The Big Bus (1976)

The world's first nuclear powered bus makes its maiden run from New York to Denver with a disparate group of passengers on board. But a sinister tycoon (Jose Ferrer) has a bomb planted aboard the bus. Directed by James Frawley (THE MUPPET MOVIE), this satire on the popular disaster movies of the 1970s is a disaster. How does one spoof a genre that often (unintentionally or not) parodies itself? AIRPORT 1975 anyone? There's not a laugh to be had in the movie's 90 minute running time. Not only is the script not funny, but the actors play too broadly as if we won't get (wink-wink) that it's a satire. The film might (and that's a big "might") have played better if the actors played it straight instead of their "wink-wink" acting. Where's Leslie Nielsen when you need him? Still, the movie does have a small cult following. The huge cast includes Stockard Channing, Sally Kellerman, Joseph Bologna, Lynn Redgrave, Larry Hagman, Ruth Gordon, Ned Beatty, Richard Mulligan, Bob Dishy and Rene Auberjonois. 

Oppenheimer (2023)

Covering the years 1926 to 1963, the story of J. Robert Oppenheimer (Cillian Murphy) known as the father of the atomic bomb. Based on the non fiction book AMERICAN PROMETHEUS by Kai Bird and Martin J. Sherwin and directed by Christopher Nolan (THE DARK KNIGHT RISES). I'm not much of a fan of Nolan's work, his films are very hit and miss with me, usually miss. But this ambitious three hour portrait of Oppenheimer focusing on his personal life as much as his contribution to the development of the atomic bomb aka the Manhattan Project is wonderful. My enthusiasm for the film also includes my admiration for Murphy's masterful performance. I confess some of the film's technical aspects were beyond me (science was always my weakest subject in school) but Nolan's dramatic sense compensates for the excursions into fissions and fusions. Bold and imaginative, the three hours flew by and this is from someone who has little patience for long movies but there's no waste here. The superb cast includes Emily Blunt, Robert Downey Jr., Matt Damon, Kenneth Branagh, Rami Malek, Florence Pugh, Tom Conti, Casey Affleck, Matthew Modine, Benny Safdie, Alden Ehrenreich and Josh Hartnett.

Abre Los Ojos (aka Open Your Eyes) (1997)

After an automobile crash that has disfigured his handsome face, a young man (Eduardo Noriega) tries to make sense of his life. After he is placed in a psychiatric penitentiary for a murder he doesn't remember committing, his only hope is to delve into his subconscious where the answer lies. Co-written and directed by Alejandro Amenabar (THE OTHERS), this complex psychological science fiction thriller is intriguing enough to compensate for its excessive length and often ludicrous plot (even Amenabar doesn't have much good to say about it). Before his disfiguring accident, the film's protagonist is both shallow and narcissistic which makes it difficult to have much empathy for him post accident. It's got a cult following but the movie seems to think it's much more intelligent than it really is. It could have used tighter editing. Remade by Cameron Crowe in 2001 as VANILLA SKY. With Penelope Cruz, Fele Martinez, Najwa Nimri (looking enough like Cruz that at first I thought she was play two roles) and Chete Lera.

Malaya (1949)

Set in 1942 WWII, a smuggler (Spencer Tracy) is released from prison to assist a foreign correspondent (James Stewart) in smuggling much needed rubber from a Japanese held island. Directed by Richard Thorpe (JAILHOUSE ROCK), this war adventure film is a bit of a disappointment considering the star power of Tracy and Stewart in the same movie. The film doesn't amount to much and both Tracy and Stewart seem out of their element. It's the kind of routine action movie where, say, Errol Flynn and Alan Ladd would be more at home. Very loosely based on a true story, post war audiences liked the film enough to push it into the profit column. Not a bad film at all, just nothing special but I suspect entertaining enough for most. With John Hodiak, Valentina Cortese (wasted), Sydney Greenstreet (in his final film role), Gilbert Roland, Lionel Barrymore, Richard Loo and Roland Winters.

