Kansas Raiders (1950)

During the Civil War, young Jesse James (Audie Murphy) and his gang ride into Kansas looking to join up with the notorious Colonel William Quantrill (Brian Donlevy).  Seeking revenge against the Union for the murder of his family, Jesse wants to help Quantrill claim Kansas for the Confederacy. Directed by Ray Enright (CHINA SKY), this highly fictionalized western has little basis in fact other than Jesse James and his brother Frank (Richard Long) were part of Quantrill's Raiders. On its own, it's just okay though the film wants to have it both ways. It portrays Quantrill for the out of control murderer he was but it also gives him a nobility that the facts don't bear out. It's hard to be sympathetic to Jesse as he is well aware of the disastrous path Quantrill is leading him but goes anyway! A minor flaw is the "romance" between the boyish Audie Murphy and the mature Marguerite Chapman as Quantrill's mistress as she looks old enough to be his mother. With Tony Curtis, Richard Egan, Richard Arlen, Scott Brady, Dewey Martin and James Best.  

Seven Keys To Baldpate (1929)

A famous novelist (Richard Dix) makes a $5,000 bet that he can write a 10,000 word story within 24 hours at an isolated inn that is closed for the winter. He is given the only key to the place and expects to write in solitude. But it seems he doesn't have the only key and he soon finds himself mired in political corruption, thievery and murder. Based on the novel by Earl Derr Biggers by way of the Broadway play by George M. Cohan and directed by Reginald Barker (THE GREAT DIVIDE). This is the fourth film version but the first sound version of the oft filmed play. It would be filmed again in 1935, 1947 and 1983. Its near incoherent plot with almost everyone crossing and double crossing and triple crossing each other is almost impossible to follow and  leaves one scratching one's head. The film's "surprise" ending is telegraphed because the narrative is so ludicrous that there can be only one explanation. With Margaret Livingston, Miriam Seegar, Lucien Littlefield, DeWitt Jennings and Nella Walker. 

The Edge Of The World (1937)

Set in the small  and isolated rural island of Hirta off the coast of Scotland. One by one, the young generation deserts the island for the mainland and a better way of life. This makes it harder for those who remain to follow the old ways of life. Written and directed by Michael Powell (BLACK NARCISSUS), the film is loosely based on the evacuation of St. Kilda in the Scottish archipelago. This was Powell's first major film and while it doesn't have the finesse of some of his later movies, it's a lovely piece of work. There's a semi documentary feel to the storyline and the B&W rocky landscapes are beautifully photographed by Monty Berman, Ernest Palmer and Skeets Kelly. I found it often difficult to empathize with the islanders' "old ways" that often seemed barbaric (when they leave the island, they have all the dogs drowned rather than take them with them or survive on their own on the island). Sometimes, you have to move forward rather than cling to the old ways or there's no such thing as progress. With Niall MacGinnis, Belle Chrystall, Finlay Currie, John Laurie and Eric Berry.

Dead Heat On A Merry Go Round (1966)

Released from prison on parole, a conniving con man (James Coburn) plots a major bank robbery at the Los Angeles International Airport. The arrival of a major Russian political figure at the airport will provide a distraction to both police and the public. Directed by Bernard Girard (THE MAD ROOM), this heist thriller is too convoluted for its own good. There's a lot of fat that could have been trimmed. It takes too long getting to the action and spends too much time on superfluous incidents which have no bearing on the actual heist . Coburn's character is supposed to be a charming rogue but I found his character more of a smug scumbag. His character needed a more likable actor for us to be on his side but all I kept thinking was, "I hope he gets caught!". That being said, I did like the movie's "twist" finale, even though I felt sorry for Camilla Sparv as Coburn's wife. There's a decent underscore by Stu Phillips (BEYOND THE VALLEY OF THE DOLLS). With Aldo Ray, Robert Webber, Rose Marie, Marian McCargo, Michael Strong, Phillip Pine, Todd Armstrong and in his film debut, Harrison Ford.

