Past Lives (2023)

A Korean immigrant (Greta Lee) now lives in New York and is a budding playwright. Through the internet, she reconnects with a childhood friend (Teo Yoo), still living in South Korea. They haven't seen each other since they were 12 years old. Their lives are so different that despite their attachment, she suggests they take a break from communicating with each other. Jump 12 years later. Written and directed by playwright Celine Song in her film directorial debut. This lovely simple film is a small treasure. Song's fluid direction is near remarkable for someone who's never directed a movie before. Her nuanced screenplay is full of surprises, you might think you know where it's going to go but Song keeps you on your toes. The three main performances (John Magaro as Lee's husband is the third protagonist) are wonderful with Greta Lee especially notable. Last week, I registered my disappointment with David Lean's stodgy BRIEF ENCOUNTER. Now this is a romantic drama that had me riveted! Well worth seeking it out.

The Bride Came C.O.D. (1941)

An irate but very wealthy father (Eugene Pallette) objects to his daughter (Bette Davis) marrying a publicity seeking musician (Jack Carson) she's only known four days. When she announces she's eloping with the groom immediately in spite of her father's objections, the father hires a freight pilot (James Cagney) to kidnap her and fly her to Texas where he'll be paid $1,150 (the exact amount of the pilot's final payment on his plane). But when the plane crashes in the desert, events take a surprising turn. Directed by William Keighley (MAN WHO CAME TO DINNER), this is a riff (some might say rip off) on IT HAPPENED ON NIGHT. One doesn't think of Cagney and Davis as screwball comedy material but they do quite well and I enjoyed the movie very much. Sure, it's not the most original material (Davis wasn't fond of the movie) but director Keighley keeps a quick pace and his two leads rattle off their quips at a machine gun gallop (not to mention major star presence). The film wasn't popular with critics but audiences liked it enough to make it a hit at the box office. With Stuart Erwin, Harry Davenport, George Tobias and William Frawley.

Snow White And The Seven Dwarfs (1984)

When a vain and evil Queen (Vanessa Redgrave) is told by her mirror (Vincent Price) on the wall that she is no longer the most beautiful woman in her kingdom but that her stepdaughter (Elizabeth McGovern) is, she orders her huntsman (Michael Preston) to take her deep into the woods and kill her. Based on the 1812 fairy tale by the Brothers Grimm and directed by Peter Medak (THE RULING CLASS). Originally shown as part of the Showtime series FAERIE TALE THEATRE, this oft filmed fairy tale (the most notable being the 1937 animated Disney version) gets a fresh twist. There's an impudent sense of humor prevailing throughout. It's not to be taken too seriously yet the cast (who seem to be having a good time) don't condescend to the material either. Indeed, Vanessa Redgrave as the wicked Queen gives a delicious performance as both the haughty Queen and the old witch without camping it up. With Rex Smith as Prince Charming, Shelley Duvall as Snow White's mother and as the seven dwarfs: Lou Cary, Tony Cox, Billy Curtis, Phil Fondacaro, Daniel Frishman, Peter Risch and Kevin Thompson.

Frankie And Johnny (1966)

A performer (Elvis Presley) on a Mississippi riverboat is addicted to gambling which infuriates his girlfriend (Donna Douglas) because he constantly loses. But things get worse when a beautiful redhead (Nancy Kovack) enters the picture. She brings him luck at the gambling tables. Directed by Frederick De Cordova (BEDTIME FOR BONZO), this is one of Presley's weaker vehicles though far from his worst. The thin plot is saddled with a bunch of mediocre songs (11 of them) and the acting is too broad, even for Elvis movies standards. After several films in the late fifties and very early sixties that pushed his acting ability and showed promise, Presley (no doubt at the behest of his mentor Colonel Parker) settled for lightweight mindless and formulaic musicals. Most of them were money making hits and satisfied his fans but as cinema, they were zeroes. As a production number, the movie makes a mess of the title song. Check out MEET ME IN LAS VEGAS (1956) to see it done properly as a production number. For Presley fans only. With Harry Morgan, Audrey Christie, Sue Ane Langdon, Anthony Eisley and Joyce Jameson.

Father's Little Dividend (1951)

Having gone through the tribulations of a big wedding for his daughter (Elizabeth Taylor), a father (Spencer Tracy) is looking forward to some peace and quiet and perhaps a vacation with his wife (Joan Bennett). But when the daughter announces she's going to have a baby, the hysteria begins all over again! A sequel to the hit film FATHER OF THE BRIDE which came out the previous year and again directed by Vincente Minnelli (MEET ME IN ST. LOUIS). As sequels go, this one isn't bad at all but still not as good as the first movie. Expecting mothers just aren't as interesting as brides. Tracy received an Oscar nomination for the first film and he's in top form here. His frustration and slow burns are cooked to perfection! Audiences lapped it up and the sequel was a huge success. The cast from the first edition returns: Don Taylor, Billie Burke, Russ Tamblyn, Moroni Olsen and Marietta Canty.

