The Philadelphia Story (1940)

A Philadelphia socialite (Katharine Hepburn) is set to marry her second husband (John Howard) in a society event of the year. Complications arise when her first husband (Cary Grant) shows up and two reporters (James Stewart, Ruth Hussey) from a tabloid cover the wedding against her objections. Based on the play by Philip Barry and directed by George Cukor (GASLIGHT). One of the most revered of classic comedies (I wouldn't call it a screwball though some might). I've never warmed up to it personally though it's well written and acted. Maybe it's because I'm turned off by the characters except for Ruth Hussey. Hepburn's Hollywood career was in the dumps when she returned to the stage in PHILADELPHIA STORY and the play was a hit and she smartly purchased the film rights so that if any studio wanted to make it, she went with it. The film was a huge success and revitalized her film career. Stewart's Oscar win seems inexplicable until you realize it was a compensation Oscar for not winning for MR. SMITH GOES TO WASHINGTON the year before. Remade in 1956 as a musical, HIGH SOCIETY. With Roland Young, Mary Nash, Virginia Weidler, Henry Daniell and John Halliday.

The White Sister (1923)

Set in Italy in a small village below Mount Vesuvius. After their father (Charles Lane) dies, a wicked stepsister (Gail Kane) destroys the father's will which results in her inheriting the estate. She banishes her stepsister (Lillian Gish) from the palace. Meanwhile the soldier (Ronald Colman) she loves is sent off to North Africa. She promises to wait for him but fate has a cruel destiny for them. Based on the novel by Frances Marion Crawford and directed by Henry King (SNOWS OF KILIMANJARO). At over two hours, this is a lot of Lillian Gish suffering and suffering with close ups of her piously looking upward toward heaven which I found heavy going. Unusual for the day, the movie was actually shot entirely on location in Italy which gives the film some authenticity. With Mount Vesuvius bubbling and smoldering in the background, you just know that it's going to erupt by the end of the movie. The special effects are quite decent for its day. If you're a fan of Gish, you might find something to like about the movie. Others may not be so inclined. Remade in 1933 by MGM. With J. Barney Sherry, Juliette La Violette and Gustavo Serena.

China Moon (1994)

Set in a small Florida town, a homicide detective (Ed Harris) is the best in the business. He begins a casual flirtation with a married woman (Madeleine Stowe) but it soon turns into a torrid passion that won't end well. Directed by cinematographer (THE ACCIDENTAL TOURIST) turned director John Bailey. Filmed in 1991, it sat on the shelf for three years before being released. If you've seen DOUBLE INDEMNITY (1944) or BODY HEAT (1981), you know exactly where it's going. It's not a bad neo noir by any means but so by the numbers that any freshness or originality is non existent. Both Harris and Stowe are appealing actors but they lack the sizzling chemistry that William Hurt and Kathleen Turner brought to BODY HEAT. Bailey doesn't bring any style to the proceedings which is deadly. A missed opportunity. With Benicio Del Toro and Charles Dance.

India Song (1975)

Set in India, the promiscuous wife (Delphine Seyrig) of the French ambassador indulges in numerous affairs with the full knowledge of her husband. A Vice Consul (Michael Lonsdale) is obsessed with her but an earlier scandal involving him prevents any relationship. Based on the novel LE VICE CONSUL by Marguerite Duras and directed by her. This is quite a unique and unconventional film and I suspect would bore the less adventurous who might consider it pretentious. INDIA SONG is told in images and narration. The actors pose as if in a tableaux or drift casually across the screen while unseen voices talk about them for two hours. That's it! But Duras wanted to tell a story visually and the "dialogue" spoke by narration rather than a traditional narrative. This can prove frustrating at first but one soon gets used to the movie's rhythm. With Mathieu Carriere, Vernon Dobtcheff, Claude Mann and Didier Flamand.

Asteroid City (2023)

Set in 1955, a television show host (Bryan Cranston) introduces a new play by a famed playwright (Edward Norton) and we are privy to the behind the scenes creation of the play in B&W. Simultaneously, we see the actual finished play in color. Written and directed by Wes Anderson (GRAND BUDAPEST HOTEL) and that's about all you need to know if this movie is your cup of tea. With the exception of THE DARJEELING LIMITED (which I hated), I've liked to loved the Wes Anderson movies I've seen. One of the most visually dynamic of film directors, I'm not sure what the hell the movie is actually about (a second viewing will assuredly help) but this is a feast for the eyes and a quirky sense of humor helps. Don't waste your time analyzing (at least for the first viewing), just let the film's sensations wash all over you. Influenced by Looney Tunes (most specifically the Road Runner cartoons), Adam Stockhausen's pastel production design and Robert Yeoman's eye popping cinematography are luscious. I've already read some complaints about a weak plot but if you're plot driven, this movie is not for you. The amazing ensemble cast includes Scarlett Johansson (simply terrific), Tom Hanks, Jason Schwartzman, Margot Robbie, Tilda Swinton, Steve Carell, Jeffrey Wright, Matt Dillon, Hope Davis, Hong Chau, Willem Dafoe, Adrien Brody, Lieve Schreiber, Maya Hawke, Rupert Friend and Jeff Goldblum. 

