telly Savalas) and his American lieutenant (Clint Walker) decide to exact revenge by raiding a U.S. army weapons depot. Directed by Eugenio Martin (HORROR EXPRESS), this incoherent film is pretty dreadful. Who thought it was a good idea to take the life of the legendary bandit and revolutionary Pancho Villa and turn it into a comedy? Oh, there's action alright but the emphasis is on the comedy (which is lame) though I suppose one could call it a satire but it's still lame. Savalas, his New York accent intact, plays Villa as a buffoon. The movie has no historical basis in fact.  But as anachronistic as Savalas' performance is, it's not the worst performance in the film. That dubious honor goes to Chuck Connors as an insane Colonel in the U.S. Army. Overall, it's dumb to the point of being offensive. Filmed in Spain. With Anne Francis (wasted), Angel Del Pozo and Monica Randall.

Mary Ryan, Detective (1949)

A police detective (Marsha Hunt) goes undercover to take down a group of jewel thieves. Posing as a prisoner, her cellmate (Victoria Horne) tips her about an employment agency that hires more than secretaries. Directed by Abby Berlin (FATHER IS A BACHELOR), this low budget programmer is more entertaining than it has a right to be. Like most low budget B movies, it's very short (1 hour, 7 minutes) which makes it tight and quick moving without the often unnecessary padding that makes higher budget films drag on and on. Hunt is appealing in a rare leading role and perhaps unintentionally, the movie accents the incompetence of the police. Certainly not something to seek out but if it crosses your way and you've nothing better to watch, you could do worse. With John Litel, June Vincent, Katherine Warren and Harry Shannon.

Lachende Erben (aka Laughing Heirs) (1933)

Set in the Rhine river wine country, a bachelor (Heinz Ruhmann) stands to inherit his recently deceased Uncle's vineyards. But the inheritance comes with a caveat. He must abstain from alcohol for a full month in order to receive the inheritance. Meanwhile, his greedy relatives concoct plans to get him to take a drink so they can claim the inheritance. Directed by Max Ophuls (LA RONDE). When one thinks of Ophuls, you tend to think of his lush melodramas like LETTER FROM AN UNKNOWN WOMAN and EARRINGS OF MADAME DE or his film noirs like THE RECKLESS MOMENT or CAUGHT, not screwball romcoms. It's a slight piece of whimsical comedy, often amusing, something that Preston Sturges might have tossed off at Paramount in the 1940s with Eddie Bracken in Ruhmann's role. Ruhmann has a charming demeanor and he pairs well with Lien Deyers as the daughter of a wine making competitor. With Ida Wust, Max Adalbert, Lizzi Waldmuller and Julius Falkenstein.

Beware My Lovely (1952)

Set in 1918, a war widow (Ida Lupino) hires a handyman (Robert Ryan) looking for work. What she doesn't know is that he's a mentally unbalanced homicidal maniac. Based on the play THE MAN by Mel Dinelli and directed by Harry Horner (RED PLANET MARS). Lupino and Ryan starred in a terrific film noir the year before, ON DANGEROUS GROUND (1951). Alas, lightning doesn't strike twice for them in this noir-ish thriller. I found it on the monotonous side and the movie doesn't provide any tension until its last 7 minutes. Although there are other minor characters in the film, it's essentially a two character piece with Lupino being terrorized in her own home by Ryan's psychotic for most of the film's running time. Ryan (in an unsubtle performance) is so obviously a disturbed individual that one wonders why Lupino doesn't see it sooner. Maybe a stronger underscore other than the one provided by Leith Stevens would have helped to push the tension quotient. With Barbara Whiting and Taylor Holmes.