Cold Heaven (1991)

A young wife (Theresa Russell) plans on leaving her doctor husband (Mark Harmon) for her lover (James Russo). But a serious boating accident in Mexico leaves him dead. When his body goes missing from the morgue, the question arises ..... is he dead? Based on the novel by Brian Moore (LONELY PASSION OF JUDITH HEARNE) and directed by Nicolas Roeg (WALKABOUT). Although there's a supernatural atmosphere not unlike Roeg's DON'T LOOK NOW (1973) and for awhile, you think he might be headed in that direction, it has a religious bent to it. It's as if Roeg had become a born again Christian and wanted to share his newfound faith. The film's finale is right out of 1940s Hollywood but the movie lacks the sincerity of a simpler religious film like THE SONG OF BERNADETTE (1943) (both Jennifer Jones and Theresa Russell have visions of the Virgin Mary). I have to confess that it did hold my interest until that wonky ending. With Talia Shire, Richard Bradford, Julie Carmen, Will Patton, Seymour Cassel and Diana Douglas.

Stop The World I Want To Get Off! (1966)

Set against a circus backdrop, the musical follows an average bloke called Littlechap (Tony Tanner) as he climbs the ladder to success starting with marrying the boss's daughter (Millicent Martin). Based on the hit musical by Anthony Newley and Leslie Bricusse and directed by Philip Saville (BEST HOUSE IN LONDON). The film makes some inexplicable changes to the stage musical (like making the German mistress in the play to a Japanese mistress for the film version) but on the whole is faithful to the original source material. It was filmed both on a Pinewood soundstage and in front of a live audience in London's West End. Anthony Newley created the role of Littlechap in both the London and Broadway productions and is replaced here by Tony Tanner who took over for him in the London cast. Unfortunately, Tanner doesn't have much of a stage presence or Newley's distinct vocal delivery as both singer and actor. Why Newley didn't do the movie is a mystery. If you dislike mimes as much as I do, much of the staging is intolerable. It's not really a movie but filmed theatre and doesn't translate well to cinema. What saves the film is the excellent score including such songs as What Kind Of Fool Am I?, Gonna Build A Mountain and Once In A Lifetime. With Leila Croft, Valerie Croft and Neil Hawley.

Loose Ankles (1930)

A young heiress (Loretta Young) inherits a large sum of money from her grandmother but there's a stipulation in the will. She will get the money only after she marries pending the approval of her two prudish spinster aunts (Louise Fazenda, Ethel Wales). Furious at not being able to marry who she pleases, she intends to create a scandal by hiring a gigolo (Douglas Fairbanks Jr.) to compromise her. Based on the play by Sam Janney and directed by Ted Wilde (an Oscar nominee for SPEEDY). This being a pre-code film, Loretta Young is livelier than usual and dare I say it ... sexy! As far as pre-code comedies go, this one is rather tame. The comedic highlight of the movie is when the spinster aunts (Fazenda, Wales) go to a prohibition speakeasy in the company of two gigolos (Edward Nugent, Norman Selby) and get drunk on "punch". This was a remake of the 1926 silent film LADIES AT PLAY with Louise Fazenda recreating her spinster aunt role here. Maybe not the best example of pre code comedy but it moves along quickly. With Inez Courtney and Raymond Keane. 

Carousel (2013)

A carousel barker (Nathan Gunn) romances a millworker (Kelli O'Hara) at the cost of both their jobs. Married and without work and a baby on the way, he decides to join a friend Shuler Hensley) in a robbery in order to get some money. Based the 1945 musical by Richard Rodgers and Oscar Hammerstein (by way of the 1909 play LILIOM by Ferenc Molnar) and directed by Glenn Weiss. While there's no denying that the Rodgers & Hammerstein score is one of the most beautiful ever written for the Broadway theatre, I've never been fond of its problematic book. Today, one has to overlook its backward viewpoint on domestic violence to enjoy it but it still leaves a bad taste in the mouth. The performers are all around excellent, both as singers and actors and it's nice to have a complete representation of the original Broadway show (the 1956 film, good in its own way, isn't it). Accompanied by the full force of the New York Philharmonic conducted by Rob Fisher, you couldn't ask for a better production musically. Warren Carlyle stays faithful to the original Agnes DeMille choreography. With fine supporting work from Jessie Mueller, Jason Danieley, Stephanie Blythe, Kate Burton and John Cullum. 

The Devil's Brigade (1968)

A Lieutenant Colonel (William Holden) has the daunting task of melding a renegade group of American and Canadian recruits into a crack team of commando warriors. Based on the novel by Rober H. Adleman and Col. George Walton (a member of the original Devil's Brigade) and directed by Andrew V. McLaglen (SHENANDOAH). Based on the creation of the 1st Special Service Force, a joint American-Canadian commando unit (it's Hollywood, so it's historically inaccurate). The effort seems like two different movies. The first half which I found terrible is a by the numbers story of misfits (the Americans) and a disciplined troop of soldiers (the Canadians) fighting each other before coming together as a team. It's crammed with ghastly cliches and dialogue. The second half which is set in Italy is much better. It's an exciting story of soldiers overcoming the impossible odds and taking over key strongholds from the Germans. The film came out shortly after the similar themed THE DIRTY DOZEN which was a big hit, so it suffered at the box office as an also ran. The massive cast includes Cliff Robertson, Vince Edwards, Dana Andrews, Michael Rennie, Carroll O'Connor, Richard Jaeckel, Patrick Knowles, James Craig, Richard Dawson, Jeremy Slate, Claude Akins, Gretchen Wyler and Alix Talton.