Thank Your Lucky Stars (1943)

Two impresarios (Edward Everett Horton, S.Z. Sakall) are putting on an all star benefit for charity. They want Dinah Shore for their show but she's under contract to an obnoxious Eddie Cantor who won't let her do the show unless he's part of it. Meanwhile, a struggling singer (Dennis Morgan) and songwriter (Joan Leslie) look to the show to jumpstart their careers. Directed by David Butler (CALAMITY JANE), this is just a barely there plot to accommodate a slew of special performances by Warners contract players. In the 1940s, it wasn't unusual for a studio to do a project like this using their roster of stars. MGM did it with THOUSANDS CHEER, Paramount did it with STAR SPANGLED RHYTHM and Warners would do it again the following year with HOLLYWOOD CANTEEN. The silly plot allows us to see Humphrey Bogart parodying himself, Bette Davis do the jitterbug, John Garfield sing, Errol Flynn doing a British music hall number and Hattie McDaniel looking glamorous singing Ice Cold Katie instead playing a domestic. Two numbers stood out for me: Ann Sheridan singing Love Isn't Born which indicates Warners missed out by not putting her in musicals and a dance number with Alexis Smith (who knew she could dance?) who would have to wait until FOLLIES to showcase her musical talent.  With Olivia De Havilland, Ida Lupino, Jack Carson and Spike Jones.

The Driver (1978)

Known as the fastest getaway driver on high stakes robbery jobs, a loner (Ryan O'Neal) is relentlessly pursued by a police detective (Bruce Dern) obsessed with catching him, even if he has to operate outside the law. Written and directed by Walter Hill (THE WARRIORS), this neo noir crime thriller is overflowing with style but not much else. If you're into movie car chases (think BULLITT or FRENCH CONNECTION), this might be your jam. It's one of those films where the cops (in this case, Bruce Dern) is so sleazy that you're automatically on side of the criminal (O'Neal). But no one is as smart as he thinks he is and O'Neal's lack of foresight results in some unnecessary deaths. The only character I liked was Ronee Blakley, who didn't deserve the fate the movie dished out to her. The film initially received weak notices but the ensuing years have made it a genre favorite among directors like Quentin Tarantino. None of the characters have names but are referred to by their place in the narrative. Thus, O'Neal is The Driver, Dern is The Cop, Isabelle Adjani (in her American film debut) is The Player, Ronee Blakley is The Connection, etc. O'Neal seems to be channeling Alan Ladd and his minimal performance is actually an asset to the film. The film was an influence on DRIVE (2011) and BABY DRIVER (2017). With Matt Clark and Felice Orlandi.

How To Steal The World (1969)

When a fellow UNCLE (United Network Command For Law And Enforcement) agent (Barry Sullivan) and a European military general (Leslie Nielsen) disappear, two UNCLE agents investigate and uncover a diabolical plot to take over the world. Directed by Sutton Roley (CHOSEN SURVIVORS), this was the final theatrical release (and not coincidentally, the final episode) of a MAN FROM UNCLE two part episode reconfigured for a theatrical release. The outlandish plot could have used a dash of humor here and there but it's played deadly straight which results in a rather tiresome watch. It's not much fun and a missed opportunity to have Eleanor Parker's villainess camp it up a bit might have provided some amusement. With Dan O'Herlihy, Tony Bill, Leo G. Carroll, Tony Bill, Albert Paulsen and Hugh Marlowe.

You Were Meant For Me (1948)

Set during the Great Depression, a young small town girl (Jeanne Crain) falls in love with the bandleader (Dan Dailey) of a traveling orchestra. They elope but married life isn't quite what she expected. Directed by Lloyd Bacon (BROTHER ORCHID), this semi musical incorporates many songs that were popular during the 1920s including the title song. Though there are some solid dramatic moments, the movie is predictable right on down to its unrealistic conclusion. Crain does well enough, going from dewy eyed teenager to a wife struggling to keep her marriage together while Dailey has the opportunity to sing and dance (he did his own choreography). It creaks a bit but if you're fan of the two leads, it's watchable. It did nicely at the box office. With Oscar Levant whose acidity keeps things from getting too soppy, Barbara Lawrence, Percy Kilbride, Selena Royle and Herbert Anderson.

Step Down To Terror (1958)

Pursued by detectives, a serial killer (Charles Drake) leaves the city and returns to his small hometown to visit his mother (Josephine Hutchinson). When he returns, there's an attraction between him and his widowed sister in law (Colleen Miller) but she soon becomes suspicious of him. Directed by Harry Keller (THE UNGUARDED MOMENT), this is an uncredited remake of Hitchcock's SHADOW OF A DOUBT with lots of changes. The uncle and niece are now brother in law and sister in law and the killer has a backstory that explains his psychotic homicidal behavior. Frankly, I've never been a fan of the Hitchcock film so I had no problem whatsoever with this version. In fact, I liked some of the casting better as I found Colleen Miller much more appealing than the whiny Teresa Wright and Rod Taylor's detective is an improvement over the bland Macdonald Carey. However, I suspect others will not agree. With Jocelyn Brando and Eleanor Audley.