Gidget Gets Married (1972)

After her ex-surfer boyfriend (Michael Burns) completes his military service, he returns home to marry his girlfriend (Monie Ellis). They relocate from California to Florida where he has a job with a prestigious company. But when the company's rigid rules (they are told where to live, who to associate with, where to shop etc.) interfere with their life, the wife rebels and puts her husband's promising career in jeopardy. Based on the character created by Frederick Kohner in the book GIDGET: THE LITTLE GIRL WITH BIG IDEAS and directed by E.W. Swackhamer (THE DAIN CURSE). After three theatrical films (Sandra Dee, Deborah Walley, Cindy Carol), a TV series (Sally Field) and a TV movie (Karen Valentine) based on the Gidget character, this telefilm marries her off. It's a tedious effort hampered by a dull Gidget at its center. The previous actresses playing Gidget had various degrees of screen presence but at least they all had a semblance of a personality. Monie Ellis is a cipher. There are some familiar faces in the supporting cast but no one comes off well. With Don Ameche, Joan Bennett, Paul Lynde, Macdonald Carey, Elinor Donahue, Roger Perry, James Sikking and Helen Funai.

A Streetcar Named Desire (1951)

After enduring personal losses which have taken its toll on her, an aging Mississippi Southern belle (Vivien Leigh) comes to visit her married sister (Kim Hunter) in New Orleans. There is an immediate clash between her and her sister's brutish husband (Marlon Brando). Based on the acclaimed play by Tennessee Williams (who adapted his play for the screen with some help from Oscar Saul) and directed by Elia Kazan (EAST OF EDEN). Despite the changes from the original play due to the censorship restrictions of the time (the homosexuality of Leigh's husband is barely hinted at, the ending has been changed), this is an excellent film representation of a great play by (arguably) America's greatest playwright. With the exception of Leigh (replacing Jessica Tandy), the majority of the play's original cast recreate their stage roles. The film contains two iconic performances: Brando inhabits Stanley Kowalski so completely that any actor taking on the part must deal with the burden of the memory of Brando's performance and in a staggering performance, Vivien Leigh gives one of the 4 or 5 greatest performances by an actress ever put on film. A powerful, heartbreaking film overflowing with the beauty of Williams' poetic dialogue. With Karl Malden (superb), Rudy Bond and Peg Hillias.

King Of Chinatown (1939)

 In the Chinatown section of an unnamed major city, a ruthless crime kingpin (Akim Tamiroff) runs Chinatown. Meanwhile, a surgeon (Anna May Wong) and an attorney (Philip Ahn) do their best to put a stop to the violence and corruption that poisons their city. Directed by Nick Grinde (HITLER: DEAD OR ALIVE), this B programmer that barely runs an hour is quite entertaining. Although it still has a Caucasian (Sidney Toler) playing Asian, its two Asian leads (Wong and Ahn) don't play subservient characters but have professional careers, Wong's doctor and Ahn's lawyer. Its short running time prevents the movie from wearing out its welcome and director Grinde pushes the story along at a nice pace. The acting is good and Wong's captivating presence adds an extra bit of star power. With Anthony Quinn, J. Carrol Naish, Richard Denning and Roscoe Karns.

Jennifer (1953)

In desperate need of a job, a woman (Ida Lupino) accepts a job as a caretaker at a secluded mansion. The previous caretaker, also a woman, mysteriously disappeared without a trace. She becomes obsessed with finding out what happened to the previous caretaker. Based on a short story by Virginia Myers and directed by Joel Newton, whose only film credit this is. A psychological thriller that begins promisingly but its screenplay boxes it in so it has nowhere to go. The film benefits enormously by James Wong Howe's shadowy cinematography which gives the movie an air of suspense and Ernest Gold's solid underscore. Other than that, the film is notable for introducing the jazz standard Angel Eyes sung by its composer, Matt Dennis. Lupino is okay but she's done this woman in distress before, the rest of the cast is negligible. With Howard Duff, Robert Nichols, Lorna Thayer and Ned Glass. 