The Bliss Of Mrs. Blossom (1968)

A wife (Shirley MacLaine, a last minute replacement for Anouk Aimee) is frustrated by her workaholic husband (Richard Attenborough) who owns a brassiere factory. When her husband sends a mechanic (James Booth) from the factory to fix her sewing machine, she finds herself attracted to him. So she keeps him in her attic as her live in lover! Based on a play by Alec Coppel (VERTIGO) and directed by Joseph McGrath (THE MAGIC CHRISTIAN). Coppel wrote the screenplay for THE CAPTAIN'S PARADISE which was about a man who had two wives in different countries and enjoying the pleasures of both. This movie is a riff on that film with a gender twist: MacLaine enjoying the pleasures of both a husband and a lover! It's nowhere near as good of course but it has a certain likability though it can't sustain the one joke premise very long. The real stars of the movie are art directors William Alexander and George Lack whose pop art/op art design define the movie's image and Jocelyn Rickards' equally vivid costumes which define the late 60s fashion look. The movie's score is by Riz Ortolani (YELLOW ROLLS ROYCE) includes the catchy The Way That I Live sung by Jack Jones. With Freddie Jones, who overdoes it as a fey police detective, John Cleese, Barry Humphries and Patricia Routledge.

Swiss Family Robinson (1958)

Looking for adventure in the Far East, a Swiss professor (Walter Pidgeon) relocates his wife (Laraine Day) and three children (Dennis Hopper, Patty Duke, Dennis Kohler) to Ceylon. But before they reach their destination, the ship they're on is destroyed by a massive storm. Miraculously, they are able to reach an uninhabited island where do their best to survive until (and if) they are rescued. Based on the classic 1812 novel by Johann David Wyss and directed by William A. Graham (CHANGE OF HABIT). There have been many filmed versions of the Wyss novel for movies and television, the most famous being the 1960 Walt Disney adaptation. This is a condensed version of the Wyss novel shot for TV in B&W and on a soundstage island rather than on location. This limits the potential visual splendor of the story. The transfer I saw was a kinescope (in decent shape) of the original 1958 airing which looks to have been done live. Far from the definitive version of the Wyss novel, nonetheless it's a interesting curio with satisfactory performances which affords us an opportunity to see Dennis Hopper and Patty Duke early in their careers.  

Private Benjamin (1980)

A 28 year old Jewish American princess (Goldie Hawn) is devastated when her husband (Albert Brooks) dies on their honeymoon night. Distraught, she is lured by an Army recruiter (Harry Dean Stanton) into joining the Army under the impression it is a "glamorous" life. She is in for a rude awakening. Directed by Howard Zieff (HOUSE CALLS), this comedy was among the biggest hits of the year (1980) and it holds up surprisingly well today. The reason isn't so much the screenplay or direction as Hawn's infectious Oscar nominated performance. It's hard to think of another actress who could have pulled it off. She's in almost every scene and carries the movie on her shoulders. It's a true testament (as if anyone needed it) to her comedic talents. A delightful comedic confection. With Eileen Brennan (also Oscar nominated), Armand Assante, Mary Kay Place, Robert Webber, Craig T. Nelson, Sam Wanamaker, Barbara Barrie, P.J. Soles and Gretchen Wyler.

Where The Crawdads Sing (2022)

Set in North Carolina, when a popular young man (Harris Dickinson) is found dead, a young woman (Daisy Edgar Jones) who is referred to by the townspeople as "the marsh girl" because she lives alone deep in the marshlands is accused of murder. Based on the best selling novel by Delia Owens and directed by Olivia Newman (FIRST MATCH). This combination of coming of age drama and murder mystery isn't especially notable or fresh. I haven't read the book so I have no idea why it was so popular. The movie jumps back and forth to the girls' childhood and her abusive father and her fending herself after her father abandons her while the present day story of her murder trial becomes the focus of the story. The film has two major reasons to watch: the central performance by Daisy Edgar Jones and the evocative cinematography of Polly Morgan (QUIET PLACE II). But on the whole, it comes across as yet another oppressive victim story with stereotypical ignorant Southern "crackers" filled with small town bullies as well as hate and prejudice. Audiences liked it enough to turn it into a modest box office hit. With David Strathairn, very good as Jones's lawyer, Taylor John Smith, Michael Hyatt and Sterling Macer Jr.