Island Of The Alive (1987)

By a court order, mutant babies with homicidal tendencies are sent to a remote uninhabited island where they can live out their lives. But when a group of scientists go to the island some five years later to see how the mutant children (they're now five years old) are surviving, the father (Michael Moriarty) of one of the mutant children goes along to be sure no harm comes to the mutants. Written and directed by Larry Cohen (GOD TOLD ME TO), this was the third film in the IT'S ALIVE (1974) franchise following IT LIVES AGAIN (1978). The first film was hardly a masterpiece of horror but it was efficient and often poignant. The second was terrible and this one is worse if that's possible. Badly written and poorly acted, if you hadn't seen Moriarty in other films, you'd guess he was one of the dregs of his profession. It's sad to see how the careers of Moriarty and Karen Black (as his ex-wife) had diminished to the point of doing drek like this. In the first movie, we were only shown tantalizing glimpses of the mutants but here, they are revealed to us and they look like cheap plastic baby dolls. You've been warned. With Macdonald Carey, Laurene Landon and Gerrit Graham.

Vogues Of 1938 (1937)

A Manhattan debutante (Joan Bennett) is being forced into a loveless marriage to a wealthy man (Alan Mowbray) by her mother (Hedda Hopper). But on her wedding day she jilts the groom and falls in love with a fashion designer (Warner Baxter), who happens to be married to an aspiring actress (Helen Vinson). Directed by Irving Cummings (DOWN ARGENTINE WAY), this pastiche of a movie is almost a musical but not quite and almost a comedy but not quite. The musical numbers and acts are not organic but seem randomly inserted into the movie like the Cotton Club sequence with black performers that could easily be (and probably was) cut in the Jim Crow South. Shot in the three strip Technicolor process, the film did receive two Oscar nominations: best art direction and best song That Old Feeling that became a standard. There are also some elaborate fashion show sequences which highlight fashions of the day. Frankly, I could have done without the musical numbers (though the Cotton Club number is a highlight). As to the movie itself, it's a painless if predictable watch and the eye popping Technicolor helps considerably. With Alma Kruger, Mischa Auer and Jerome Cowan.

A Man Called Otto (2022)

Depressed after the death of his wife, a grumpy misanthropic widower (Tom Hanks) plans to commit suicide. But when a new family moves in across the street, he very reluctantly becomes more involved in life. Based on the novel by Fredrick Backman (previously made in Sweden in 2015) and directed by Marc Forster (MONSTER'S BALL). I liked this one though it is not without its flaws. At over two hours, it's too long. Mostly because of the many unnecessary flashbacks showing Hanks' character as a young man and husband (Truman Hanks, Tom's son) when just a couple of flashbacks would have sufficed. Yes, it's a tearjerker of a comedy (not unlike TERMS OF ENDEARMENT) and if you're a cynic, you might fight the sentimentality of it all, especially the ending but why fight it? With its inclusive characters (Latino, black, transgender) I suppose one could call it a "WOKE" (it's not meant as a derogatory term, being WOKE is a good thing) movie. With Mariana Trevino, Manuel Garcia Rulfo, Juanita Jennings, Mack Bayda, Rachel Keller and Mike Birbiglia.

Faraon (aka Pharaoh) (1966)

Set in Ancient Egypt, the young Pharaoh Ramses XIII (Jerzy Zelnik) intends to reform Egypt but his high priest (Piotr Pawlowski) vehemently opposes him. Thus a struggle for power between the young Pharaoh and the temple's priests sets the stage for intrigue, betrayal and the future of the Egyptian throne. Based on the novel by Boleslaw Prus and directed by Jerzy Kawalerowicz (MOTHER JOAN OF THE ANGELS). When one thinks of movie epics set in Ancient Egypt, Rome, Greece or biblical films, one thinks of Hollywood or Italian peplum, not Poland. This epic film is not concerned with spectacle and pageantry or DeMille like debauchery. It is an intelligent analysis of power, corruption and the undue influence and interference of religion on government. Stunningly shot in wide screen (Dyaliscope) by Jerzy Wojcik with interiors shot in a Poland studio and exteriors shot in Egypt and Uzbekistan. Nominated in 1967 for a best Foreign Language film Oscar, the film is greatly admired by many including Martin Scorsese. Definitely a film worth seeking out. With Leszek Herdegen, Krystyna Mikolajewska, Wieslawa Mazurkiewicz and Barbara Brylska.

Trade Winds (1938)

A private detective (Fredric March) is sent to the Orient to arrest a murder suspect (Joan Bennett) who fled the country. He finds her but complications arise when he falls in love with her. Directed by Tay Garnett (THE POSTMAN ALWAYS RINGS TWICE), the screenplay was co-written by Dorothy Parker and Alan Campbell which might explain the comedic elements to this romantic murder mystery. It's an odd mixture of screwball comedy, romance, murder mystery that opens with Bennett identifying the body of her sister who just committed suicide before she shoots her sister's lover (Sidney Blackmer). Ha-ha, funny, yes? Actually, the romance between March and Bennett isn't very interesting but the movie is fortunate in two of its supporting players who are a pleasure to watch: Ralph Bellamy as a not too smart prudish cop and Ann Sothern as March's brassy secretary. When they're on the screen, your attention is assured. This is the movie where the (naturally) blonde Bennett dyed her hair brunette for the first and it did such wonders for her, she kept her hair dark for the rest of her career. As a blonde, she's cute but as a brunette, she gets a glamour she never had as a blonde. With Thomas Mitchell and Joyce Compton. 