Il Mio Corpo Per Un Poker (aka The Belle Starr Story) (1968)

The notorious female bandit Belle Starr (Elsa Martinelli) has a hate/love relationship with a gambler outlaw (George Eastman). Their relationship as both adversaries and lovers complicate a daring jewel heist that each has plans of their own to get the jewels first. Written and directed by Lina Wertmuller (SWEPT AWAY), the movie has absolutely nothing to do with the real Belle Starr (1848-1889), who has become a popular character in the western genre in both film and TV (she's been played by Gene Tierney, Elizabeth Montgomery, Marie Windsor, Lynn Bari among many others). The film is totally fiction. Wertmuller replaced director Piero Cristofani after a few days of shooting. With Wertmuller as writer and director, no surprise, the film has a feminist  bent. Wertmuller's participation is the real reason to see the film as it's actually an average spaghetti western, however modestly enjoyable. It's notable for being directed by a woman with a female centric character, rare in the male dominated spaghetti western. In the title role, Martinelli is quite appealing. With Robert Woods and Francesca Righini.

Four Good Days (2021)

When her drug addict daughter (Mila Kunis) once again returns home for help, her long estranged mother (Glenn Close) must decide whether to try to help her yet again in spite of her daughter returning to drugs over and over or let her do it on her own. Based on the Washington Post article HOW'S AMANDA? A STORY OF TRUTH, LIES AND AN AMERICAN ADDICTION by Eli Saslow (who co-wrote the screenplay) and directed by Rodrigo Garcia (ALBERT NOBBS). Based on a true story, the film asks where does compassion stop and enabling begin? How many times does one help a continual drug addict before giving up? The movie's potent theme is undercut by an uneven screenplay and an actress-y performance by Close in contrast to Mila Kunis's raw performance which is the best thing about the film. The film's theme song SOMEHOW YOU DO written by Diane Warren and sung by Reba McEntire received a best song Oscar nomination. With Stephen Root, Joshua Leonard and Carla Gallo.  

Winter Meeting (1948)

A successful poet (Bette Davis) falls in love with a naval war hero (Jim Davis). But both of them bring a ton of baggage to their relationship. Based on the novel by Grace Zaring Stone and directed by Bretaigne Windust (JUNE BRIDE). Often considered one of Bette Davis worst movies. It may not be her worst but it's certainly her dullest. Impeded by the censorship restrictions of the era (Catholicism is a sticking point in the movie), the book's teeth were pulled. In addition, Davis is settled with a clunky leading man, Jim Davis (no relation). A leading man in B movies, he finally found TV fame in the 1970s with DALLAS. Without a decent screenplay, the movie's unending dialogue is merely tedious talk (and talk and talk!). To her credit, Bette Davis tries but you can feel she knows the ship is sinking. In contrast to the film's anemic leads, two of the film's supporting characters bring a bit of punch to the proceedings: John Hoyt as an acerbic society hound and Janis Paige as a man hungry secretary. With Florence Bates and Walter Baldwin.

千禧曼波 (aka Millennium Mambo) (2001)

Set in Taipei, an aimless bar hostess (Shu Qi) begins to move away from her abusive freeloader boyfriend (Tuan Chun Hao) toward a suave gangster (Jack Kao). But she can't quite seem to make a clean break. Directed by Hou Hsiao Hsien (FLOWERS OF SHANGHAI), the film takes us into a world of  unfocused drifters living in a world of bright neon colors and hypnotic techno dance beats. I'm not fond of movies about women as doormats who continually return to an abusive relationship. Eventually, the young girl makes tentative moves toward maturity and a healthier lifestyle but it's still difficult to sit through the pointlessness of her life as she wanders and struggles to find her own identity. Although set in the year it was made (2001), the movie is narrated from ten years later, 2011. Handsomely bathed in vivid colors by cinematographer Mark Lee Ping Bing (IN THE MOOD FOR LOVE), it's an alluring looking film but I wish I could have connected with it more. With Doze Niu and Chen Yi Hsuan.

Paid (1930)

A young woman (Joan Crawford) is sent to prison for a crime she did not commit. Released after three years for good behavior, she plots her revenge against the man (Purnell Pratt) she considers responsible for sending her to prison. Based on the play WITHIN THE LAW by Lucien Hubbard and Charles MacArthur and directed by Sam Wood (A NIGHT AT THE OPERA). Previously filmed in 1916 and 1923, this was the first sound adaptation. It's a talky, often tedious, piece of hokum that proved lucrative at the box office and bolstered Crawford's burgeoning star status at MGM. Crawford emotes furiously and her star power holds the picture together for awhile but it's not enough. It can't help but creak! For Crawford fans only. It would be filmed again in 1969 in India. With Robert Armstrong, Marie Prevost, Douglass Montgomery, John Miljan and Louise Beavers. 