Creepshow (1982)

Five short stories courtesy of horror master Stephen King: 1) A woman (Viveca Lindfors) returns to the family home where she murdered her father (Jon Lormer). 2) A dim witted backwoods yokel (Stephen King) sees a meteorite crash on his property. 3) A vicious millionaire (Leslie Nielsen) seeks revenge on the man (Ted Danson) who is having an affair with his wife (Gaylen Ross). 4) A college professor (Fritz Weaver) discovers a locked up crate dated 1834 which contains a murderous creature. 5) A mean spirited millionaire (E.G. Marshall) is obsessed with the cockroaches invading his penthouse. Directed by George A. Romero (NIGHT OF THE LIVING DEAD), this anthology horror movie is a mixed bag. The cockroach story is first rate but all the others range from mediocre to just okay. The film's tawdry comic book atmosphere works to the movie's advantage as does some of the comic book acting. But the film's sense of humor often negates the horror that should make our flesh crawl. With Ed Harris, Hal Holbrook, Adrienne Barbeau, Carrie Nye and Tom Atkins. 

The Unknown (1927)

A carnival knife thrower (Lon Chaney) has no arms and throws knives with his feet. He is madly in love with the young girl (Joan Crawford) who works at the carnival but she has an aversion to being touched by men. But he also has a secret that he's keeping from her. Directed by Tod Browning (DRACULA), the movie shows his fascination with circus "freaks", a subject that would take fruition with FREAKS (1932) which many consider his masterpiece. This may be Chaney's best performance. Unencumbered with the prosthetic make up that hid his face in THE HUNCHBACK OF NOTRE DAME and THE PHANTOM OF THE OPERA, his face shows a range of emotions which make his psychotic carny terrifying yet still allowing us to see his genuine pain. Crawford is delightful here and I liked Norman Kerry as the circus strongman in love with Crawford. The movie can't help but telegraph the horrible sacrifice Chaney makes for Crawford's love. The transfer I saw had a mediocre tinkling piano score when it could have used an orchestral score to make it more effective. With John George and Nick De Ruiz.

Beatriz (1976)

Set in a rural Spanish village, a friar (Jorge Rivero) who may or may not be demonic (he's also handy with a sword) seeks refuge in the manor of a Countess (Carmen Sevilla). When the Countess's daughter (Sandra Mozarowsky) begins acting strangely, it's possible she's become possessed. Based on two stories, BEATRIZ and MY HERMANA ANTONIA by Ramon Del Valle Inclan and directed by Gonzalo Suarez. I found this drama with supernatural elements highly incoherent and without enough style to overcome the film's nonsensical plot. An unpleasant rape sequence and an uncomfortable "relationship" between a boy (Oscar Martin who appears to be 12 years old) and the housemaid (Nadiuska) seem gratuitous and irrelevant to the narrative. The underscore by Fermin Gurbindo is the pits! With Jose Sacristan and Elsa Zabala.

Party Husband (1931)

On their wedding day, the bride (Dorothy Mackaill) and groom (James Rennie) announce to their guests that their marriage will be a "modern" marriage without the restrictions of traditional marriage. As they soon find out, that's easier said than done. Based on the novel by Geoffrey Barnes and directed by Clarence C. Badger (NO NO NANETTE). This pre code drama has nowhere to go. As viewers, we pretty much know exactly how this will end up and it does. As a pre code, its casual attitude toward adultery is "daring" but we know that traditional morality will win out. Even at it a brief running time of one hour and 14 minutes, it runs out of steam well before it wraps up. The appealing Dorothy Mackaill is a plus but there's nothing to recommend here. With Dorothy Peterson, Mary Duran and Donald Cook.

Golden Girl (1951)

A vivacious teenage girl (Mitzi Gaynor) in a small California town has theatrical ambitions. When her father's (James Barton) gambling debts cause the family to lose the boarding house that supported them, she tours the country as a song and dance entertainer. Directed by Lloyd Bacon (MARKED WOMAN). Although based on the life of Lotta Crabtree, one of the most beloved entertainers of the late 19th century, this musical biography is highly fictitious. The movie concocts some dubious plot about Crabtree falling in love with a Confederate spy (Dale Robertson), who robs gold shipments in the North to send to the South. Musicals and westerns are my favorite genres and I usually bend over backwards toward their shortcomings but boy, is this one a stinker! Mediocre musical numbers, silly cliched plot and poor acting. An overly perky Mitzi Gaynor becomes annoying after awhile though she has one good number where she shows us her en pointe ballet skills. A big misfire. With Una Merkel, Dennis Day and Carmen D'Antonio as Lola Montez.