Call Me Bwana (1963)

A New York writer (Bob Hope) passes off his Uncle's memoirs of exploration in Africa as his own. Based on his false reputation, the U.S. government recruits him to locate a missing space probe in Africa before foreign agents (Anita Ekberg, Lionel Jeffries) can get to it. Directed by Gordon Douglas (TONY ROME), the film was written as it was shooting and it shows it! The 1960s weren't kind to Bob Hope's film career. After BACHELOR IN PARADISE (1961), his last good movie, he seemed to lose touch with contemporary film audiences. The quips fell flat, the plots barely held together and there's an air of desperation about (most of) them. The film's insensitive racial humor seemed out of place in 1963 and time only makes it cringe worthy. As Hope's CIA agent companion, Edie Adams looks glum throughout as if realizing she's in a turkey. There are a couple of sight gags that made me grin but the film's most notable moment isn't in this movie but in the Bond film FROM RUSSIA WITH LOVE when a Russian agent is assassinated when attempting to escape through a window through Anita Ekberg's mouth on a giant movie poster of CALL ME BWANA. With Percy Herbert and playing himself, golf legend Arnold Palmer.

City Heat (1984)

Set in 1933 Kansas, a private detective (Burt Reynolds) tracks the killer of his partner (Richard Roundtree) while a police Lieutenant (Clint Eastwood) attempts to keep the lid on the rivalry of the warring local mobsters. Written by Blake Edwards (a pseudonym is used for his screenplay credit) and directed by Richard Benjamin (THE MONEY PIT). Blake Edwards was the original director but Eastwood didn't like the direction the movie was taking under Edwards' helm so he was replaced by Richard Benjamin. Reynolds (who worked with Edwards the year before in THE MAN WHO LOVED WOMEN) didn't like the finished product. It's clear that the film went in the direction Eastwood wanted and Benjamin was basically a traffic cop here. Each actor doesn't stray far from their  personas. Eastwood does his squinty and stoic Dirty Harry bit only this time transferred to the 1930s and Reynolds tries to get by on his usual wisecracking wise guy act. The original female leads, Marsha Mason and Clio Goldsmith, were replaced by Jane Alexander and Madeline Kahn. As to the movie itself, considering the potent star power it's surprisingly lackluster. The tone of the film fluctuates from broad comedy to shocking moments of violence as if the film makers couldn't decide what direction they wanted the movie to go in. No one involved comes out looking good. With Rip Torn, Irene Cara, Tony Lo Bianco and in her final film role, Joan Shawlee.

Twentieth Century (1934)

A maniacal Broadway director (John Barrymore) transforms a lingerie model (Carole Lombard) from an amateur actress to one of the theatre's most popular actresses. But as the years pass, the director's possessive egomania drives her to Hollywood and the movies. Based on the play NAPOLEON OF BROADWAY by Charles Bruce Millholland which was later adapted for the stage by Ben Hecht and Charles MacArthur (who also did the screenplay) under its present title and directed by Howard Hawks (RED RIVER). One of the most admired of the 1930's screwball comedies, it quickly wore out its welcome for me. The first half hour is entertaining enough but it soon descends into high pitched hysteria with Barrymore's over the top hamming and Lombard's shrill shrieking which left me more exhausted, not amused. It's a minority opinion as the film's reputation is stellar. In 1978, it was turned into a Broadway musical. With Walter Connolly, Roscoe Karns and Etienne Girardot.

The Bitch (1979)

On a flight from New York to London, a high living and pleasure seeking divorcee (Joan Collins) meets an Italian hunk (Michael Coby). She's interested in bedding him but he's interested in using her to smuggle a very expensive diamond through customs. Based on the novel by Jackie Collins (HOLLYWOOD WIVES) and directed by Gerry O'Hara (MAROC 7). This is a sequel to the high grossing sleeper (in England anyway) THE STUD also based on a Jackie Collins novel and starring her sister, Joan. Like its predecessor, this is softcore porn gussied up as an "erotic" drama. Collins' wealthy slut and Coby's sleazy hustler are repugnant characters and deserve each other. Joan Collins has a strong screen presence but she's surrounded by a roster of unappealing actors like Coby. Still, like the first film, it cleaned up at the British box office and revived Collins' flagging career. Two years later, she had the biggest success of career as Alexis Carrington in DYNASTY. With its disco soundtrack and pool orgies, its very much a relic of its era but it's about as erotic as a tepid cup of tea. With Ian Hendry, Kenneth Haigh, Sue Lloyd, Carolyn Seymour, Mark Burns and Pamela Salem.