The Rose Garden (1989)

Set in Germany, an aging Jewish man (Maximilian Schell) who is a former concentration camp prisoner is on trial for his seemingly unprovoked attack on a former German army officer (Kurt Hubner). But as his attorney (Liv Ullmann) digs into their past, she finds a horrific connection. Directed by Fons Rademakers (THE ASSAULT, Oscar winner best foreign language film). There have been countless films about Holocaust survivors and their post traumatic suffering as well as Nazis who have escaped retribution for their heinous acts. This one while fiction is based on Arnold Strippel, a Nazi commandant who was responsible for the death of many Jews including the hanging of 20 children. Although any movie dealing with the horror of the Holocaust is disturbing, unfortunately the film is heavy handed which reduces its emotional value. Luckily, the two central performances of Ullmann and Schell are strong and manage to hold our attention but it's a pity it isn't better. With Peter Fonda and Gila Almagor.

Polite Society (2023)

Set in London's upper class Pakistani community, a teenager (Priya Kansara) who aspires to be a stuntwoman is livid when her older sister (an excellent Ritu Arya) forgoes art school to marry a handsome young doctor (Akshay Khanna). She plots to sabotage the marriage! Directed by Nida Manzoor in her film directorial debut. I greatly enjoyed the movie's first 45 minutes which had a foot in reality but in the film's last hour, it jumps the rails as it turns into a conspiracy sci-fi fantasy. At first I thought it was all in Kansara's mind but it eventually becomes clear that the film is serious. Which doesn't mean I didn't enjoy it. Its "message" of girl power is to be admired and it was fun although I couldn't take the movie seriously anymore. Still, a feminist action comedy about Pakistani sisters is unusual enough to hold one's attention. An exuberant entertainment, there's even a token Bollywood number. With Nimra Bucha and Shobu Kapoor.  

The Girl In The Kremlin (1957)

In Moscow, the dictator Josef Stalin (Maurice Manson) fakes his own death and has plastic surgery to alter his appearance then goes into hiding. An ex-O.S.S. agent (Lex Barker) accompanied by a Lithuanian refugee (Zsa Zsa Gabor) trying to find her twin sister (Zsa Zsa Gabor) travel from Berlin to Greece in search of Stalin and the twin sister. Directed by Russell Birdwell (THE COME ON), this farfetched ludicrous tale is so wonky that it's almost fun to watch. So much of it makes little logical sense like the sadistic shaving heads sequence or Barker being whipped by a widow seeking revenge other than sensationalism. Surprisingly, in the brief role of the brainwashed twin sister, Gabor gives her best screen performance. A guilty pleasure to some, those for a taste for the trashy might give it a look. With Jeffrey Stone and William Schallert.

Harper Valley PTA (1978)

An attractive fun loving woman (Barbara Eden) receives a note from the local PTA stating that they find her behavior and her dress undesirable and that she is not a fit mother. Furious, she walks into the next PTA meeting and denounces the hypocrisy of the PTA board and the town itself. But it doesn't end there! Based on the 1968 hit country song sung by Jeannie C. Reilly and directed by Richard Bennett (credited) and Ralph Senensky. The song's story is played out in the movie's first 20 minutes and from then on, it's stuff invented for the movie. This is drive in fodder and that's where the movie did most of its business. It did well enough for a TV series (with Eden recreating her film role) to air in 1981 but it lasted only one season. As to the film itself, it's mildly amusing as Eden gets revenge on the townspeople in various ways but it's essentially a one joke act that can't sustain itself for 90 minutes. With Nanette Fabray, Ronny Cox, Louis Nye, Audrey Christie and Ron Masak.