The Return Of Dr. Fu Manchu (1930)

Presumed deceased, the fiendish Dr. Fu Manchu (Warner Oland) returns from the dead to continue his revenge on the last living man (Neil Hamilton) he considers responsible for the death of his wife and child. Based on the novel by Sax Rohmer and directed by Rowland V. Lee (SON OF FRANKENSTEIN). This is the sequel to THE MYSTERIOUS DR. FU MANCHU released the year before. The first movie was an awkward film due to the transitioning from silent to sound. While this entry still suffers from stagnation, without the exposition of the first film, it moves easier and I didn't find it as tedious. Interesting as an artifact of early sound cinema and to see the young undeveloped Jean Arthur early in her career. With O.P. Heggie returning as Nayland Smith from the first movie, William Austin (even more annoying than he was in the first film) overdoing the pansy bit, Evelyn Hall and Evelyn Selbie.

Le Rouge Est Mis (aka Speaking Of Murder) (1957)

The owner (Jean Gabin) of a Paris garage is a front for a ruthless robbery gang. Complications arise when his ex-con brother (Marcel Bozzuffi) comes home and attempts to rehabilitate his life. Based on the novel by Auguste Le Breton and directed by Gilles Grangier (LE DISORDRE ET LA NUIT). The film departs from the usual noir-ish French crime film in that crime takes a backseat while there's an emphasis on family, specifically the two brothers played by Gabin and Bozzuffi and how their relationship plays out to its tragic end. Two other characters are of interest: the suspicious trigger happy thug played by Lino Ventura and the scheming tart played by Annie Girardot. It took awhile before I saw where the movie was going but it was worth the wait. A decent addition to the French cinematic crime canon. With Paul Frankeur, Albert Dinan and Jean Pierre Mocky.

Addams Family Values (1993)

After the birth of their new baby, Morticia (Anjelica Huston) and Gomez (Raul Julia) hire a new nanny (Joan Cusack). Fester (Christopher Lloyd) falls madly in love with her. What the family doesn't know is that she's the notorious Black Widow, a woman known for marrying rich men then killing them on their honeymoon. Directed by Barry Sonnenfeld (GET SHORTY), this was the sequel to the highly successful ADDAMS FAMILY (1991). Sadly, it was Raul Julia's final film as he died just a few months after the movie's release. Darker in tone than its more whimsical predecessor, its reviews were good (better than the first installment) but it wasn't as successful at the box office as the first film. I appreciated the film's wicked black humor and the movie offers more of an opportunity for Lloyd and Ricci to take stage and shine. The supporting cast includes Carol Kane, Christine Baranski, Nathan Lane, Peter MacNicol, Dana Ivey, David Krumholtz and Cynthia Nixon.

Please Believe Me (1950)

A British lass (Deborah Kerr) inherits an estate in Texas. On her Atlantic crossing, three young men show a romantic interest in her: an in debt gambler (Robert Walker), a rich playboy (Peter Lawford) and a lawyer (Mark Stevens). Produced by Val Lewton (CAT PEOPLE) and directed by Norman Taurog (BLUE HAWAII). At its best (which isn't very much), this romantic comedy can be called a pleasant diversion. Filming began with Van Johnson as the lawyer but he was replaced by Mark Stevens early in the shooting. There's not much you can say about a movie like this. It's professional and the cast is engaging but there's a lack of charm (though Kerr is charming) and wit which the best romcoms have. With Spring Byington, J. Carrol Naish and Ian Wolfe.

House Of Strangers (1949)

Returning home after seven years in prison, the revenge bent son (Richard Conte) of a banking financier (Edward G. Robinson) reflects on the circumstances that led him to prison. The patriarch (Robinson) of an Italian family so infatuated with his success that he doesn't see the simmering resentment among his own sons. Based on the novel I'LL NEVER GO THERE ANY MORE by Jerome Weidman and directed by Joseph L. Mankiewicz (ALL ABOUT EVE). This noir-ish family drama is an engrossing watch even though there's isn't a decent major character in the movie. HOUSE OF VIPERS would be as apt a title as HOUSE OF STRANGERS! Without anyone to invest one's affinity toward, we're left to merely observe as the snakes hiss and bite each other. The acting is excellent with Robinson receiving the best actor award at the Cannes film festival for his work here. Remade twice, in 1954 as a western BROKEN LANCE and 1961 as THE BIG SHOW. With Susan Hayward, Efrem Zimbalist Jr., Debra Paget, Luther Adler, Hope Emerson, Paul Valentine and Diana Douglas.