Tales Of Terror (1962)

Four short stories by Edgar Allan Poe adapted for the screen: (1) MORELLA: a dying young woman (Maggie Pierce) returns to visit her estranged father (Vincent Price). (2) THE BLACK CAT/THE CASK OF AMONTILLADO: an alcoholic (Peter Lorre) plots to murder his wife (Joyce Jameson) and her lover (Vincent Price). (3) FACTS IN THE CASE OF M. VALDEMAR: an unscrupulous hypnotist (Basil Rathbone) uses a dying man (Vincent Price) for his own ambition including getting the man's wife (Debra Paget). Directed by Roger Corman (LITTLE SHOP OF HORRORS), who has his customary crew: cinematographer Floyd Crosby, production designer Daniel Heller, composer Les Baxter etc. As usual, Corman infuses the Poe stories with a rich atmosphere which compensates for the perfunctory telling. The second sequence is infused with a bit of humor which alleviates the heaviness of the horror. No doubt the Poe purists will be annoyed but horror fans should be satisfied. With David Frankham and Leona Cage.

The Lady In Question (1940)

Set in Paris, while serving on a jury, a shopkeeper (Brian Aherne) persuades his fellow jurors to acquit a young woman (Rita Hayworth) accused of murdering her lover. After the trial, he attempts to help the girl by giving her a job in his store but complications threaten to destroy his family structure. Based on the 1937 French language film GRIBOUILLE and directed by Charles Vidor (GILDA). An odd comedy or perhaps dramedy would be a better description. The movie is thrown off kilter by the miscasting of Brian Aherne, not only too young for the role (he's only 14 years older than Glenn Ford who plays his son) but the film needed an older character actor in the part. To put it bluntly, Aherne's fussy performance is just awful as his older "mannerisms" ring false. This was the first of five films that Rita Hayworth and and Glenn Ford would do together and their weakest. By the time they did GILDA, the chemistry sizzled. Here, it's barely perking. As to the story itself, its uneven tone (is it a comedy? a romance? a drama?) is frustrating. With Evelyn Keyes, Irene Rich, George Coulouris and Lloyd Corrigan.

Maestro (2023)

A young composer (Bradley Cooper) soon emerges as one of the most preeminent conductors in the U.S. His marriage to an established actress (Carey Mulligan) proves complex and thorny as his fame becomes emblematic. Based on the life of iconic conductor and composer Leonard Bernstein and co-written and directed by Bradley Cooper (A STAR IS BORN). This is a superior film biography. The film eschews the usual "and then I did this", "and then I did that" gallery of career highlights and instead focuses directly on the complicated relationship between Bernstein and his wife. The film may be called MAESTRO but it could just as well been called MAESTRO AND WIFE, that's how important Felicia Montealegre is to the narrative and indeed, it's Mulligan (in an Oscar worthy performance) who received top billing, not Cooper. Filming in both B&W and color as well as different aspect ratios (1.33 and 1.85), Cooper digs deeply into Bernstein's psyche and his control of the film frame is impeccable. Although the film is due to debut on Netflix on December 20th, I urge anyone remotely interested in seeing it to see it in a theatre as it has one of the best sound designs (music is an integral part of the film) I've heard in a theatre in years, so spacious that no home theater system, however sophisticated, will be able to replicate it. With Sarah Silverman, Matt Bomer, Maya Hawke and Gideon Glick.

Hamlet (1948)

The melancholy Hamlet (Laurence Olivier), the Prince of Denmark is visited by the ghost of his dead father. The father's ghost tells him that he was murdered by his brother (Basil Sydney) in order to usurp the throne and marry his brother's wife (Eileen Herlie). Thus begins Hamlet's revenge against the usurper King which leaves death in its wake. Based on the play by William Shakespeare and directed by Laurence Olivier. Much admired when first released, the film won the Oscar for best picture as well as best actor for Olivier. For purists, this is a stripped down version of Hamlet, leaving much of the text out as well as several characters. At 40, Olivier was perhaps a bit old to play Hamlet (he was 11 years older than Eileen Herlie who plays his mother) and the vigor and rashness that would befit a younger man doesn't sit well on his shoulders. Age aside, it's an immaculate performance. As a director, Olivier makes sure that it is a movie, not a filmed play. We have, arguably, the greatest actor of the 20th century in, arguably, the greatest role written for an actor. Which makes nitpicking superfluous, doesn't it? With Jean Simmons (as Ophelia), Felix Aylmer, Terence Morgan, Anthony Quayle and Peter Cushing.  