A Nightingale Sang In Berkeley Square (1979)

An American ex-convict (Richard Jordan) in England lands a job as an electrician at a prominent London bank. But when an old criminal cohort (David Niven, looking none too well) finds out he's working at a bank, he pressures the ex-con to assist him in robbing the bank. Directed by Ralph Thomas (THE CLOUDED YELLOW). Everyone loves a good heist movie, right? Unfortunately, this isn't one of them. As Stanley Myers' awful score played over the opening credits, I sensed this wasn't going to go very well and I was correct. Richard Jordan is a good character actor but as a leading man, he's weak. Ralph Thomas' direction seems rushed and there's no tension which is terminal in a heist thriller. Although the film is fictional, the film makers claim the movie is based on one of the biggest bank robberies in Great Britain. I'd take that with a grain of salt. There's a lot wasted talent involved. With Gloria Grahame, Elke Sommer, Oliver Tobias, Richard Johnson, Hugh Griffith, Joss Ackland and John Rhys Davies.

Seul Dans La Nuit (1945)

A series of murders, all of the victims women, are committed in Paris. The newly promoted detective (Bernard Blier) assigned to the case is stumped. His only clue is a hit song by a popular singing idol (Jacques Pills) who has ties to the victims and a witness (Louis Salou) who insists that the pop star is the killer. Directed by Christian Stengel (ROME EXPRESS), this is one odd mystery thriller! While the premise of a popular singing star being a serial killer is somewhat amusing, it's rather ludicrous in its execution. If a pop idol were a serial killer, would he really sing his signature tune just before he murdered his victim? It would be like Elvis Presley singing Love Me Tender before he killed his victims! There are occasional doses of comedy to alleviate the tension, most notably the eccentric "witness" played by Louis Salon but he's more irritating than amusing and I was hoping he'd end up one of the killer's victims but no such luck. Jacques Pills, a popular singing star in France, gets to sing three songs which slow the action down. In spite of its distractions, I found it engaging but then again, I'm a sucker for murder mysteries. With Sophie Desmarets, Jean Davy, Jacques Morel and Marcel Andre.

The Illustrated Man (1969)

Set in the rural American countryside, a drifter (Robert Drivas) comes across a mysterious stranger (Rod Steiger) whose body is covered with "skin illustrations" (he gets very upset if you call them tattoos). By staring at the tattoos, the drifter can see into the past and the future. Based on the collection of short stories by Ray Bradbury and directed by Jack Smight (AIRPORT 1975). The film utilizes three of Bradbury's short stories: 1) parents (Steiger, Claire Bloom) worry about their children's (Tim Weldon, Christine Matchett) mental health when they are addicted to a virtual reality. 2) a group of astronauts (Steiger, Drivas, Don Dubbins, Jason Evers) are stranded on Venus where the rain never stops. 3) a husband (Steiger) and wife (Bloom) face the end of the world. The movie never rises above an average TWILIGHT ZONE or OUTER LIMITS episode and sometimes not even that. Alas, Smight doesn't rein Steiger in and he gives one of his over the top, chew the scenery performances. The film adaptation needed a stronger script (Bradbury had nothing to do with film) and a stronger director, one who could give the film some sense of wonder and terror. Even the normally reliable Jerry Goldsmith fails with his tedious score.

Dr. T And The Women (2000)

Set in Dallas, Texas. A frantically overworked, socially in demand gynecologist's (Richard Gere) life is unraveling. His wife (Farrah Fawcett) had a nervous breakdown, his sister in law (Laura Dern) and her children have moved in with him, his daughter (Kate Hudson) is getting married, his nurse (Shelley Long) is in love with him and he's falling in love with  the new golf pro (Helen Hunt) at his club. Directed by Robert Altman (MCCABE AND MRS. MILLER), this is a pointless mess of a movie. Decidedly one of Altman's worst movies though frankly I prefer it to some of his more celebrated films like MASH and CALIFORNIA SPLIT. It meanders all over the place but so did some of his best movies like NASHVILLE and SHORT CUTS but those films eventually merged into a cohesive pyramid by the movie's end or like PRET A PORTER (aka READY TO WEAR) got by on style. This one just sputters into a surrealistic finish as if nobody could come up with a satisfactory ending. A lot of talent is wasted though Fawcett and Dern manage to bring some clarity to their characters. With Liv Tyler, Lee Grant, Tara Reid, Robert Hays and Janine Turner.

The Little Mermaid (2023)

A mermaid princess (Halle Bailey) is fascinated with the world of humans. When a massive storm sinks a ship, she saves the life of a prince (Jonah Hauer King) and falls in love with him. She makes an unholy deal with the sea witch (Melissa McCarthy) to lose her fishtail and get legs in order to be near the prince. A live action remake of the 1989 Disney animated movie loosely based on the fairy tale by Hans Christian Andersen and directed by Rob Marshall (CHICAGO). I thought the 2017 live action remake of the animated 1991 Disney film of BEAUTY AND THE BEAST was vastly superior to its predecessor so I had high hopes for this one. No such luck. The charm and innocence is gone and what we get is overblown and calculated. Bailey lacks a screen presence and her singing voice is average at best. There's so much CGI going on that even though it's a live action film, it still looks animated. The original song score by Alan Menken and the late Howard Ashman has been extended with new songs co-written by Lin Manuel Miranda. All in all, watchable but joyless. With Javier Bardem, Melissa McCarthy, Awkwafina, Jacob Tremblay, Daveed Diggs, Art Malik, Noma Dumezweni and Jessica Alexander.