Targets (1968)

A seemingly ordinary young man (Tim O'Kelly) kills his wife (Tanya Morgan) and mother (Mary Jackson) and then goes on a killing spree. Meanwhile, a horror icon (Boris Karloff) wants to retire from the screen feeling he isn't relevant anymore. These two stories will collide at the movie's finale. Written by (with an uncredited assist from Samuel Fuller) and directed by Peter Bogdanovich (LAST PICTURE SHOW) in his film directorial debut. O'Kelly's character is based on the mass shooter Charles Whitman while Karloff is playing a fictional version of himself. Karloff is really the reason to see the movie. He gives a solid naturalistic performance rather than the often stylized performances he gave in the horror genre. There's a poignant but bittersweet tinge to his performance as if Karloff was reflecting on his own career. As his personal assistant, there's a nice performance by Nancy Hsueh but the rest of the cast (including Bogdanovich as a screenwriter) come off as amateurish. This is almost fatal in O'Kelly's performance. His matter of fact killer should be chilling but he's about as disturbing as the Easter bunny. To be fair, the film resonates more than ever in today's NRA gun loving climate. With Sandy Baron and Mike Farrell.

There's Always A Woman (1938)

After his private detective agency goes bust, a private eye (Melvyn Douglas) takes a job with the District Attorney's office. But his wife (Joan Blondell) decides to keep the agency open when a wealthy woman (Mary Astor) wants a woman (Frances Drake) followed who may be having an affair with her husband (Lester Matthews). Sounds like an easy case but when the wealthy woman's husband turns up murdered, it becomes a case of whodunit? Directed by Alexander Hall (HERE COMES MR. JORDAN). I'm partial to the combo of comedy and murder mystery and all the elements are here but the movie never manages to cohere into anything resembling an above average screwball murder mystery. Blondell and Douglas are expert farceurs in the screwball genre and they work overtime but the script just isn't there! Mary Astor comes off best since she plays her character straight, not for laughs. I was entertained by it since I like the genre but it's really not very good. With Jerome Cowan, Robert Paige and in a bit part, Rita Hayworth as a secretary.

The Catman Of Paris (1946)

Set in 1896 Paris, a writer (Carl Esmond) recently returned from the Orient, has developed a mysterious illness that leaves him with lapses of memory. At the same time, the city is being terrorized by the "Catman", who roams the streets at night leaving a trail of clawed and mangled bodies in his wake. Directed by Lesley Selander (FLIGHT TO MARS), this low budget entry in the horror sweepstakes by Republic studios is reminiscent of the horror stuff Universal was grinding out in the late 1930s and 1940s. Low budget it may be but it's a handsome looking movie with strong production (art direction, costumes) values. It doesn't have much of a reputation among horror buffs but it's no better or worse than a lot of the low budget horror shlock churned out in the 1940s. Still, one wishes Val Lewton's RKO unit had gotten their hands on this and imbued it with the mood and atmosphere of the classic Lewton films. The film could have used better actors too though I thought Adele Mara as Esmond's jilted fiancee gave a strong performance. With Douglass Dumbrille, Lenore Aubert, Gerald Mohr, John Dehner and Fritz Feld.

The Tattered Dress (1957)

Set in a California resort community, when a rich man (Phillip Reed) man kills a bartender (Floyd Simmons) for attacking his wife (Elaine Stewart), he hires a prominent attorney (Jeff Chandler) known for doing anything to win a case. But the small town sheriff (Jack Carson), who was a mentor to the murdered man, has his own plan to insure the New York attorney doesn't win his case. Directed by Jack Arnold (INCREDIBLE SHRINKING MAN), this lurid potboiler (and I don't mean that in a derogatory sense) takes a risk in placing an ego driven shyster defending guilty clients at the core of its story. In fact, outside of the lawyer's wife (Jeanne Crain), everyone in the story is either repellent or unpleasant. I enjoyed it although the movie has some extraneous minor characters like a journalist (Edward Platt) and a nightclub comic (George Tobias) that add nothing to the narrative and just take up space. Despite its A cast, it's a B movie. The B&W CinemaScope lensing is by Carl E. Guthrie (CAGED). With Gail Russell (alas, her beauty already destroyed by her alcoholism), Edward Andrews and Ziva Rodann. 