Damon And Pythias (1962)

Set around 400 B.C., a Greek (Don Burnett) arrives in the city state of Syracuse to seek out a philosopher (Andrea Bosic) and bring him back to Greece. He encounters a thief (Guy Williams), who eventually becomes an ally. Based on the Greek myth of Damon and Pythias and directed by Curtis Bernhardt (INTERRUPTED MELODY). The film stays faithful to the Greek legend but as an entry in the sword and sandal genre, it's a pretty mundane movie. As Damon and Pythias, Guy Williams and Don Burnett aren't strong enough actors or screen presences to engage us in the tale and there's not much else to hold our attention. None of the pomp or pageantry associated with peplum, no thrilling action sequences, no interesting performances, etc. Watchable but shouldn't a movie be more than that? The score by Angelo Francesco Lavagnino brings a bit of class to the project. With Ilaria Occhini, Liana Orfei and Marina Berti.

American Beauty (1999)

A middle aged executive (Kevin Spacey) has a midlife crisis. Stuck in an unhappy marriage to a real estate agent (Annette Bening), he hates his job. But when he meets the best friend (Mena Suvari) of his teenage daughter (Thora Birch), he becomes obsessed with the girl and attempts to redirect his energies to impress her. Directed by Sam Mendes (SKYFALL) in his feature film directorial debut. Critically acclaimed when released, it went on to win the Academy Award for best picture as well as best actor for Spacey and best director for Mendes. Alas, while it doesn't hold up well, it's still an impressive film. I understand that as a black comedy, its characters and their situations are exaggerated but all its characters are screwed up and unbalanced. Since the film's release, Spacey's predatory nature is well known so his pursuit of the underage high school girl has a layer of creepiness that wasn't there in 1999. The only character I had any empathy for was for Allison Janney's out of it wife and mother, slowly disappearing into herself. Her character is given short shrift and she doesn't have much to do but Janney lets you read the loneliness and pain in her face so you know what Hell this woman is living. In recent years, the movie's reputation has backslid significantly, justifiably I think. Much of it is obvious like the homophobic ex-Marine (Chris Cooper) who -surprise!- turns out to be a repressed homosexual. But there's still enough that's good that I can't write the film off. With Wes Bentley, Scott Bakula and Sam Robards.

Fast Company (1938)

A husband (Melvyn Douglas) and wife (Florence Rice) run a rare book business in New York City. To supplement their meager income, they recover stolen rare books. When a book dealer (George Zucco) is murdered, the husband does his own private investigating when a friend (Shepperd Strudwick) is accused of the killing. Based on the novel by Harry Kurnitz and directed by Edward Buzzell (NEPTUNE'S DAUGHTER). An uninspired attempt to create another THIN MAN like franchise, Douglas and Rice just don't have the Powell and Loy chemistry to hold our attention. What we're left with is a rather shopworn murder mystery without much punch to it and at its center, a married couple who aren't as "cute" as the film would like us to believe. Still, MGM kept trying with two more entries in 1939, FAST AND LOOSE and FAST AND FURIOUS. Actually, the reviews for this first entry were pretty decent but it just doesn't hold up. With Claire Dodd (who gives the best performance in the film), Louis Calhern, Dwight Frye, Nat Pendleton and Douglass Dumbrille.

Baxter, Vera Baxter (1977)

Trapped in an unhappy marriage, a thirtysomething woman Vera Baxter (Claudine Gabay) recounts her life to a mysterious woman (Delphine Seyrig) she has only just met. Based on the play SUZANNA ANDLER  by and directed by Marguerite Duras (INDIA SONG). Duras once again brings her unique brand of film making in this existential stylized look at a woman's desolation. Duras' Vera Baxter can't seem to make a decision as she sits alone in a huge house and drowns herself in melancholy. It takes a stranger, who has an ancient bond with her, to draw her out of her malaise. The film has an intentionally monotonous underscore courtesy of Carlos D'Alessio which plays nonstop throughout the movie to accent Vera's anguish and although I understand why Duras wanted this music to accompany Vera's angst, it gave me a headache after awhile. Actually, I'm surprised how much I liked it (the movie, not the score) and its haunting quality. With Gerard Depardieu and Noelle Chatelet. 