Brief Encounter (1945)

A respectable middle class married English woman (Celia Johnson in an Oscar nominated performance) has a chance encounter with a respectable middle class married doctor (Trevor Howard)  she meets at a railway station. They fall in love but their guilt keeps them from consummating their affair. Based on the play STILL LIFE by Noel Coward and directed by David Lean (LAWRENCE OF ARABIA). Considered one of the great British films of all time and one of cinema's greatest love stories. Alas, I found it a rather dull affair (both the movie and the onscreen romance). I know it's a beloved film but the unrequited passion of two bourgeois Brits accompanied by Rachmaninoff moaning on the soundtrack just didn't work for me and I suspect if this were an American film with Alexis Smith and George Brent as the would be lovers with Max Steiner droning on the soundtrack instead of Rachmaninoff, it wouldn't work for anyone else either. But it's David Lean so it's clean and impeccable and veddy veddy British and that Rachmaninoff is so tasteful that one doesn't need to feel guilty about slobbering over it. Mercifully, it's under 90 minutes so I didn't have to suffer long. I'll take BRIDGES OF MADISON COUNTY, thank you. Remade in 1974 with Sophia Loren and Richard Burton. With Stanley Holloway and Joyce Carey.

Get Carter (1971)

A London gangster (Michael Caine) returns to his hometown in Newcastle to investigate the suspicious death of his brother. But local thugs are determined that he not find out the truth about his brother's death. Based on the novel JACK'S RETURN HOME by Ted Lewis and directed by Mike Hodges (FLASH GORDON). It's a stylish but brutal gangster film that was quite shocking for its day and still packs some punch. Criticized for its violence by the British critics, the movie fared better in the U.S. As the cold blooded gangster bent on revenge and without any remorse for his victims, Caine gives one of his very best performances. Its nihilistic ending is realistic as opposed to so many crime movies of the era that soften their endings. The gritty lensing by Wolfgang Suschitzky ((THEATRE OF BLOOD) brings an almost documentary feel to the movie. One of the best British films of the 1970s, the movie has built up a solid cult following in the ensuing years. An inferior remake with Sylvester Stallone in the title role came out in 2000. With Britt Ekland, Ian Hendry, Bryan Mosley, Alun Armstrong, Rosemarie Dunham, Tony Beckley and the playwright John Osborne.

Fast And Loose (1939)

A rare book seller (Robert Montgomery) and his wife (Rosalind Russell) become involved in the case of a rare stolen Shakespeare manuscript and a double murder! Directed by Edwin L. Marin (TALL IN THE SADDLE), this mystery comedy is a sequel to FAST COMPANY which came out the year before. A third entry would arrive later the same year (1939) with different casts for all three movies. The mystery itself isn't bad but its execution is poor. The writing isn't very good, it lacks the wit that these type of films need in order to work (THE THIN MAN is a perfect example). Reunited (they had better luck two years earlier in NIGHT MUST FALL),  Montgomery's amateur sleuth has zero charm and Russell as his wife is wasted. Tolerable but just. With Sidney Blackmer, Reginald Owen, Ralph Morgan and Etienne Girardot.

The I Don't Care Girl (1953)

The story of Eva Tanquay (Mitzi Gaynor), one of the most famous stars of vaudeville at its height (the early 1900s to the early 1920s). Directed by Lloyd Bacon (MARKED WOMAN), this is the usual movie musical biography of its era, highly fictionalized and an excuse for some lavish musical numbers. The movie is interesting for its RASHOMON like telling as a movie producer (George Jessel playing himself) attempts to get a screenplay together by interviewing those who knew her and getting different stories from each interviewee. That's about as close to originality that the movie gets. The film only comes alive during the musical sequences splendidly choreographed by the great Jack Cole and some high kicks by Gaynor, who transcends the movie's mediocrity when she dances. With David Wayne, Oscar Levant, Hazel Brooks, Warren Stevens and Bob Graham.

Nancy Drew Reporter... (1939)

Nancy Drew (Bonita Granville) is competing in the local newspaper's amateur reporter contest. On her own, she attempts to clear a young woman (Betty Amann) accused of murder. Based on the Nancy Drew character from the young adult mystery novels by Carolyn Keene (a pen name for Mildred Benson) and directed by William Clemens (TORCHY BLANE IN PANAMA). This was the second Nancy Drew adventure with Bonita Granville and two more would follow. I was a fan of the Nancy Drew books when I was an adolescent and though the Granville franchise noticeably digresses from the Nancy Drew books, it retains its innocent charms and sense of adolescent adventure. The mystery itself is no great shakes but the ride is fun. With John Litel, Frankie Thomas, Mary Lee and Dickie Jones.

Master Gardener (2023)

The meticulous horticulturist (Joel Edgerton) of a beautiful garden estate is asked by his eccentric employer (Sigourney Weaver) to take on an apprentice, her grandniece (Quintessa Swindell). But the grandniece's troubled past combined with the gardener's secret past brings chaos. Written and directed by Paul Schrader (MISHIMA: A LIFE IN FOUR CHAPTERS). I was very impressed with the first half of the film which promises a rich psychological journey but alas, it jumps the rails in its second half when it turns into a flawed good guy vs. drug dealers revenge flick. Schrader has brought us to this well before so it was so disappointing that he wasn't able to fulfill the promise of the excellent first half. But the actors are very good and their performances often compensate for the misguided second half. Swindell, a non binary actor playing a cisgender role here is a real find. I could have done without the awful song Space And Time sung by Mereba played over the end credits. With Esai Morales and Victoria Hill.

