Nosferatu (2024)

Set in 1838 Germany, a young wife (Lily Rose Depp) is haunted by the spectre of a Transylvanian vampire called Nosferatu (Bill Skarsgard) who she gave herself to as a girl out of loneliness. After her marriage to a real estate agent (Nicholas Hoult), the vampire has left her alone but he is only biding his time. A remake of the 1922 silent classic by F.W. Murnau (itself inspired by Bram Stoker's DRACULA) and directed by Robert Eggers (THE WITCH). Quite simply, a superb horror film, an instant classic. Dripping with atmosphere and drenched in mood as well as dread, Eggers isn't interest in scaring us but in exploring the psychological horror inflicted on Depp's bride. While his presence is continually felt, the vampire is a supporting character as the emotionally bereft wife takes center stage. This is really Depp's movie. Although shot in color, Jarin Blaschke's monochromatic texture gives the movie a B&W sheen. My only (and minor) complaint is its nod to THE EXORCIST. Effective yes but the film didn't need it. Horror fans should embrace this one! With Willem Dafoe, Aaron Taylor Johnson, Simon McBurney and Emma Corrin.

The Prime Of Miss Jean Brodie (1969)

Set in 1932 Edinburgh, Scotland. An eccentric school teacher (Maggie Smith in an Oscar winning performance) in a conservative girls school attempts to inspire and encourage her students (known as the Brodie girls) to independent thinking. But as she espouses her wisdom on art, music and life ..... is she, in fact, a dangerous influence on the impressionable girls? Based on the play by Jay Presson Allen (in turn, based on the novel by Muriel Spark) and directed by Ronald Neame (THE POSEIDON ADVENTURE). Understandably, Presson's play differs from Spark's novel which would have been difficult to adapt faithfully. What we get is a strong melodrama with a tour de force performance by Maggie Smith. While I admire Smith's exemplary work here, there's a layer of campy (a bit of the drag queen) artificiality that prevents me from fully embracing her performance. After awhile, I began to wonder how Dame Edna Everage would have done in the part. I don't mean that as a putdown, Smith has some heartbreaking moments that stand with the best work she's done. The casting is impeccable down to the smallest roles. With Pamela Franklin, Celia Johnson, Robert Stephens, Jane Carr, Gordon Jackson, Rona Anderson and Diane Grayson.

Bury My Heart At Wounded Knee (2007)

Beginning in 1876, the film explores the aftermath of the Sioux triumph over General Custer at Little Big Horn. Three characters are at its center: a young Dartmouth educated Sioux doctor (Adam Beach), the proud Lakota chief Sitting Bull (August Schellenberg) who refuses to submit to government policies that would strip his people of their identity and dignity and a U.S. Senator (Aidan Quinn), one of the men responsible for government policy on Indian affairs. Based on the non fictional book by Dee Brown and directed by Yves Simoneau (MOTHER'S BOYS). The betrayal and genocide of Native Americans is one of the most shameful chapters in American history. This well thought out documentary like movie details how what was supposed to be a positive plan to assimilate Native Americans (albeit on enforced residency on reservations) into a self sufficient group able to sustain themselves on their own property turns into broken promises and acts of betrayal that would further strip Native Americans of their lands. The film has actors who at least are partially indigenous North Americans (mostly from Canada) rather than Caucasian actors playing "Indians". With Anna Paquin, J.K. Simmons, Colm Feore, Fred Dalton Thompson, Gordon Tootoosis and Chevez Ezaneh.