City For Conquest (1940)

In order to support his musician brother (Arthur Kennedy), a truck driver (James Cagney) starts to box professionally. He begins to make a name for himself in the boxing world but is frustrated when the girl (Ann Sheridan) he loves chooses a career as a dancer over him. Based on the novel by Aben Kandel and directed by Anatole Litvak (THE SNAKE PIT). Typical Warners late thirties/early forties fodder complete with a tearjerker ending. I enjoyed the first section of the movie which was gritty and unsentimental but once Cagney loses his eyesight, it becomes soft and peters out complete with (literally) a Max Steiner symphony. Cagney is actually very good here, even when the script goes all sappy Cagney keeps his rugged persona. He fares better than the teary eyed Ann Sheridan, normally a good match for Cagney but the screenplay does her in. With Anthony Quinn (very good as Sheridan's sleazy dance partner), Donald Crisp, Lee Patrick, Frank McHugh, Joyce Compton, George Tobias and Elia Kazan, still in the acting phase of his career.  

Bus Riley's Back In Town (1965)

Returning to his hometown after he gets out of the Navy, a young man (Michael Parks) finds that life as he knew it has dramatically changed. He has some major choices to make about his life and career that get complicated when an old flame (Ann-Margret) enters the picture. Written by William Inge (BUS STOP) and directed by Harvey Hart (FORTUNE AND MEN'S EYES). Inge disliked the finished motion picture so much that he had his name taken off it and a pseudonym was given screenplay credit. Indeed, there's almost nothing in the finished film that would indicate that it came from the pen from the man who wrote PICNIC, COME BACK LITTLE SHEBA or SPLENDOR IN THE GRASS. It looks like a cheap (it was shot on the Universal backlot) made for TV movie. The film has no focus and scenes (like the one with Parks and Brad Dexter trying to sell a cleaning system to a housewife played by Alice Pearce) add absolutely nothing to the story and seem like it belongs in another movie. One feels sorry for Ann-Margret who not only has no chemistry with Parks but seems to have been directed to play her part like a cat in heat! No one comes out looking good here, not even the usually reliable Russell Metty (TOUCH OF EVIL) whose cinematography looks muddy. With Janet Margolin, Kim Darby (just awful), Jocelyn Brando, David Carradine, Mimsy Farmer, Nan Martin, Ethel Griffies and Brett Somers.

Appointment With A Shadow (1957)

A once respected alcoholic reporter (George Nader) has ruined his career because of his drinking. An opportunity to redeem himself comes when he is a bystander at the arrest and killing of a notorious gangster (Frank DeKova). But when he finds himself at the center of a deadly set up, no one will believe him. Based on a short story by Hugh Pentecost and directed by actor Richard Carlson (IT CAME FROM OUTER SPACE). This crime movie with noir-ish elements is as much about a struggling alcoholic as it is a crime thriller. Unfortunately, George Nader (replacing Jeffrey Hunter) who is a serviceable actor in most other things isn't a strong enough actor to make his struggling alcoholic believable and Carlson's lackluster direction gives him no help. A watchable potboiler that needed a stronger actor in the lead role. With Brian Keith, Joanna Moore and Virginia Field.

Dogville (2003)

On the run from gangsters, a young woman (Nicole Kidman) arrives in the isolated town of Dogville. The townspeople agree to shelter her but when outsiders looking for the fugitive visit the town, the locals make demands of the woman in exchange for their silence. Written and directed by Lars von Trier (DANCER IN THE DARK), this polarizing film is von Trier's masterpiece. A stylized parable about America's corruption and violence plays out like a visual book with a prologue and nine chapters narrated by John Hurt and acted by an ensemble cast on a minimalist stage like set with chalk lined boundaries indicating buildings (there are no walls) and actors miming actions like opening doors. Its initial reviews were very mixed with critics calling it everything from a masterpiece to pretentious twaddle. However its reputation has grown considerably in the ensuing years and it often shows up on lists of the best films of the 21st century. I found it more relevant than ever as the past several years here in the U.S. have shown how vile people can be and seen today, the film's town is a microcosm of what America has descended into. A stunning film. The superb ensemble cast includes James Caan, Lauren Bacall, Harriet Andersson, Ben Gazzara, Stellan Skarsgard, Paul Bettany, Patricia Clarkson, Chloe Sevigny, Philip Baker Hall, Blair Brown and Cleo King.

Infinity Pool (2023)

A failed novelist (Alexander Skarsgard) and his rich wife (Cleopatra Coleman) are on vacation at a posh seaside resort in a third world country that caters to wealthy tourists. But when they leave the confines of the resort, they discover the country's dark secret. Written and directed by Brandon Cronenberg (son of David), this sci-fi horror Canadian/Croatian concoction received positive reviews but I found it pointless and more often than not, silly. A movie about hedonistic rich people exploiting a third world country when they realize their wealth exempts them from the law. Skarsgard's character is easily seduced by the decadent and twisted lifestyle of the resort's "members", so I wasn't involved in his fate because I didn't care. The only sane character in the film is his wife but Coleman isn't given enough to do. To the film's credit, it's never boring and the premise is ripe with possibilities but Cronenberg's thin style over substance narrative isn't strong enough to hold the movie together. With Mia Goth and Jalil Lespert.