Up The River (1930)

A convict (Humphrey Bogart) is set to be paroled soon. He's in love with a female convict (Claire Luce) and they plan a life together after she serves her six months. But an unscrupulous scam artist (Morgan Wallace) blackmails the convict into working for him with the threat of telling his family he was in prison when they thought he was in China. Directed by John Ford (THE SEARCHERS), this pre-code comedy (though I'd consider it more of a dramedy) creaks a bit but it's amiable enough. It's fun to see Bogart and Spencer Tracy (both making their feature film debuts here) in early film roles, their only movie together. It would take awhile for both actors to achieve stardom. This is a Fox film and Tracy would find stardom at MGM while Bogart found his place at Warners. In spite of Bogart and Tracy in lead roles, my favorite performance came from Warren Hymer as Tracy's none too bright pal. The movie is padded out by a prison talent show which stops the movie cold including a dreadful rendition of Theodore F. Morse's M-O-T-H-E-R with the prison inmates all tearing up, a typical sentimental contrivance that that Ford would often use in his later films. With Ward Bond and Edythe Chapman.

Mako: The Jaws Of Death (1976)

A surly recluse (Richard Jaeckel) has a passionate and psychic connection to sharks. They are his only friends. He renounces society and goes on a rampage protecting his shark friends, even if it means murder. Directed by William Grefe (THE NAKED ZOO), this exploitation rip off of JAWS is shockingly bad. And not fun bad, just bad bad. While one can appreciate its (arguable) viewpoint that sharks are the innocents and man is the predator, the movie is so inept on every level that its "message" is neutered. I've always liked Richard Jaeckel, a reliable character actor and sometimes more than that (his Oscar nominated performance in SOMETIMES A GREAT NOTION) and I'm at a loss as to what he's doing in this trash. It's not the kind of movie where the performances matter much but to call the acting amateurish is an insult to amateurs. The worst offender is Buffy Dee as an obese bar owner but Jennifer Bishop as his wife isn't much better. I doubt even connoisseurs of bad movies could defend this one. With John Chandler, Luke Halprin and Harold Sakata.

L'Argent De Poche (aka Small Change) (1976)

Set in Thiers, France in the summer of 1976 as we follow the lives of a group of school children. They seem about 12 years old. There's no real plot as the movie episodically bounces around. Co-written and directed by Francois Truffaut (JULES AND JIM). Truffaut has an affinity for adolescents as he showed in movies like THE 400 BLOWS and THE WILD CHILD. I'll be upfront about my feelings about kids. I don't dislike them but I don't have any interest in them either. While I can occasionally enjoy a film with a child at its center (like THE YEARLING or E.T.), I tend to avoid movies that feature children (that's plural) at its core. Thus I avoided Truffaut's SMALL CHANGE for years. I still can't bring myself to watch Malle's AU REVOIR LES ENFANTS and I've never seen popular films like THE GOONIES or STAND BY ME for this reason. Which is why I figure I'm not the audience for a film like this. I didn't hate it but I couldn't drum up much enthusiasm for it either. I found most of the kids lazy and bratty. When a 2 year old and a cat fall out of a high window, I worried about the cat, not the brat. I couldn't even summon up much care for the abused child (Phillippe Goldmann) at the film's center. My least favorite Truffaut (and that's saying a lot after THE MAN WHO LOVED WOMEN). With Geory Desmouceaux, good enough that I'll give his adolescent a pass.

Black Magic (aka Meeting At Midnight) (1944)

When the renowned detective Charlie Chan (Sidney Toler) decides to return home to Honolulu, his butler (Mantan Moreland) gets a new job with the Bonner family. What he doesn't know is that they are con artists who specialize in fake seances. But when Mr. Bonner (Crane Whitley) is murdered by being shot but there's no bullet found in his body and no bullet penetrated his body, Charlie Chan is on the case! Based on the character created by Earl Derr Biggers and directed by Phil Rosen (STEP BY STEP). This is one of the late Chan mysteries courtesy of the poverty row Monogram studios. It's a rather dull affair except for Mantan Moreland. Yes, he's playing a racial stereotype but he's got expert comedy timing and this lackluster effort needs all the help it can get. This time instead of Charlie's no. 1 son helping him, we get his daughter (Frances Chan) assisting him. For die hard Chan fans only. With Jacqueline DeWit, Geraldine Wall, Joseph Crehan and Ralph Peters.

Bombers B-52 (1957)

Ever since a run-in during the Korean war, an airplane mechanic (Karl Malden) has disliked a hotshot pilot (Efrem Zimbalist Jr.) with a reputation for womanizing. Now, the mechanic has a new reason to to be ticked off: the pilot is romancing his daughter (Natalie Wood). Directed by Gordon Douglas (TONY ROME), the film is a tedious meld of romantic conflict and melodrama with aerial dramatics and adventure focusing on the introduction of the Boeing B-52 Stratofortress bomber by the U.S. Strategic Air Command. It's nowhere near as entertaining as Anthony Mann's superior STRATEGIC AIR COMMAND which was released two years earlier. The central romance of 19 year old Natalie Wood with the 40-ish Zimbalist seems inappropriate but the age difference isn't commented on in the movie. If you're an aviation enthusiast or a Natalie Wood fan, the film might work for you. Shot in CinemaScope by William Clothier (THE ALAMO). With Marsha Hunt, Stuart Whitman, Ann Doran and John Doucette.