The Helicopter Spies (1968)

When an African village is decimated by a deadly weapon known as the thermal prism, two secret agents (Robert Vaughn, David McCallum) attempt to track it down before it can be used in a plot for world conquest. To that end, they seek the assistance of a notorious safecracker (Bradford Dillman). Directed by Boris Sagal (THE OMEGA MAN). Of all the movies derived from THE MAN FROM UNCLE television series, this is the closest to the feel of a "real" movie. The script is decent, the set pieces more elaborate, its transition to the big screen is smoother and the film benefits from its three appealing leading ladies (Carol Lynley, Lola Albright, Julie London). The changes from its TV airing are minimal, the only notable change is Julie London is shown in bed with various shirtless bed partners while the TV version had her in bed alone. The film seems to have been shot with a film release in mind as there is a lot of empty head room in the standard version and it looks tighter in its wide screen incarnation. With John Dehner (in a rare bad performance), John Carradine, Leo G. Carroll, Kathleen Freeman and H.M. Wynant.

The Tartars (1961)

A Viking chief (Victor Mature) slays the leader (Folco Lulli) of the Russian Tartars and takes his daughter (Bella Cortez) hostage. The Tartar overlord (Orson Welles) retaliates by taking the Viking's wife (Liana Orfei) as his hostage which spurs an all out war. Directed by Richard Thorpe (IVANHOE), the film is a plodding action adventure movie. Orson Welles described it as a perfect drive in movie and he's not far off though I wouldn't have used the word perfect. The darkly brooding Mature seems miscast as a Viking but the corpulent Welles makes for a satisfactory Tartar villain. Shot in what was then Yugoslavia (now Serbia and Montenegro) in the wide screen process called Totalscope, the fight and battle scenes are well done but Thorpe languishes unnecessarily over establishing shots which slows down the action. With Liana Orfei and Luciano Mann.

Riptide (1934)

A high living party girl (Norma Shearer) meets a stiff upper lip British Lord (Herbert Marshall) and they fall in love and marry. He knows about her past but it doesn't matter and she becomes a faithful wife and mother. But when an old flame (Robert Montgomery) enters the picture, everything changes. Directed by Edmund Goulding (GRAND HOTEL), this was one of the very last pre-code films and was released only a few months before the code went into effect. The movie's first half hour leads you to believe it's going to be a screwball comedy about a mismatched pair but it suddenly turns serious as infidelity, jealousy, suspicion and gossip tear the marriage apart. The three leads aren't very sympathetic. Shearer's wife is foolish and places herself in situations that compromise her, Marshall's husband is stuffy and rigid and Montgomery's lover is irritating and can't leave well enough alone. 1934 audiences ate this up and made the film a hit. Interesting as one of the last pre code films as it pushes the envelope regarding adultery among the upper classes but its characters aren't worth our time. With the legendary Mrs. Patrick Campbell (George Bernard Shaw's muse and the original Eliza Doolittle in PYGMALION), Walter Brennan, Ralph Forbes and Lilyan Tashman.

La Donna Della Domenica (aka The Sunday Woman) (1975)

When an architect (Claudio Gora) is murdered (a stone phallus is the weapon), two of the city's elite citizens are the main suspects: a bored socialite (Jacqueline Bisset) and a closeted homosexual (Jean Louis Trintignant). The detective (Marcello Mastroianni) assigned to the case finds himself attracted to the socialite even though she is a possible murderess. Based on the novel by Carlo Fruttero and Franco Lucentini and directed by Luigi Comencini (BREAD, LOVE AND DREAMS). This murder mystery set among the elite should be a treat for murder mystery fans (like myself). There are twists and turns aplenty as well as a plethora of possible suspects but the identity of the killer came as a complete surprise to me. The three leading players are attractive and embody their characters perfectly. A minor quibble is the film's archaic attitude toward the homosexuals in the film (Trintignant and Aldo Reggiani as his lover) which doesn't sit well with 2023 sensibilities. The intense score is by Ennio Morricone. With Gigi Ballista, Lina Volonghi, Maria Teresa Albani and Omero Antonutti. 