The Enemy Below (1957)

Set during WWII, an American destroyer and a German U-boat play a deadly cat and mouse stalking game. The ship's Captain (Robert Mitchum) and the submarine's commander (Curt Jurgens) attempt to outthink and outmaneuver each other with each's survival in the balance. Based on the novel by Denys Rayner and directed by actor turned director Dick Powell (THE CONQUEROR). I'm not a fan of war movies, particularly war movies set in submarines but I found this intense WWII war film quite intelligent and thrilling. The film suggests that not all Germans were rabid Nazis and Jurgens' submarine commander is clearly uncomfortable with the "new" Germany. This is different from the original novel where the submarine commander is more of a traditional Nazi. A tight, decently written WWII drama. The film won an Oscar for its sound effects. With Theodore Bikel, David Hedison, Frank Albertson, Kurt Kreuger and Doug McClure. 

The Italian Job (1969)

Just released from prison, a con man (Michael Caine) immediately plans a heist that will set him up forever..... if he doesn't get caught! His plan? Steal a heavily armed shipment of gold bullion. Directed by Peter Collinson (STRAIGHT ON TILL MORNING), I found THE ITALIAN JOB tedious as well as ludicrous. It's a minority opinion as the film was a big hit (though not in the U.S.), received good reviews and has its cult fans even today. Characterization is jettisoned out the window and not even the normally appealing Michael Caine can hold it together. While I liked the movie's literal cliffhanger ending, the famous car chase sequence (around 20 to 25 minutes in length) just gave me a headache. I don't get it, what am I missing? Remade in 2003 with Mark Wahlberg in Michael Caine's role. With Noel Coward (absurdly cast as a legendary master criminal), Rossano Brazzi, Benny Hill, Raf Vallone, Tony Beckley and Margaret Blye.

Somewhere In The Night (1946)

In the final weeks of WWII, a man (John Hodiak) awakes with amnesia in a military field hospital. Among his personal longings is a letter vehemently accusing him of an unspecified wrong against the writer. When he returns to civilian life, he finds a note advising him that a bank account has been opened in his name by a man called Larry Cravat. With nothing else to go on, he attempts to find Cravat in the hope of finding out who he was before the amnesia. Based on the short story THE LONELY JOURNEY by Marvin Borowsky and directed by Joseph L. Mankiewicz (ALL ABOUT EVE). Not particularly well reviewed when it opened in 1946, this nifty film noir is now a favorite of the genre's fans. Often difficult to follow, the movie takes us on a tangled labyrinth through an assortment of femme fatales, thugs, cops, thieves and murderers. Though the movie's "surprise" twist is easy enough to guess, the journey is intriguing enough to keep the tour pleasurable. As the film's mystery man, Hodiak is convincing enough to keep us on his side. With Richard Conte, Lloyd Nolan, Nancy Guild, Josephine Hutchinson and Margo Woode.

They Won't Forget (1937)

Set in a sleepy Southern town, a politically ambitious public prosecutor (Claude Rains) uses the murder of a pretty schoolgirl (Lana Turner) as a starting point to a political career that will hopefully take him to the governor's mansion. But is the young Northerner (Edward Norris) he's prosecuting really guilty or is the prosecutor using Southern prejudice toward "Yankees" to stir up the rabble? Based on the novel DEATH IN THE DEEP SOUTH by Ward Greene (a fictionalized version of the Leo Frank case) and directed by Mervyn LeRoy (I AM A FUGITIVE FROM A CHAIN GANG). By fictionalizing the story, the book and film eliminate the anti-Semitism (Leo Frank was Jewish) present in the murder case. The film is crudely effective and makes its point without proselytizing and I liked it better than Fritz Lang's FURY which has a similar lynch mob mentality theme. I wish the acting were better though. Typical of Warner Brothers' grittier fare, the film was Lana Turner's breakthrough. Jauntily walking down the street braless in a tight sweater, she caused a sensation. In the 1940s, both Turner and LeRoy went to MGM where LeRoy stopped making the tough socially conscious movies he did at Warners and embraced the MGM "style" while the fresh faced Turner was turned into a blonde glamour girl whose sheen got more brittle as the years passed. With Gloria Dickson, Allyn Joslyn, Otto Kruger, Ann Shoemaker, Elisabeth Risdon, Clinton Rosemond and Elisha Cook Jr.