The Getaway (1972)

Set in Texas, a local political boss (Ben Johnson) springs a convict (Steve McQueen) from prison so that he can execute a daring bank robbery. But a succession of crosses and double crosses find he and his wife (Ali MacGraw) on the run from both the law and the crooks. Based on the novel by Jim Thompson (THE GRIFTERS) and directed by Sam Peckinpah (STRAW DOGS). The film is a favorite among Peckinpah fans but I found it one of his weaker films. It's not bad but it's too sordid and the domestic scenes between McQueen and MacGraw are tedious and drag the film down. The movie further exposes MacGraw's inadequacies as an actress though to be fair, she does have a screen presence. The film's criminals seem too inept to be believable and the entire film has an aimless feel to it which might work if the film were directed by Jean Pierre Melville or Jean Luc Godard but the expected Peckinpah violence aside, it's monotonous. Original reviews were negative but its reputation has climbed in the ensuing years. Remade in 1994. With Al Lettieri, Sally Struthers, Slim Pickens and Bo Hopkins.

L'Etrange Monsieur Victor (1938)

A respectable businessman (Raimu) in the town of Toulon owns a small shop which he uses as a front for his other business: a fence for a group of thieves. But he is passionate about his family and his reputation. When he is threatened with exposure, he murders the blackmailer (Georges Flamant). An innocent man (Pierre Blanchar) is convicted of the crime. Seven years later, the man escapes from prison and heads to Toulon. Directed by Jean Gremillon (THE LOVE OF A WOMAN), this is a strange dramatic crime film. The film begins with a generous dose of humor so that I thought it was going to be more comedic than dramatic, then it turns dark. It was filmed in Berlin rather than France though you'd never know it. The movie takes several unexpected twists and turns as themes of guilt, honor and fidelity take prominence. Filled with characters who are less than honorable (Madeleine Renaud's loyal wife is an exception), it all comes to a satisfying end. With Viviane Romance and Andrex (sic).

The Bobo (1967)

Set in Barcelona, Spain. A singing matador (Peter Sellers) has an ambition to become famous. The local impresario (Adolfo Celi) is willing to take a chance on him but on one condition. That he must seduce the beautiful but conniving minx (Britt Ekland), who dumps her admirers as soon as she has gotten all the money and gifts she can from them. Based on the novel OLIMPIA by Burt Cole and directed by Robert Parrish (IN THE FRENCH STYLE). Originally set to be a vehicle for Ava Gardner with George Cukor directing, what we ended up with is a vapid attempt at a Chaplinesque comedy. That Peter Sellers was a major comic talent is never in question but he fails here. Granted, Ekland's vixen probably deserves her comeuppance but there's something decidedly unsavory about Sellers' dope using her to get his break at stardom. If the movie were actually funny perhaps it could have overcome this unpleasantness but I never laughed once. With Rossano Brazzi, Al Lettieri, Ferdy Mayne, Hattie Jacques and Antonia Santiago Amador whose fiery flamenco is the film's highpoint.

Mother Is A Freshman (1949)

When a widow (Loretta Young) goes to college after raising a family, she finds herself the romantic rival of  of a fellow student (Betty Lynn) for the affections of a handsome professor (Van Johnson, borrowed from MGM). What makes it awkward is that the student is her daughter! Directed by Lloyd Bacon (FOOTLIGHT PARADE), this Technicolor comedy is only moderately amusing and its resolution never in doubt. Anyone expecting the fireworks of the mother/daughter rivalry of MILDRED PIERCE or THE GRADUATE is going to be disappointed. Young is a bit stiff and can't seem to relax. During the school dance sequence, I was hoping some youngster would grab her and do a wild jitterbug but alas, she remains ladylike throughout. Pleasant is about the nicest thing you can say about it. Kay Nelson's costumes got an Oscar nomination. With Rudy Vallee, Barbara Lawrence, Robert Arthur and Kathleen Hughes. 

The Fly (1986)

A brilliant but eccentric scientist (Jeff Goldblum) has created two pods that can teleport objects between them. He asks an attractive journalist (Geena Davis) to document his invention with the ultimate aim to transport a living being. Eventually, he decides to transport himself but a fly sneaks into the pod without his knowledge with horrifying results. Based on the short story by George Langelaan (previously made into a film in 1958) and directed by David Cronenberg (DEAD RINGERS). It is that rarity, a remake that surpasses the original movie. Cronenberg's film is more complex, darker and terrifying. As expected, the gross out factor is major but hey, it's Cronenberg, what did you expect? At the film's core, there is a strong romantic undercurrent and at the time, many critics saw the deformed transformation of Goldblum's character as a metaphor for AIDS which Cronenberg never intended. The film's biggest flaw to my mind is John Getz' character. As Davis' former lover he's really creepy and I couldn't possibly see what Davis ever saw in him. The potent score is by Howard Shore (SILENCE OF THE LAMBS). With Joy Boushel and George Chuvalo.

Undercover Girl (1950)

Posing as a drug buyer, a New York policewoman (Alexis Smith) infiltrates a narcotics ring in order to take down the criminals responsible for her father's (Regis Toomey) death. Directed by Joseph Pevney (TAMMY AND THE BACHELOR), there's not much one can say about a potboiler like this. It's an efficient movie that connects all the obvious dots till it reaches its predictable ending. Alexis Smith's Warners contract was over and without Warner Brothers behind her and giving her co-starring roles opposite the likes of Humphrey Bogart, Cary Grant and Errol Flynn, her freelancing career provided her with fodder like this. It's the kind of movie that played well on the late show at 2AM when you couldn't sleep back in the day. With Scott Brady, Richard Egan, Gladys George, Edmond Ryan, Gerald Mohr and Angela Clarke.