Looking For Mr. Goodbar (1977)

An inner city school teacher (Diane Keaton) for deaf children leads a double life. A respectable school teacher by day, at night she frequents dive bars and dance clubs looking for easy men and one night stands. Based on the novel by Judith Rossner and directed by Richard Brooks (ELMER GANTRY). Rossner's novel was inspired by the shocking 1973 murder of a school teacher, Roseann Quinn. A dark and disturbing movie that encapsulates the 1970s sexual revolution of one night stands and random sex that ushered in the era of AIDS in the 1980s. Keaton had a one two punch in 1977 with this film and ANNIE HALL. She won an Oscar for the latter but this is the film she should have won the Oscar for. It's a brave "go for it" performance and she holds nothing back. It's still the best performance of her career. Nothing she did before or since comes close. The film is not without its flaws. At times, Brooks pushes too hard and the film becomes lurid in ways that the book never was. With Tuesday Weld (in an Oscar nominated performance), Richard Gere, Tom Berenger, Richard Kiley, William Atherton, LeVar Burton, Brian Dennehy and Priscilla Pointer. 

Charlie Chan At The Race Track (1936)

When a prominent race horse owner (George Irving) winds up dead, allegedly kicked to death by his prized stallion, renowned detective Charlie Chan (Warner Oland) is called in to investigate. When he discovers foul play, he's soon hot on the hooves of an international gambling ring. Based on the character created by Earl Derr Biggers and directed by H. Bruce Humberstone (SUN VALLEY SERENADE). The 12th entry in the 20th Century Fox produced Chan franchise is one of the lesser Chan movies although I may rate it lesser because I have an aversion to horse racing so take that into account. But I found the film's "mystery" rather convoluted and just couldn't get interested in the outcome. As usual, as the number one son, Keye Luke provides most of the film's humor though John H. Allen as a black stable boy is there to provide additional laughs but it's the kind of stereotypical racial humor often foisted on black characters in 1930s and 1940s films. With Helen Wood, Thomas Beck, Alan Dinehart and Frankie Darro.

Cat On A Hot Tin Roof (1984)

Set in Mississippi, a wealthy cotton tycoon (Rip Torn) is dying of cancer. His immediate family have temporarily withheld the information from him. Meanwhile, his son (Tommy Lee Jones) has taken to drink while his wife (Jessica Lange) struggles to save her marriage. Based on the play by Tennessee Williams and directed by Jack Hofsiss (I'M DANCING AS FAST AS I CAN). One of the most popular and performed of Williams' plays, this was the third filmed version of his play. The famous 1958 film version with Elizabeth Taylor was compromised by the censorship standards of the day. In 1976, Natalie Wood played Maggie The Cat in a British televised production with Laurence Olivier as Big Daddy. Here, there are some minor revisions to the original text made by Williams himself. It's a beautifully crafted play and well acted. Lange makes for an excellent Maggie although there's a bit of self consciousness in her performance. With Kim Stanley in an Emmy award winning performance, Penny Fuller and David Dukes.

Four Jills In A Jeep (1944)

Four Hollywood actresses (Kay Francis, Carole Landis, Martha Raye, Mitzi Mayfair)  join the USO (United Service Organizations) and tour Europe entertaining American serviceman during WWII. Based on the non fiction book by Carole Landis and Edwin Seaver and directed by William A. Seiter (ONE TOUCH OF VENUS). The four actresses did tour England, Ireland and North Africa entertaining troops during WWII but the film takes a lot of artistic license to provide entertainment value to wartime audiences. There are lots of musical numbers to pad out the thin storyline. In addition to the four leads, there are musical performances by Betty Grable, Alice Faye, Carmen Miranda and Dick Haymes. While the four ladies are to be given kudos for their efforts, it's not the kind of movie that holds up well today. With Phil Silvers, Jimmy Dorsey, John Harvey and George Jessel.

The Blood Ship (1927)

The crew of a cargo ship under a sadistic Captain (Walter James) consists of shanghaied crewmen. But when the ship docks in San Francisco, two men (Hobart Bosworth, Richard Arlen) volunteer to serve on the ship, each with his own personal reason. Based on the novel by Norman Springer and directed by George B. Seitz (LOVE FINDS ANDY HARDY). An entertaining high seas adventure even though there's not much originality to it. A sadistic sea captain driving his men to rebellion and mutiny is a tried and worn scenario (MUTINY ON THE BOUNTY being the most famous example) but the movie's brief running time (one hour, seven minutes) assures that it won't wear out its welcome. The silent film has been restored and the transfer I saw was gorgeous including its tinted sequence. It's a pity it's not a better movie. With Jacqueline Logan and Blue Washington. 