The Leather Boys (1964)

A couple of teenagers (Rita Tushingham, Colin Campbell) get married but it soon becomes apparent that the reality of marriage isn't what they thought it would be. When the husband starts hanging out with a biker pal (Dudley Sutton), the wife plots to win him back. Based on the novel by Gillian Freeman and directed by Sidney J. Furie (THE IPCRESS FILE). Part of the British "kitchen sink" school of cinema realism, the film is notable for the homosexual aspect of its narrative. In the original novel both male lead characters were gay but the film makers figured 1964 audiences weren't ready for two male lead gay characters. The young married couple are both naive and shallow in their expectations of married life. The movie's ending is perfect. It doesn't give us a "happy" ending tied up in a neat ribbon yet neither does the husband react violently or disgusted when he realizes his pal is homosexual. The striking B&W cinematography by Gerald Gibbs (STATION SIX SAHARA) makes excellent use of the CinemaScope format. With Gladys Henson and Betty Marsden.

Diplomatic Siege (1999)

A computer expert (Peter Weller) is sent to the American embassy in Romania to dismantle an atomic bomb hidden in the embassy's bowels. He is surprised to find an old flame (Daryl Hannah) assigned to assist him but before they can dismantle the bomb, the embassy is taken over by terrorists who take 37 hostages and demand the release of a war criminal (Uwe Ochsenknecht). Directed by Gustavo Graef Marino, this film never received a theatrical release and went straight to the cable and home video markets. It's easy to see why. The plot is absolutely preposterous, the dialogue lame and a plot twist toward the end makes little sense. The movie's talented three leads (Tom Berenger as a military negotiator is the third) were hot in the 1980s with movies like ROBOCOP (Weller), SPLASH (Hannah) and THE BIG CHILL (Berenger) but by 1999, they were reduced to generic action programmers like this. Alas, we are also saddled with Weller's character's brat son (Jer Adrianne Lelliott, acting under her birth name of Jeremy Lelliott before she transitioned) who we're supposed to care about (we don't!). The action sequences are entertaining enough but the movie falls flat on its face during the quiet moments. With Brion James and Adrian Pintea.

Christmas In July (1940)

An ambitious office clerk (Dick Powell) is tricked by several co-workers into thinking he won a $25,000 slogan contest. Based on his "credit", he buys his girlfriend (Ellen Drew) a diamond engagement ring and expensive presents for his widowed mother (Georgia Caine) and his neighborhood. Based on an unproduced play A CUP OF COFFEE by Preston Sturges (which eventually made its New York debut in 1988) and directed by Sturges (MIRACLE OF MORGAN'S CREEK). A slight bit of whimsy that goes a long way even taking into account its brief one hour and seven minute running time. There's a sweetness to it which Sturges wisely keeps in check so it doesn't get too saccharine. Some of the Sturges auteurs make claims for  it as underrated but I think its reputation is about right. Certainly, it doesn't rank with his best work like THE LADY EVE or UNFAITHFULLY YOURS. With Rod Cameron, William Demarest, Franklin Pangborn and Raymond Walburn.

Umberto D (1952)

Set in postwar Italy, an elderly pensioner (Carlo Battisti) struggles to make ends meet as his landlady (Lina Gennari) plans to evict him. His only "friend" is his devoted dog called Flike. Directed by Vittorio De Sica (BICYCLE THIEVES), this masterwork is as good as anything he's ever done. It's a beautiful neorealist film, simple in its execution and storytelling yet rich in its humanity. Sadly, the marginalization of the elderly (perhaps only Ozu's TOKYO STORY is as eloquent) and the poverty ridden hasn't changed much since 1952. Battisti's pensioner desperately trying to hold on to his dignity and pride amid the loneliness in an increasingly detached society. As homelessness continues to spread across the U.S. as inflation and living expenses climb causing many to lose their home, it's still remarkably relevant today. If its bleak ending doesn't crush you, there's something missing in your parts. Not surprisingly, it wasn't very popular in Italy but it was acclaimed internationally. With a lovely performance by Maria Pia Casilio as the young pregnant but unmarried maid. 