The Covenant (2023)

Set during the war in Afghanistan in 2018, a U.S. Army Special Forces Sergeant (Jake Gyllenhaal) is assigned a new interpreter (Dar Salim) after his first interpreter is killed in an attack by the Taliban. Their relationship is uneasy at first but dramatic circumstances will bond them strongly. Directed by Guy Ritchie (LOCK, STOCK AND TWO SMOKING BARRELS). I'm not a fan of Guy Ritchie's work and war movies aren't my thing but I liked this film enormously. In August of 2021, when the U.S. armed forces left Afghanistan after a 20 year campaign, a month later the Taliban seized complete control. The U.S. left behind thousands of Afghan interpreters and other Afghan citizens who assisted them and hundreds of those have been executed by the Taliban while much more remain in hiding from the Taliban. Though THE COVENANT is a work of fiction, it has the ring of authenticity as Ritchie takes this tragic situation and creates an intense action thriller. It's really two movies as the first half documents the war while the second half shows the aftermath of the first half. Ritchie shows great  control with the material and doesn't push it into what could have been a ludicrous action movie. Gyllenhaal and Salim give expert performances and there's a strong underscore by Christopher Benstead. With Jonny Lee Miller, Emily Beecham and Reza Diako. 

Fast And Furious (1939)

A husband (Franchot Tone) and wife (Ann Sothern) are rare book dealers in Manhattan. They also do some sleuthing on the side. When the husband is coerced into judging a beauty contest, the murder of the unscrupulous promoter of the pageant pulls him into solving the crime. Directed by Busby Berkeley (BABES IN ARMS), this was the third and final film in a trilogy of movies about the crime solving couple (with different actors playing the couple in each movie), a sort of bargain basement THE THIN MAN. Unfortunately Franchot Tone is miscast in a comedic murder mystery like this. He's rather charmless and no William Powell. Alas, the murder mystery aspect isn't very interesting either and the comedy falls flat. While the appealing Ann Sothern is bouncy and lively, it's not enough to save the movie. With Ruth Hussey, Lee Bowman, Mary Beth Hughes and Allyn Joslyn.

Is Paris Burning? (1966)

Set in 1944, the war is going badly for the Nazis. Adolph Hitler (Billy Frick) appoints a General (Gert Frobe) as the military governor of occupied Paris. His orders are to literally destroy the city of Paris rather than have the allies liberate it. Meanwhile as time runs out, the resistance movement places pressure on the allies to liberate Paris before it is destroyed. Based on the non fiction best seller by Larry Collins and Dominique Lapierre (adapted for the screen by Gore Vidal and Francis Ford Coppola no less) and directed by Rene Clement (FORBIDDEN GAMES). It's a sprawling B&W epic shot in wide screen Panavision by Marcel Grignon (VICE AND VIRTUE) and an ensemble cast of French, German and American actors. At a three hour running time (including the Roadshow overture, intermission, entr'acte) unless the subject matter interests you, you might find it on the slow side. The occupation of Paris by the Germans has always interested me so I found it rather compelling instead of lethargic. Clement's semi documentary style is effective although the occasional appearance of a major Hollywood actor throws the movie out of whack. The massive cast includes Jean Paul Belmondo, Charles Boyer, Leslie Caron, Jean Pierre Cassel, George Chakiris, Alain Delon, Kirk Douglas, Glenn Ford, Yves Montand, Anthony Perkins, Michel Piccoli, Simone Signoret, Robert Stack, Jean Louis Trintignant, Orson Welles, Claude Dauphin, Daniel Gelin, Pierre Vaneck, Claude Rich, Marie Versini and Skip Ward.

Government Girl (1943)

An automobile engineer (Sonny Tufts) is tapped by the U.S. government to supervise the building of aircraft during WWII. But he's an outsider who finds it difficult to adjust to the political maneuvering in Washington D.C. To this end, his secretary (Olivia De Havilland) attempts to guide him through the political landscape and how things are done in D.C. Based on a story by Adela Rogers St. Johns and directed by Dudley Nichols (SISTER KENNY). There were several wartime Washington D.C. themed films around this time, the most notable being THE MORE THE MERRIER. This one isn't bad but it's pretty thin material. Tufts isn't the most stimulating leading man and being loaned out to RKO for this movie was Warner Brothers punishment to De Havilland for her lawsuit (which she eventually won) against the studio. This was screenwriter Dudley Nichols' first  film as a director and the movie seems unfocused as it unevenly balances romantic comedy with political jabs. With Agnes Moorehead, Anne Shirley, James Dunn, Paul Stewart, Jess Barker and Una O'Connor.

The Blues My Baby Gave To Me (1962)

After the birth of her first child, a young mother (Inger Stevens) has erratic mood swings and thoughts of killing her baby. When she has a complete nervous breakdown, her husband (Robert Vaughn) takes her to a psychiatrist (Wendell Corey) who has her committed to a mental hospital. Directed by William Graham (CHANGE OF HABIT), this was originally shown as an episode of the television series THE ELEVENTH HOUR. It is a very early acknowledgement of what is known as post partum depression today but referred to as post partum psychosis here. The young mother is treated sympathetically here instead of the oddity she must have seemed in 1962. If the diagnosis and its quick resolution seem too pat to 2023 sensibilities, it's still a compelling narrative. Best of all, it affords an opportunity for the underrated Inger Stevens to show what she was capable of as an actress but rarely taken advantage of by Hollywood. She never got really good film roles. With Jack Ging, John Zaremba and Louise Lorimer.