Rififi A Tokyo (1963)

A veteran gangster (Charles Vanel) arrives from France to Tokyo to pull off a daring heist of a precious diamond from a bank vault. However, when his partner (Eiji Okada) in the heist is killed by a rival gang, he turns to the dead man's friend (Karlheinz Bohm) to assist him. Based on the novel by Auguste Le Breton (THE SICILIAN CLAN) and directed by Jacques Deray (BORSALINO). A French and Italian co-production, this often confusing noir-ish crime movie doesn't seem very interested in the actual diamond heist as it is in its characters and their often complicated personal lives. Their motivations are often murky and in the case of the film's titular protagonist (Bohm), maybe even a little existential. The most interesting character in the film is the electronics expert (Michel Vitold) who leads a double life and hides his criminal activities which he does in order to keep his wife (Barbara Lass) in luxuries. Another striking feature of the movie is Tadashi Aramaki's handsome B&W cinematography which gives Tokyo an atmospheric sheen. The atypical score is by Georges Delerue. With Keiko Kishi and Masao Oda.

The Stranger Wore A Gun (1953)

A former spy (Randolph Scott) for the notorious Quantrill's Raiders heads out West to Arizona where he takes a job driving for a stagecoach company. But the town is in the hands of an outlaw gang headed by a Confederate loyalist (George Macready), who remembers the ex-spy from the old days. Based on the short story YANKEE GOLD by John W. Cunningham and directed by Andre DeToth (HOUSE OF WAX). A pedestrian western that's notable for being one of the earliest 3D movies. I watched it in 2D but there didn't seem to be much attention to the 3D effects outside of the occasional object being tossed toward the audience. As the femme fatale, Claire Trevor is a bit on the mature side for vamping and after this, she segued into character work rather than as a lead actress. Western fans should find it modestly agreeable if unmemorable. With Lee Marvin, Ernest Borgnine, Joan Weldon, Alfonso Bedoya and Clem Bevans.

The Sheltering Sky (1990)

Set in 1947 French Algeria, a composer (John Malkovich) and his writer wife (Debra Winger) arrive with the intention of staying while their traveling companion (Campbell Scott) is there for only a few weeks. Naive to the dangers that surround them, the couple begin a journey that will end in death and mental and emotional collapse. Based on the novel by Paul Bowles (who has a cameo as well as narrating the film) and directed by Bernardo Bertolucci (THE CONFORMIST). Some novels resist the transition to film no matter how hard the film makers try. The novel was an existential narrative of hopelessness and estrangement and the film often gets very close to establishing that mood but mostly it comes across as a story about two aimless self centered Americans who seem to have a superior attitude toward all things around them. More than once, they use the word boring in describing situations and people. The real star of the film is Vittorio Storaro's outstanding cinematography which won several awards though the movie itself received mixed reviews. With Eric Vu-An, Timothy Spall and Jill Bennett.

Botany Bay (1953)

Set in late 18th century Britain, a group of prisoners are given a chance for reformation on new soil called New South Wales (now Australia). Among them is a rebellious American medical student (Alan Ladd) unjustly accused of highway robbery and an attractive actress (Patricia Medina) accused of thievery. However, before they can reach the penal colony of Botany Bay, they must contend with the sadistic ship's captain (James Mason). Based on the novel by Charles Nordhoff and James Norman Hall (MUTINY ON THE BOUNTY) and directed by John Farrow (HONDO). A bright Technicolor seafaring adventure that's modestly enjoyable if you don't mind the deja vu aspects of the narrative. As the cruel sea captain, James Mason is suitably nasty but he's no match for Charles Laughton's Captain Bligh! Filmed in Hollywood but Paramount had some koala bears and kangaroos imported from Australia for the movie and later donated to the San Diego zoo. With Sir Cedric Hardwicke and Murray Matheson.