Gunga Din (1939)

Set in 1880 Colonial India, three sergeants (Cary Grant, Victor McLaglen, Douglas Fairbanks Jr.) of the Royal Engineers are assigned to investigate why there has been no contact with a British outpost. Cut telegraph lines are suspected. They discover the outpost has apparently been abandoned but they also discover Thuggees, a murder cult thought to have been dissipated 50 years ago. Loosely based on the poem by Rudyard Kipling and directed by George Stevens (GIANT). This rousing action/adventure film remains enormously popular and a good example of Hollywood's "Golden Age" film making at its best. Though I'm not as enamored of the movie as many are, it's a solid entertainment though the behavior of the three protagonists (Grant, McLaglen, Fairbanks Jr.) is more like adolescents than grown men but I suppose that's part of the film's appeal. It's a "boys adventure" movie and the only woman (Joan Fontaine) in the film is an anemic presence. Still, there's an undeniable scent of Colonialism hovering over the film. Except for Gunga Din (Sam Jaffe) and the evil Thuggees, the indigenous people are minimalized and, of course, the "good" Indian sacrifices himself for the white Colonials. Clearly, an influence on Spielberg's INDIANA JONES AND THE TEMPLE OF DOOM. With Robert Coote, Eduardo Ciannelli and Abner Biberman.

The Long Wait (1954)

After an accident that leaves him with amnesia, a man (Anthony Quinn) returns to the small town he came from to try and find out who he is. He soon finds out ..... a murder suspect! But one of four women (Peggie Castle, Shirley Patterson, Mary Ellen Kay, Dolores Donlon) hold the key to his innocence. But which one? Based on the novel by Mickey Spillane and directed by Victor Saville (GREEN DOLPHIN STREET). A nifty piece of film noir with all the requisite elements: a tough guy "hero" struggling to find the "truth" that could save him in a atmosphere of corruption, sadistic bad guys (Gene Evans) who enjoy inflicting cruelty for just the hell of it and not one but four femme fatales! Not unusual with Spillane, there are generous doses of violence (often against women) that make one uncomfortable but it fits in with the movie's tawdry and lurid pulp mood. Noir fans should be quite happy with it. With Charles Coburn, Jay Adler and Barry Kelley.

Gaslit (2022)

Set in 1972 Washington D.C., the Watergate break in and the subsequent aftermath is seen through the eyes of several participants, principally John (an unrecognizable Sean Penn) and Martha Mitchell (Julia Roberts) and John (Dan Stevens) and Maureen Dean (Betty Gilpin). Based on the podcast SLOW BURN and directed by Matt Ross (CAPTAIN FANTASTIC), this eight hour limited series is gripping right from the start though it can't quite sustain itself all the way to the end and the last couple of hours flounder. Too much time is given to the courting and romance of John and Mo Dean which just isn't very interesting. The most engrossing storyline outside of the four principals is the black security guard (Patrick Walker) who discovers the Watergate burglary in progress and finds his life diminished. Although the film is factual, dramatic license is liberally taken. The film is a tour de force for Julia Roberts' aging Southern belle with an appetite for the spotlight which leads to the destruction of her life amid the corruption of the political wolves (including her spouse) around her. With Shea Whigham (excellent as the psychotic G. Gordon Liddy), Chris Messina, Darby Camp, Allison Tolman, Chris Bauer, John Carroll Lynch and Nat Faxon.

Sam Whiskey (1969)

A widow (Angie Dickinson) hires a cowboy con artist (Burt Reynolds) to help her return a stolen shipment of gold to the U.S. mint in Denver. But it isn't easy as there are others after the gold. Directed by Arnold Laven (THE HUNTING PARTY), this western heist comedy is amiable enough but it's a wearisome affair that never catches fire. Burt Reynolds wouldn't become a big star until DELIVERANCE (1972) and this kind of generic adventure comedies were typical of the stuff he was passing time with until the John Boorman film put him on the A list. The cocky charm that would be Reynolds' signature after he became a star is in full force here. If that works for you, you might enjoy it more than I did. Dickinson did her first above the waist nude scene but it was cut to avoid an R rating. With Clint Walker, Ossie Davis and William Schallert. 

Monsieur Verdoux (1947)

A former bank clerk (Charles Chaplin) is a doting husband to his invalid wife (Mady Correll) and son (Allison Roddan) and provides a comfortable home for them. He is also a serial killer who marries wealthy women and murders them for their money. Written and directed by Chaplin, along with CITY LIGHTS, this is my favorite Chaplin film. Black comedies weren't unusual in the 1940s (MURDER HE SAYS, ARSENIC AND OLD LACE) but nothing like this! Chaplin's blend of comedy and tragedy pushed the envelope and although it received good notices from most critics and an Oscar nomination for its screenplay, the press was hostile toward the movie and it didn't fare well at the box office. Chaplin's Verdoux is a complex man of contradictions. He cherishes his family, loves cats and has a soft spot for the downtrodden yet he's a cold blooded killer! The movie attempts to make a connection between the mass killing in war and Verdoux's "modest" murders. Aside from Chaplin, two other performances stand out: Martha Raye is hilarious as the "wife" he can't seem to kill though he tries several times and Marilyn Nash as a waif he finds in the rain and whose life he spares. With Isobel Elsom, Marjorie Bennett, Almira Sessions and William Frawley.