Les Oliviers De La Justice (aka The Olive Trees Of Justice) (1962)

Set during the height of the Algerian War. When his father (Jean Pelegri) becomes ill, a Frenchman (Pierre Prothon) of Algerian descent returns to his mother country. He can't help but remember his boyhood growing up on his father's vineyard and contrasting it with the tank filled streets of contemporary Algiers. Based on the novel by Jean Pelegri and directed by James Blue. The recipient of the Critics Prize at the 1962 Cannes film festival, the film is shot in a documentary style with mainly non professional actors. The film was shot in Algiers during the last days of the Algerian war under the guise of shooting a documentary on the Algerian wine industry. It's a deceptively simple movie which doesn't overtly take sides but still shows how Algerians are treated as second class citizens in their own country by the colonialist French hence their fight for independence. By not pushing it, Blue is able to let the humanity of the story take center stage in a realistic and natural way. The restrained score is by Maurice Jarre (DOCTOR ZHIVAGO). With Marie Decaitre, Huguette Poggi and Said Achaibou. 

Amsterdam (2022)

Set in the early 1930s, two veterans of WWI, a doctor (Christian Bale) and a lawyer (John David Washington) are hired by the daughter (Taylor Swift) of their former commander (Ed Begley Jr.) to investigate his suspicious death. An autopsy shows he was poisoned but that is only the beginning of a major conspiracy that threatens our very democracy. Written and directed by David O. Russell (AMERICAN HUSTLE), the film is very loosely based on the Business Plot conspiracy of 1933. What might have been a tense conspiracy thriller along the lines of ALL THE PRESIDENT'S MEN or THE PARALLAX VIEW has been turned into a bloated movie (2 hours, 15 minutes) padded out with unnecessary characters and heavy handed proselytizing that sidetrack the principal narrative. The film received poor reviews and the public stayed away and the film is rumored to have lost up to $100 million. The large cast all do good work but Russell's direction is all over the place giving the movie an erratic and often illogical tone. Whimsy in a political thriller isn't a good mix. Its intentions are in the right place but the execution is deadly. The first rate cast include Margot Robbie, Robert De Niro, Rami Malek, Chris Rock, Mike Myers, Michael Shannon, Anya Taylor Joy, Matthias Schoenaerts, Beth Grant, Zoe Saldana, Andrea Riseborough, Timothy Olyphant and Alessandro Nivola.

Last Summer In The Hamptons (1995)

Three generations of a large theatrical family come together for one last weekend at their East Hampton family estate when the matriarch (Viveca Lindfors) decides to sell it because they can no longer afford to keep it. A popular Hollywood actress (Victoria Foyt) manages to snag an invitation and proceeds to use the weekend to further her career. Co-written (along with Foyt, his wife at the time) and directed by Henry Jaglom (A SAFE PLACE). Has there ever been a more pretentious director than Jaglom? The irony of a pretentious director making a movie about pretentious theatrical artists isn't lost on me. Intended as a comedy but it doesn't feel like Jaglom gets that he's no different than the people he's poking fun at. HAMPTONS feels like a Woody Allen, who had the ability to shoot arrows at pretentious people without being pretentious himself (usually), movie without the laughs. Although the screenplay is credited to Jaglom and Foyt, the dialogue seems mostly improvised. I hope it was because I'd hate to think someone actually wrote this drivel. That being said, the film is very watchable in the way that movies that are train wrecks can be. As the aging actress, Lindfors brings authenticity to her role which is more than Foyt, who's unconvincing as a major movie star, is able to do. With Roddy McDowall, Melissa Leo, Roscoe Lee Browne, Martha Plimpton, Holland Taylor, Diane Salinger, Andre Gregory, Jon Robin Baitz and Kristoffer Tabori. 