Cold Comfort Farm (1995)

After the death of her parents, an impoverished young woman (Kate Beckinsale) decides to live with some rural country relatives on their farm. Her ulterior motive is to get some experience for a novel she wants to write. But the eccentric backward household inspires her to change their lives. Based on the 1932 novel by Stella Gibbons and directed by John Schlesinger (DARLING). Originally shot for British television but released theatrically here (due to Schlesinger's urging) in the U.S. where it was a modest success both critically and at the box office. I've not read the original source material but apparently it was a parody of then contemporary writers romanticized rural fiction. I found the film's central character played by Beckinsale as a sort of cousin to Jane Austen's EMMA. I enjoyed its fairy tale like quality although its over simplified execution reduces it to a piffle of a movie. A first rate roster of English actors do fine work. With Ian McKellen, Eileen Atkins, Joanna Lumley, Rufus Sewell, Stephen Fry, Freddie Jones, Sheila Burrell and Miriam Margolyes.

The Women (1939)

Set in the upper crust of Manhattan society, a cheerful wife (Norma Shearer) finds her "perfect" life crashing around her when she discovers her husband is having an affair with a scheming shopgirl (Joan Crawford). Despite her mother's (Lucile Watson) advice, she goes to Reno for a divorce, a decision she will later regret. Based on the play by Clare Booth Luce and directed by George Cukor (GASLIGHT). The film has a huge following among gay men but I don't think it holds up well. Its attitudes toward women and marriage are outdated and in a post feminist society, its suggestion that women are not complete without a husband is ridiculous. As the nobly suffering wife, Shearer is annoyingly saccharine. Enough to make you understand why her husband would look elsewhere for relief. The dialogue is bitchy and mirthful but the women are all such cats that it doesn't reflect well at all on women. There are compensations: Rosalind Russell comes into her own as a comedienne here and steals the movie, Paulette Goddard's sexy minx would soon propel her into one of the 1940s popular leading ladies and Crawford is amusingly brittle as the homewrecker. I much prefer the 1956 remake THE OPPOSITE SEX (who wouldn't take June Allyson over Shearer?). The all female cast includes Joan Fontaine (whose breakout role in REBECCA the next year would take her out of these wimpy parts), Mary Boland, Phyllis Povah, Virginia Wiedler, Marjorie Main, Ruth Hussey, Virginia Grey, Butterfly McQueen, Mary Beth Hughes and Theresa Harris.

Altered States (1980)

A research scientist (William Hurt in his film debut) believes other states of consciousness are as real as everyday reality. Using sensory deprivation and hallucinogenic drugs, he explores these altered states but his experiments are dangerously close to driving him mad. Based on the novel by Paddy Chayefsky and directed by Ken Russell (THE DEVILS). Chayefsky wrote the screenplay but he and Russell clashed and he had his name removed as the film's screenwriter (he still gets credit for the original novel). Chayefsky had already clashed with the film's original director Arthur Penn, who left and Russell found Chayefsky's script too verbose and wanted to focus on the visuals. I'm a big fan of the movie, mostly due to Russell's kinetic visual style. Remnants of Chayefsky's pretentious gobbledygook are still in evidence but the actors smartly (at Russell's urging?) zip through the dialogue as fast as they can before we realize we're hearing nonsense. Hurt's intense performance anchors the film but some of the supporting cast give bizarre over the top line readings (Charles Haid's performance is particularly hideous). No doubt Chayefsky intended a "serious" film questioning the existence of God and the origin of man. I much prefer the gusto that Russell injects into the movie, making it a rollercoaster of a sci-fi/horror movie. There's a great Oscar nominated score by John Corigliano. With Blair Brown, Bob Balaban, Miguel Godreau, John Larroquette, George Gaynes and in her film debut, Drew Barrymore as Hurt's daughter. 

Castle In The Desert (1942)

The renowned detective Charlie Chan (Sidney Toler) is summoned by a letter from the wife (Lenita Lane) of a misanthropic millionaire (Douglass Dumbrille) to a mysterious and secluded castle deep in California's Mojave desert. But when he arrives, she denies ever writing such a letter. However, when a death under mysterious circumstances occurs, he attempts to solve the case before another murder can happen. Based on the character created by Earl Derr Biggers and directed by Harry Lachman (DR. RENAULT'S SECRET). The Sidney Toler Chan films are generally considered inferior to the Warner Oland Chan movies but I think that's because when the Chan films moved over to Monogram pictures from 20th Century Fox, the budgets and quality suffered. This was the final Fox Chan before going over to Monogram. I enjoyed this one although it's often incoherent. After the killer is exposed at the end, I still didn't understand their motive for the killings. Did I miss something or did the movie just not bother? With Henry Daniell, Richard Derr, Arleen Whalen, Ethel Griffies, Steven Geray and Victor Sen Yung.

The Night Runner (1957)

A man (Ray Danton) with a violent past is prematurely released from a mental hospital due to it being overcrowded. Unable to withstand the pressures of a big city life, he settles in at a small beachside community where he falls in love with the daughter (Colleen Miller) of a motel owner (Willis Bouchey). However, the motel owner is suspicious of the young man and doesn't like the romance between them. Based on a short story by Owen Cameron and directed by Abner Biberman (GUN FOR A COWARD). I enjoyed this B noir-drama that wants to have it both ways. On the positive side, it exposes the overcrowded mental institutions where doctors have too many patients to take care of and lack of facilities to help them. On the other side, it uses mental illness as a contrivance for a thriller which made me somewhat uncomfortable. But there's no denying its effectiveness on both levels. As the mentally ill man, Ray Danton is very good and gives a sympathetic performance. With Merry Anders and Harry Jackson.