Fort Worth (1951)

An ex-gunfighter (Randolph Scott) has hung up his guns and runs a newspaper in the struggling town of Fort Worth, Texas. He must deal with the shady dealings of his former best friend (David Brian) as well as the crooked cattle baron (Ray Teal) who runs rampant over attempts at law and order. Directed by Edwin L. Marin (GOLD RUSH MAISIE), this is a routine Technicolor western indistinguishable from countless other westerns of its era. Randolph Scott would soon hook up with Budd Boetticher and together would create some of the greatest western of the mid to late 1950s. But in the early 50s, FORT WORTH was typical of the westerns Scott was grinding out. Not bad mind you, it's serviceable but as I said a cookie cutter oater. With Phyllis Thaxter, Helena Carter and Chubby Johnson.

Consuming Passions (1988)

On the first day of his new job at a chocolate candy factory, an administrative assistant (Tyler Butterworth) accidentally causes the death of three employees when they fall into a huge vat of chocolate. Their bodies are absorbed into the chocolate candy but before the horrified owners can prevent it, the boxes of chocolates are sent out to a small coastal town where they cause a sensation. People love it! They try and replicate the recipe with dead animals but the candy tastes awful! So they decide to pay a hospital for dead bodies to surreptitiously add to their chocolate recipe. Based on the play SECRETS by Michael Palin and Terry Jones and directed by Giles Foster (NORTHANGER ABBEY). This black comedy has a deliciously outrageous premise that never lives up to its potential and remains a one joke comedy that soon wears out its welcome. The film holds back when it should push boundaries. The film's bright spot is a hilarious performance by Vanessa Redgrave channeling Melina Mercouri as a Maltese nymphomaniac widow. She's marvelously over the top and the movie could have used more of that kind of energy. The score by Richard Hartley is a homage to Bernard Herrmann. With Jonathan Pryce, Sammi Davis, Freddie Jones, Thora Hird and Prunella Scales.

I Dood It (1943)

A pants presser (Red Skelton) at a hotel valet service has a huge crush on a Broadway star (Eleanor Powell). When her boyfriend (Richard Ainley) two times her with another woman (Patricia Dane), she marries the pants presser to get back at her boyfriend. Very loosely based on the Buster Keaton film SPITE MARRIAGE and directed by Vincente Minnelli (GIGI). Sandwiched in between two of his best films (CABIN IN THE SKY and MEET ME IN ST. LOUIS), MGM assigned Vincente Minnelli to this piece of nonsense and he brings nothing to it, how could he? Red Skelton is a polarizing comic, most people either love him or hate him. I'm rather indifferent toward him but he's totally unfunny here. Audiences seemed to like him and the movie was a hit. There are some compensations, all not involving Skelton. There's Eleanor Powell dancing, Lena Horne singing, Hazel Scott at the piano and the Jimmy Dorsey band swinging away. The film cheats by inserting two Eleanor Powell dances from previous movies: the Hawaiian tap hula from HONOLULU (1939) and the battleship finale from BORN TO DANCE (1936). How cheap can you get? With John Hodiak and Butterfly McQueen.

The Office Wife (1930)

A young secretary (Dorothy Mackaill) finds herself falling in love with her recently married boss (Lewis Stone), a workaholic who is ignoring his wife (Natalie Moorhead). Based on the novel by Faith Baldwin and directed by Lloyd Bacon (BROTHER ORCHID). A pre code film that is quite frank and unapologetic about adultery and divorce among the upper classes. Also daring is the butch writer (Dale Fuller) who is obviously a lesbian but the movie doesn't make an issue of it. It takes a little while to get used to Lewis Stone as a romantic leading man (he'll always be Judge Hardy to me) but it's an interesting artifact of its era. With a brunette Joan Blondell in her film debut, Walter Merrill, Blanche Friderici and Hobart Bosworth.