Le Dos Au Mur (aka Back To The Wall) (1958)

When a man (Gerard Oury) discovers his wife (Jeanne Moreau) is having an affair, he concocts a diabolical plot to get revenge on his wife and her lover (Philippe Nicaud). But the plan backfires resulting in dire consequences for all involved. Based on the novel DELIVREZ NOUS MAL by Frederic Dard and directed by Edouard Molinaro (LA CAGE AUX FOLLES) in his feature film debut. A detailed and precise film noir dealing with a domestic triangle that I found compelling despite its methodical pacing. It's a chilly film and its glacial characters are hard to latch on to but Molinaro creates an unsettling atmosphere that you know won't end well.  Nicely acted and fans of film noir should be pleased. With Claire Maurier and Gerard Buhr.

Moby Dick (1930)

A sailor (John Barrymore) and his brother (Lloyd Hughes) are both in love with the same woman, a minister's daughter (Joan Bennett). She's in love with the sailor but when he returns from the sea without one of his legs, she turns away from him. It's at this point that he becomes obsessed with killing the white whale that bit his leg off. Loosely (and I mean very loosely) based on the novel by Herman Melville and directed by Lloyd Bacon (MARKED WOMAN). Hollywood in the 1930s frequently adapted classic novels to the screen. Movies like DAVID COPPERFIELD, LES MISERABLES, ANNA KARENINA and LITTLE WOMEN to name but a handful and most of them, if not rigidly faithful to the novel, captured the spirit of the book. However, to call this version of MOBY DICK a travesty is an understatement. Fearing audiences wouldn't be interested unless there's a romance, Joan Bennett's character was created for the film. Ishmael, a major character in the book is eliminated entirely. Barrymore's Ahab is more akin to Long John Silver than Melville's Ahab. Barrymore had previously played Ahab in a 1926 silent version of MOBY DICK called THE SEA BEAST which was a big hit which probably accounts for this sound remake. The film's special effects are pretty impressive for 1930. With Noble Johnson as Queequeg, Nigel De Brulier and May Boley.

Mildred Pierce (1945)

After the murder of her second husband (Zachary Scott), his wife (Joan Crawford in her Oscar winning role) recounts to the police her rise from a Glendale housewife to a restaurant tycoon and the events leading up to the killing. Based on the novel by James M. Cain and directed by Michael Curtiz (WHITE CHRISTMAS). This noir melodrama is greatly admired and it's a thoroughly entertaining movie but while Crawford brings the stature of an iconic movie star to the film, I wish Mildred had been played by a better actress like Barbara Stanwyck. After leaving MGM, this would begin her tenure at Warners and there was a newfound hardness in her acting that would only get worse. Cain's novel was altered considerably (the murder is an invention of the film) and the 2011 Todd Haynes mini series is more faithful to Cain's book. Still, it's well crafted and an excellent example of the studio system at its height. As the selfish and manipulative daughter, Ann Blyth is terrific! With Jack Carson, Eve Arden, Bruce Bennett, Lee Patrick and Butterfly McQueen.

Badlands (1973)

A 15 year old girl (Sissy Spacek) living in a small South Dakota town meets a 25 year old garbage collector (Martin Sheen). Her father (Warren Oates) objects to the budding relationship but soon after killing her father, the two go on a killing spree. Written and directed by Terrence Malick, the film is loosely based on the Charles Starkweather and his girlfriend Caril Ann Fugate nine day killing spree in 1958. Rather than portraying the two as cold blooded killers like the actual Starkweather/Fugate duo, Malick romanticizes the pair as star crossed amoral lovers. Romeo and Juliet on the run from the law. It's hard to find any empathy for them as portrayed in the movie. Thankfully, in their breakthrough roles, Sheen and Spacek give stellar performances which go a long way in sustaining the film's narrative. I don't mean to disparage it, far from it, it's an immaculate piece of film making. For all the aimlessness and violence, there's a lyricism to it that's almost magical. Malick's use of music (Carl Orff, Erik Satie) is superb and the lensing of Tak Fujimoto, Stevan Larner and Brian Probyn contributes to its richness. With Ramon Bieri and Alan Vint.