Incident At Phantom Hill (1966)

Shortly after the Civil War, an army captain (Robert Fuller) is given the assignment to take a Confederate prisoner (Dan Duryea overdoing the villain) to Texas to recover a shipment of gold worth a million dollars that was stolen during the war between the states. To do this, they must travel through hostile Comanche territory. Directed by Earl Bellamy (MUNSTER GO HOME), this is a routine B programmer western that benefits from location wide screen (Techniscope) shooting in Joshua Tree and Lake Piru (both in California) rather than the Universal backlot. It's not an enlightened western, the Comanches aren't humanized, just faceless killing machines. Fuller had made a name for himself in TV western series like LARAMIE and WAGON TRAIN and this was his first leading role in a movie. It did nothing for his career. Western fans should find it entertaining enough but non Western fans most likely will be bored. Jocelyn Lane as a prostitute traveling with the men provides some eye candy. With Linden Chiles, Claude Akins and Tom Simcox.

Mr. Belvedere Rings The Bell (1951)

An author (Clifton Webb) is on a lecture tour, his subject being "How To Be Young Through 80". As an experiment to test his theories out, he enters a home for the aged under a pseudonym. Based on the play THE SILVER WHISTLE by Robert E. McEnroe and directed by Henry Koster (FLOWER DRUM SONG). This was the third film following SITTING PRETTY (1948) and MR. BELVEDERE GOES TO COLLEGE (1949) utilizing the character of Mr. Belvedere played by Webb. It's a fifties version of COCOON (1985) with the acerbic Webb whipping the depressed oldsters waiting to die into revitalizing their existence and giving joy in their twilight years. It's a sweet if predictable movie (the usual old folks cliches in full force) enhanced by Webb's acidic line readings which makes the dialogue seem wittier than it really is. The original play the movie is based did not have Belvedere as a character, he was a hobo played by Jose Ferrer. The screenplay merely transformed the hobo into Belvedere. With Joanne Dru, Zero Mostel, Hugh Marlowe, Warren Stevens, Hugh Beaumont and Doro Merande.

Sunburn (1979)

A private eye (Charles Grodin) hires a pretty girl (Farrah Fawcett) to masquerade as his wife when he goes down to Acapulco to investigate the mysterious death of a millionaire. Based on the novel THE BIND by Stanley Ellin and directed by Richard C. Sarafian (VANISHING POINT). This was the second film Fawcett made after leaving the CHARLIE'S ANGELS television series which made her a star (on TV anyway). Clearly this mediocre detective comedy was designed to bolster her attempts to become a film star. She's a good actress but she never quite made the transition from TV stardom to film stardom. It doesn't help that Charles Grodin isn't leading man material, certainly not in an action movie. The plush Acapulco locations help some but the movie meanders too much to catch fire. With Art Carney, Eleanor Parker, Joan Collins, Keenan Wynn, Alejandro Rey, William Daniels, John Hillerman and Jack Kruschen.

Broadway Melody Of 1938 (1937)

A dancing horse trainer (Eleanor Powell) attracts the attention of a Broadway producer (Robert Taylor) who puts her in his upcoming Broadway musical. This does not sit well with the wife (Binnie Barnes) of the show's backer (Raymond Walburn) who has designs on the producer herself. Directed by Roy Del Ruth (DUBARRY WAS A LADY), this is a monotonous backstage musical combined with the world of horse racing. The film comes to life when Eleanor Powell is dancing or Judy Garland is singing (this is the movie where Judy sings You Made Me Love You to a photo of Clark Gable). But oh, but what we have to suffer through in between Powell dancing and Garland singing! This is the kind of movie where we have to believe the 6' 4" Buddy Ebsen is a jockey! The novelty acts are bizarre, for example, there's this professional sneezer (Robert John Wildhack) whose "act" is just that, different kinds of sneezing! With Sophie Tucker, George Murphy, Billy Gilbert and Helen Troy. 

Undertow (1949)

A gambler (Scott Brady) just out of wartime military service wants to put his gambling past behind him and open a mountain resort. But first, he must overcome the objections of the uncle of the girl (Dorothy Hart) he wants to marry. In a bizarre turn of events, when the uncle is murdered, he becomes the prime suspect. Directed by William Castle (HOUSE ON HAUNTED HILL), this is a fast moving nifty film noir. It's a B programmer but like many unpretentious B film noirs, it's economical in its execution and leaves no room for unnecessary exposition. There aren't a whole lot of suspects so it's fairly easy to figure who the real murderer is but it's an appealing watch. With Rock Hudson, Peggy Dow, Bruce Bennett and Dan Ferniel.