A String Of Beads (1954)

When a guest cancels at the last minute to a dinner party, the hostess (Brenda Forbes) asks her children's nanny (Angela Lansbury) to fill in. Because of the pearls she's wearing, the other guests assume she's something she isn't ... an aristocrat like them. Based on a short story by W. Somerset Maugham and directed by William Cameron Menzies (INVADERS FROM MARS). Originally shot for television, this is a straightforward tale about assumptions people make because of appearances. Granted a fabrication made by a guest (George Macready) sets the assumptions in motion but it's surprising how people are eager to believe what they want to. With Ronald Colman, Nigel Bruce, Ron Randell, Dorothy Green, Sean McClory and Sarah Selby.

Birth (2004)

Ten years after her husband's death, a widow (Nicole Kidman) is set to remarry her longtime companion (Danny Huston). But when a 10 year old boy (Cameron Bright) pushes his way into her life claiming he is the reincarnation of her deceased husband, she slowly begins to unravel. Is he a fraud or is he indeed her late husband reincarnated. Directed by Jonathan Glazer (SEXY BEAST), this unique drama polarized both audiences and critics. I'm not on the fence about BIRTH, I love it! Most of the film's naysayers were uncomfortable with the sexual aspects of the story of a grown woman and a 10 year old boy. It is discomforting, how could it not be? But Kidman's character is so obsessed with love for her dead husband that it makes her unstable. Some felt the film's ending was a cop out but I was perfectly fine with its logic over supernaturalism. Kidman is fantastic especially during her tour de force scene at a concert where she's shot in closeup with no dialogue for several minutes as we read her face. I wish a stronger child actor than Bright was cast. As it is, he often seems to be reading lines rather than comprehending what he is saying. The superb score is by Alexandre Desplat. With Lauren Bacall, Anne Heche, Arliss Howard, Zoe Caldwell, Peter Stormare, Ted Levin, Cara Seymour and Alison Elliott. 

The Heiress (1949)

Set in the New York City of 1849, an aristocratic young woman (Olivia De Havilland in an Oscar winning performance) lives under the scrutiny of her overbearing father (Ralph Richardson). She lacks social graces and is plain in her looks. When a handsome but penniless suitor (Montgomery Clift) proposes, her father believes the man is only after her money and is against the marriage, even threatening to disinherit her. Based on the play by Ruth and Augustus Goetz which in turn was based on the novel WASHINGTON SQUARE by Henry James and directed by William Wyler (WUTHERING HEIGHTS). An excellent adaptation of the Henry James novel though the character of the suitor is softened somewhat. It's literate but accessible and if only for De Havilland's career best performance, it should be seen. De Havilland's evolvement from a mousey and timid wallflower to a heartbroken jilted girl to a cold and cruel ("I've been taught by masters") spinster is remarkable. Wyler's direction is precise and artful and there's an excellent score by Aaron Copland. With Miriam Hopkins (excellent!), Mona Freeman, Vanessa Brown and Selena Royle.

Killers Of The Flower Moon (2023)

Set in 1920s Oklahoma, a series of murders occurs in the Osage Nation tribe. Primarily but not limited to indigenous women married to white men. It's no coincidence that these women held the mineral rights to the oil on their reservation lands. Into this arena enters a WWI veteran (Leonardo DiCaprio) who is encouraged by his devious Uncle (Robert De Niro) to marry an Osage woman. Based on the non fiction book by David Grann and directed by Martin Scorsese (TAXI DRIVER). A very impressive film for sure though its excessive length (3 1/2 hours) wasn't necessary. I was editing it as I was watching it ("this shot goes on too long", "why is this scene even here?" etc.). This film could easily have been whittled down to three hours without any loss to the narrative. That aside, it's a compelling watch with excellent performances (but not Brendan Fraser!) with a breakout performance by Lily Gladstone whose performance here puts her at the head of the pack of best actress Oscar nominees this year. A genuine epic but Mr. Scorsese, if intermissions were good enough for David Lean and Stanley Kubrick, get off your high horse! And your radio show coda is just ridiculous! With Jesse Plemons, John Lithgow, Cara Jade Myers, Jason Isbell and Tantoo Cardinal.