The Spy In The Green Hat (1967)

A criminal mastermind (Jack Palance) concocts a plan to alter the course of the Gulf Stream with the help of an ex-Nazi scientist (Ludwig Donath). The plan is to detonate atomic bombs in the Atlantic ocean thus causing havoc in Europe but allowing Greenland (which will be their new headquarters) to flourish. Directed by Joseph Sargent (THE TAKING OF PELHAM ONE TWO THREE), this is the fifth feature film consisting of piecing together two episodes of the MAN FROM UNCLE television series. Some minor changes from the TV showing allowing more adult content in the theatrical version include partial nudity and suggestive dialog by Janet Leigh as a sadistic nymphomaniac that was considered too "racy" for television. The comedic aspects are lame but it's fun to see some of the familiar character actors from the 1930s and 1940s as mobsters including Allen Jenkins, Eduardo Ciannelli, Jack La Rue and Elisha Cook Jr. With Robert Vaughn, David McCallum, Joan Blondell, Leticia Roman, Leo G. Carroll and Will Kuluva.

Trail Street (1947)

Set in a small Kansas town where the cattlemen are driving the farmers out by violence and intimidation. But when the new U.S. Marshal Bat Masterson (Randolph Scott) arrives in town, they've met their match. Based on the novel GOLDEN HORIZONS by William Corcoran and directed by Ray Enright (THE SPOILERS). A routine pulp western with predictable situations and characters. It's the kind of movie where when you meet the good hearted "bad" girl, you know she'll get bumped off by the movie's end for trying to help the good guys. It's quite watchable but its lack of inventiveness or style renders it forgettable. There's also the irritating Gabby Hayes providing the comic relief except that he's not funny, just annoying! Most unusual is that there's no romantic interest for the film's hero (Scott). Still, 1940s audiences liked it well enough for the film to turn a modest profit. With Robert Ryan, Anne Jeffreys, Steve Brodie and Madge Meredith. 

The Truth About Spring (1965)

An easy going Caribbean sailor (John Mills) and his tomboy daughter (Hayley Mills) are searching for sunken treasure. Things get complicated when a young, wealthy lawyer (James MacArthur) joins them on their quest. Based on the 1921 book SATAN: A ROMANCE OF THE BAHAMAS by Henry De Vere Stacpoole (previously filmed in 1925 under the title SATAN'S SISTER) and directed by Richard Thorpe (KNIGHTS OF THE ROUND TABLE). Although not a Walt Disney live action movie, this innocuous combination of coming of age romance and sea going adventure feels like one. Part of it is the casting of Disney alumni like Hayley Mills and James MacArthur and part of it is the wholesomeness of it all. You'd think a movie featuring double crossing "cutthroats" would get a wee bit down and dirty but it's family movie fodder all the way! Mundane pretty much sums it up though the handsome lensing of the Spanish coastal locations by Edward Scaife (NIGHT OF THE DEMON) perks it up occasionally. With Lionel Jeffries, David Tomlinson, Harry Andrews and Niall MacGinnis. 

Stronghold (1951)

Set during the Juarez revolution against the Austrian emperor Maximillian (Felipe De Alba), a young woman (Veronica Lake) and her mother (Fanny Schiller) of Mexican descent return to Mexico after the American Civil War has killed the rest of their family. But the peace they hoped to find is shattered when they are kidnapped by a "gentleman" bandit (Arturo De Cordova). Directed by Steve Sekely (DAY OF THE TRIFFIDS), this is a Mexican film using American stars. In addition to Lake, Zachary Scott co-stars as the film's duplicitous villain. After leaving Paramount in 1948, Lake's career floundered and this movie was her last film for 15 years until she returned in minor roles in two low budget horror movies in the 1960s. Scott had just ended his Warners contract and was trying to find a foothold outside the studio system without much success. As to the film itself, its very low budget shows in everything from the inferior script to weak acting. Even the cinematography by the normally reliable Stanley Cortez (THE MAGNIFICENT AMBERSONS) is pedestrian. With Rita Macedo, Alfonso Bedoya and Iren Agay (who died at 38 before the film was released) as the Empress Carlotta.