One Way Street (1950)

After double crossing a gangster (Dan Duryea) and running off with both his mistress (Marta Toren) and his $200,000, a doctor and the girl go on the run to Mexico. But fate offers both redemption and tragedy for the couple. Directed by Hugo Fregonese (BLOWING WILD), this  is a solid slice of film noir that should please fans of the genre. The performances are solid and the characters well written enough that we care what happens to them. Duryea does his standard sleazy thug (which he could do in his sleep which is just what he does here) but Mason and Toren bring a tenderness and vulnerability to their relationship. Fregonese brings a sense of doom to the movie and also whips up some tense scenes such as the invasion of a surgery by bandits while a doctor is operating. With Rock Hudson, William Conrad, James Best, Jack Elam and King Donovan.

Chilly Scenes Of Winter (1979)

A civil servant (John Heard) is obsessed with  the married co-worker (Mary Beth Hurt) he had an affair with during the period she left her husband (Mark Metcalf). She has returned to her husband but that doesn't stop him from trying to win her back. Based on the novel by Anne Beattie and directed by Joan Micklin Silver (HESTER STREET). Originally released under the title of HEAD OVER HELLS, the film was a box office flop. Three years later, the film was re-released with a different ambiguous downbeat ending as opposed to the original happy ending which was closer to the original source material. The re-release had a more successful theatrical run. As to the movie itself, I found it more irritating than anything else albeit very well acted. All of the movie's characters are mentally or emotionally screwed up which doesn't make for an agreeable romantic comedy. Heard's character is essentially a stalker who can't move on and Hurt's unstable flirt selfishly plays on the emotions of both Heard and Metcalf as her husband while making up her mind. Heard's room mate (Peter Riegert) is a lazy unemployed bum, Heard's mother (Gloria Grahame) is psychotic and the list goes on. I suppose others may find this quirky and offbeat, I just found it a hot mess. With Kenneth McMillan, Nora Heflin and Griffin Dunne.

This Is My Affair (1937)

In 1901, President William McKinley (Frank Conroy) secretly assigns a young naval officer (Robert Taylor) to go undercover and infiltrate a gang of bank robbers. This mission is secret and nobody knows about it other than the President and the naval officer. Directed by William A. Seiter (ONE TOUCH OF VENUS), this is the second of three movies that Robert Taylor and Barbara Stanwyck made together. It's a stodgy crime movie that no amount of star power can help and it needs all the help it can get. Stanwyck is wasted in a generic romantic role and she seems overwhelmed by the turn of the century costumes. As a hulking brute in love with Stanwyck, Victor McLaglen is at his most irritating. Which leaves Taylor's undercover agent and Brian Donlevy as a smooth bank thief to try and hold the movie together but it's a dull affair. Even at the film's race against time finale, Seiter can't manage to whip up any tension. Surprisingly, Graham Greene (working as a film critic) had good things to say about the movie. Go figure! With Sidney Blackmer and John Carradine.   

Dark Places (1973)

A doctor (Christopher Lee) and his sister (Joan Collins) mean to get their hands on the 200,000 pounds stashed in the derelict Marr's Grove mansion. Unfortunately, a stranger (Robert Hardy in a dual role) to the district inherits the allegedly haunted mansion. As the new owner succumbs to the influence of the long dead inhabitants, madness and murder ensue. Directed by Don Sharp (KISS OF THE VAMPIRE), this ghostly horror film is reminiscent of the late Hammer offerings. It's well done and has a suitably creepy atmosphere but its violent narrative (its body count is high) is just connecting the familiar dots. Horror fans should enjoy it, I know I had a good time with it despite its predictability. With Jane Birkin, Herbert Lom and Jean Marsh.