The Son (2022)

A high powered attorney (Hugh Jackman) finds his hectic life upended when his ex-wife (Laura Dern) comes to him regarding their teenage son (Zen McGrath). The boy suffers from depression and can't cope with everyday life. Based on the play by Florian Zeller (THE FATHER) and directed by him. Zeller's film version of THE FATHER was one of the acclaimed films of 2021 and earned Anthony Hopkins a best actor Oscar. Alas, unlike THE FATHER, THE SON wasn't embraced by the critical establishment which is a pity because I found it a devastating portrait of mental illness with superb performances by the five lead actors (the others are Vanessa Kirby as Jackman's second wife and Hopkins as his father). It's an unrelenting movie and as it slowly unravels, you just know it won't end well and it doesn't. It's uncompromising in its outlook, the film doesn't give us the happy (or even hopeful) ending. The underlying causes of McGrath's psychosis is never given although it's hinted that his parents' divorce and the father's subsequent "abandonment" were a factor. Well worth seeking out but you might want to follow it up with a silly comedy to shake it off. 

Hold Back Tomorrow (1955)

A serial killer (John Agar) has a last request before he is hanged. He wants a woman for the night. The police hire a suicidal prostitute (Cleo Moore) for $200 and bring her to his cell. Written, produced and directed by Hugo Haas (LIZZIE), so we know who to blame for this ridiculous stinker! This is basically a two character piece as the angry "chip on his shoulder" murderer and the poetry quoting hooker talk in his prison cell the few hours before his execution and eventually fall in love. The film seems to be set in an unnamed foreign country as the prison guards are in military looking uniforms and the "chaplain" is a monk. What U.S. prison would send out for a hooker for a death row inmate? The dialogue is laughably trite. Moore says to Agar, "You're not a killer. You're just a little boy who got into trouble!". Yeah, tell that to the victims' families. The movie addresses his first killing but not the others. The film's biggest crime isn't that it's silly, it's boring! And you'd need a better actor than the dreadful John Agar to make his killing machine palatable. With Harry Guardino and Frank DeKova.

Stella Dallas (1937)

A mill worker's daughter (Barbara Stanwyck) has ambitions to marry well and escape her working class background. Eventually, she marries a man (John Boles) with breeding and social standing but she seems more interested in having a good time with less than stellar characters. Based on the novel by Olive Higgins Prouty and directed by King Vidor (DUEL IN THE SUN). Along with MADAME X, this is the quintessential mother love and sacrifice movie and like MADAME X, it's been made several times, first as a 1925 silent and later in 1990 with Bette Midler in the title role. The film pulls at the tear ducts and even the most cynical moviegoer should be misty eyed by the end of the film. The movie is pure melodramatic soap opera but is redeemed by Stanwyck's Oscar nominated performance. The story may creak (it creaked in 1925 too) but Stanwyck brings genuine pathos as the "common" mother whose love for her daughter (Anne Shirley also Oscar nominated) knows no bounds and makes the ultimate sacrifice for her daughter's happiness. With Tim Holt, Marjorie Main, Alan Hale, Barbara O'Neil, Ann Shoemaker and Laraine Day.

Alien Resurrection (1997)

200 years have passed since Ellen Ripley (Sigourney Weaver) made the ultimate sacrifice in order to destroy the alien breeding in her. But now a group of scientists have cloned her, along with the alien queen inside her, hoping to breed the ultimate weapon. Directed by Jean Pierre Jeunet (CITY OF LOST CHILDREN), this was the fourth entry in the lucrative ALIEN franchise. It's probably the most disliked of the ALIEN films, even the once maligned ALIEN 3's reputation has grown in recent years, most likely due to director David Fincher's reputation. I've liked all the ALIEN films on some level though I personally don't consider PROMETHEUS (which I despised) part of the ALIEN franchise. Which is not to say this isn't the weakest of the ALIEN movies, mostly due to the supporting characters and some bad writing. As long as the film concentrates on either Weaver or Winona Ryder, I found it engrossing. But the "bad ass" thugs from a cargo ship (who we're supposed to be rooting for), not to mention some bad acting from those playing creepy scientists nearly do the film in. Since I wanted the a-hole cargo crew to get killed by the alien creatures there wasn't much suspense about the humans getting offed. Still, Jeunet managed to occasionally give the film some genuine tension. With Ron Perlman, Brad Dourif, Dan Hedaya, Raymond Cruz and J.E. Freeman.

Nattvardsgästerna (aka Winter Light) (1963)

Set in a rural Swedish village, the town pastor (Gunnar Bjornstrand) goes through his duties mechanically. The loss of his wife has triggered a crisis of faith. When a troubled parishioner (Max Von Sydow) comes to him with his own doubts, it triggers his own questioning of God's existence. Written and directed by Ingmar Bergman, this is among his bleakest films and could easily have been titled GOD'S SILENCE. It's a relatively short film (under 90 minutes) and takes place over the course of several hours. Cold and unrelenting, it's not easy to penetrate its existential veneer. On the plus side, it has a strong central performance by Bjornstrand and Sven Nykvist's stark B&W cinematography is handsome and suitably chilly. I can admire it but I can't say it's one of my favorite Bergman efforts but there are others who consider it among Bergman's greatest. With Ingrid Thulin, Gunnel Lindblom and Allan Edwall.