The Party (1968)

Considered persona non grata at a major film studio, an East Indian actor (Peter Sellers) is mistakenly added to the guest list to a party that the studio head (J. Edward McKinley) is giving. Naturally when the actor arrives at the party, everything goes wrong! Directed by Blake Edwards (BREAKFAST AT TIFFANY'S), this slapstick comedy is clearly inspired by the Charlie Chaplin comedies and perhaps even Jacques Tati. In retrospect, there has been much criticism of Sellers' "brownface" performance but PC aside, it's one of his very best performances. Not all the slapstick works, Steven Franken's drunk servant wears out his welcome very quickly and the toilet sequence goes on much too long. But the laughs are bountiful and adding to the film's pleasures are the fantastic house set courtesy of production designer Fernando Carrere (THE GREAT ESCAPE), all built on a soundstage and the lively score by Henry Mancini. The large cast includes the wispy voiced Claudine Longet, Marge Champion, Gavin McLeod, Denny Miller, Danielle De Metz, Jean Carson, Buddy Lester and Corinne Cole.

The Valachi Papers (1972)

Sentenced to 15 years in prison, Joe Valachi (Charles Bronson) turns informant when he learns Mafia head (Lino Ventura) has put a $100,000 bounty on his head. Based on the non fiction book by Peter Maas and directed by Terence Young (FROM RUSSIA WITH LOVE). Charles Bronson had been working in movies since 1951, mostly in supporting roles. In the late 1960s, he became an international star with a series of films made in Europe, most notably ONCE UPON A TIME IN THE WEST and solidified himself as a box office star in the U.S. with DEATH WISH (1974). In the 1970s, he ground out films like sausages making 21 films as a leading man in the 1970s alone. Most of the movies aren't very good and the majority of his films in the 1980s are an embarrassment. THE VALACHI PAPERS is one of the good ones and indeed, I think it's Bronson's best performance. Covering the 1930s to the 1960s, the film is based on the true story of Joseph Valachi, a Mafia informant who testified before the U.S. Senate acknowledging the existence of the Cosa Nostra for the first time. The film received negative reviews coming on the heels of THE GODFATHER but to be fair, VALACHI PAPERS doesn't "glamorize" the Mafia which THE GODFATHER (a far better film I grant you) does to some extent. A particularly graphic castration scene is typical of the film's grittiness. With Jill Ireland, Walter Chiari, Joseph Wiseman and Gerald S. O'Loughlin.

Union Pacific (1939)

The overseer (Joel McCrea) of the construction of the first transcontinental railroad (Union Pacific) finds a network of schemers bent on sabotage. He finds himself at odds with an old Army buddy (Robert Preston), who not only is working with the bad guys but they're both competing for the hand of the same woman (Barbara Stanwyck). Based on the novel TROUBLE SHOOTER by Ernest Haycox and directed by Cecil B. DeMille (TEN COMMANDMENTS). A routine western but with DeMille at the helm, it becomes a bloated "epic" running well over the two hour mark. While not without interest and entertainment value, the film is marred by its portrayal of Native Americans which is pretty embarrassing. The normally always reliable Barbara Stanwyck is stuck in the role of "the girl" and gets sunk by a wonky Irish accent that comes and goes. The film features not one but two spectacular train crashes but neither as impressive as DeMille's train crash in THE GREATEST SHOW ON EARTH (1952). With Brian Donlevy, Anthony Quinn, Evelyn Keyes, Akim Tamiroff and Lynne Overman.

The Little Shop Of Horrors (1960)

A florist shop in skid row L.A. is struggling to stay in business. But when one of its employees (Jonathan Haze) brings in a strange looking plant, the shop begins doing a slam bang business as the plant continues to grow rapidly. Unfortunately, the plant needs human blood to nourish it so it can grow. Directed by Roger Corman (MASQUE OF THE RED DEATH), this low budget horror comedy quickly became a cult film and inspired an off off Broadway musical that ran for five years and eventually had a film version of the musical in 1986. Neither the film's distributor (American International) nor Corman had any faith in the film and it opened on the bottom half of Bava's BLACK SUNDAY. The film's amateurish quality is part of its charm and the movie features an amusing performance by a young Jack Nicholson as a masochistic dental patient. An unpretentious little sleeper now regarded as a "classic" of its kind. With Jackie Joseph, Mel Welles and Dick Miller.