The Spanish Dancer (1923)

A beautiful gypsy dancer (Pola Negri) is popular among the poor people she lives with. But she attracts the attention of an impoverished nobleman (Antonio Moreno) and they fall in love. But she also attracts the attention of a lecherous King Philip IV of Spain (Wallace Beery), who concocts an elaborate plot to seduce her. Directed by Herbert Brenon (PETER PAN), this rather convoluted costume romance allows us to see the screen presence of the exotic Pola Negri, one of the most popular silent film stars of the 1920s ..... and that's about it. With the exception of one sequence which has severe visual damage, it looks quite nice and provides another opportunity to admire the craftmanship of James Wong Howe. The new contemporary jazz underscore composed expressly for this restoration seems out of sync with what we see on the screen. Still, of you're a fan of silent cinema (as I am), there's much to appreciate. With Adolphe Menjou, Kathlyn Williams, Gareth Hughes and a five year old Anne Shirley playing Beery's son (sic). 

Pink Cadillac (1989)

A skip tracer (Clint Eastwood) always gets his man. But will he get his woman when a young mother (Bernadette Peters) jumps bail and goes on the run with her infant in a pink Cadillac with $250,000 in the trunk and racist gun toting goons on her trail? Directed by Buddy Van Horn (ANY WHICH WAY YOU CAN), this low brow comedy is reminiscent of those popular red neck Burt Reynolds movies of the 70s and 80s like CANNONBALL RUN, WHITE LIGHTNING, GATOR etc. It received poor reviews and tanked at the box office and Eastwood never again did an action comedy. It's poorly written and its depiction of a racist group of thugs is more laughable than disturbing. A star of the musical stage, Bernadette Peters never got a real break in the movies and this film didn't help although she's the best thing in the film. Her animated performance livens up her scenes and makes for a nice contrast with the dour Eastwood. With Frances Fisher, Geoffrey Lewis, Timothy Carhart, Jim Carrey and Mara Corday.   

When Eight Bells Toll (1971)

A British secret service agent (Anthony Hopkins) is assigned to stop the ruthless pirating of gold bullion in the Scotland seas. His search takes him to a small port in the Hebrides where numerous fishing boats, yachts and people have mysteriously disappeared. Based on the novel by Alistair MacLean (who adapted his novel for the screen) and directed by Etienne Perier (BRIDGE TO THE SUN). In the 1960s and early 1970s, the books of Alistair MacLean were popular enough to almost inevitably reach the big screen. Among them GUNS OF NAVARONE, WHERE EAGLES DARE, ICE STATION ZEBRA and this rather routine action adventure which seems to mimic the James Bond movies. The producer Elliott Kastner intended a big prestige production but what we end up with is a noisy routine programmer. Watchable but forgettable almost immediately. The Scottish coastal locations are handsomely shot in wide screen by Arthur Ibbetson (ANNE OF A THOUSAND DAYS) and there's a pleasant pop jazz underscore courtesy of Angela Morley (credited here as Walter Stott, her pre-transition moniker). With Nathalie Delon, Robert Morley, Jack Hawkins, Corin Redgrave and Ferdy Mayne. 

Citizen Ruth (1996)

A homeless indigent (Laura Dern) who gets high on household products (glue, spray paint) finds herself knocked up yet again. All she wants to do is party and get high but she suddenly finds herself at the center of a firestorm between pro-choice and pro-life groups! Directed by Alexander Payne (SIDEWAYS), this dark satire on extremism from both sides of the abortion issue isn't nearly as clever as it thinks it is. It milks its one joke dry and then goes on for a good half hour or so. The best thing about the film is both Laura Dern's performance and her character. Dern's Ruth doesn't give a sh*t about her baby but isn't above coercing both sides to give her money to abort or keep the baby. You can't really like her but you can't help but get a kick out of her playing both sides against each other while she calculates what she can get out of it. It's all amusing for awhile but tediousness seeps in as the movie starts chasing its tail. I don't want to sound like I dislike it, there are some wonderful things about it but fanaticism get tiresome real fast. With Burt Reynolds, Tippi Hedren, Swoosie Kurtz, Mary Kay Place, Kelly Preston, Kenneth Mars and Diane Ladd.

The Girl He Left Behind (1956)

After flunking out of college, a spoiled and privileged mama's boy (Tab Hunter) is inducted into the army. Arrogant and self centered, he resists the army's attempts to turn him into a responsible grown up. Based on the novel by Marion Hargrove and directed by David Butler (CALAMITY JANE). Hargrove had a great success with his best selling book SEE HERE PRIVATE HARGROVE (made into a movie by MGM in 1944) which dealt with young recruits adjusting to army life. He goes back to the well with THE GIRL HE LEFT BEHIND but with much less success. Hunter's character is an unpleasant jerk until he's finally redeemed in the movie's last 20 minutes. Until then, we're praying for his comeuppance. As his girlfriend, Natalie Wood is wasted. Hunter and Wood had teamed earlier in the year in THE BURNING HILLS and Warners was keen to make them a team but by the early sixties, Hunter's career was slowly fading while Wood's star ascended making her one of the biggest actresses of the era. As far as military comedies go, this one is tedious. For fans of the two leads only. With James Garner, David Janssen, Henry Jones, Murray Hamilton, Jessie Royce Landis and Alan King.