Hanover Street (1979)

Set in England during WWII, an American bomber pilot (Harrison Ford) and a British nurse (Lesley Anne Down) meet during an air raid and fall instantly in love. There is a problem however. She is married and as fate would have it, the bomber and the husband (Christopher Plummer) meet on a dangerous mission behind enemy lines. Written and directed by Peter Hyams (CAPRICORN ONE). What should have been a  nostalgic wartime romance along the lines of a WATERLOO BRIDGE, A FAREWELL TO ARMS or CASABLANCA is bungled here. Ford and Down (who both disliked the film) have no chemistry and are defeated by the simplest of dialogue. When Ford says "I love you" to Down, you don't believe it but when Plummer says "I love you" to Down, you believe it. The whole movie feels contrived. The best thing about the film is the lovely score by John Barry which gives the movie the emotion neither the script or the actors can bring to the fore. With Alec McCowen, Michael Sacks, Patsy Kensit, Suzanne Bertish, Shane Rimmer and in the film's worst performance, Richard Masur as the bomber's navigator.

Queer (2024)

Set in 1950s Mexico City, an alcoholic junkie homosexual (Daniel Craig) becomes obsessed with a handsome young man (Drew Starkey) recently arrived in Mexico. His pursuit of the young man eventually pays off but clearly his interest in the young man isn't returned in kind. Based on the novella by William S. Burroughs and directed by Luca Guadagnino (CALL ME BY YOUR NAME). It's been a good year for Guadagnino, first with CHALLENGERS earlier this year and now QUEER. Done in three chapters with an epilogue, the movie is anchored by a stunning performance by Daniel Craig. I had a big problem with the overextended third chapter which deals with a journey into the jungle to experiment with a hallucinatory plant based psychedelic. Suddenly I felt I was watching Ken Russell's ALTERED STATES (1980) again. Everything else though is on point. There's fine underscore by Trent Reznor and Atticus Ross. With Lesley Manville and Jason Schwartzman.

Me And My Gal (1932)

A cop (Spencer Tracy) falls in love with a waitress (Joan Bennett) whose family has gangland ties. His quandary is to put a mobster (George Walsh) away without hurting the woman he loves. Directed by Raoul Walsh (WHITE HEAT). This pre code dramedy is just dandy as long as it concentrates on the Tracy and Bennett romance. Unfortunately, there's a lot of annoying comedic padding mainly in the form of a drunk (Will Stanton) who takes up too much of the movie's time although if you find drunks funny, you might be amused. Being a pre code movie, the film allows Bennett's married sister (Marion Burns) not only to have an affair with a thug (Walsh) but help him rob a bank and there are no repercussions for her character as there would be for similar characters post code. She lives happily ever after and her husband (George Chandler) never finds out. The best scene in the movie is Tracy and Bennett doing a sly parody of Eugene O'Neill's STRANGE INTERLUDE. Tracy and Bennet would reunite some 18 years later in FATHER OF THE BRIDE. With J. Farrell MacDonald and Henry B. Walthall.

The Sender (1982)

When a young man (Zeljko Ivanek) attempts suicide, he is committed to a mental hospital. The staff soon begins to suffer nightmarish visions, particularly the psychiatrist (Kathryn Harrold) who is treating him. Things take a stranger turn when the patient's mother (Shirley Knight) arrives at the ward, convinced that her son is the second coming. Directed by Roger Christian (BATTLEFIELD EARTH). Paramount didn't have much enthusiasm for the film. They wanted more of a horror movie but the director saw it as more of an "art" film with horror trimmings so Paramount gave it a limited release in the U.S. The film has its admirers including directors Quentin Tarantino and George Miller (THE ROAD WARRIOR). I found it a minor but still impressive slice of psychological horror. Christian imbues the film with lots of atmospheric and unsettling flourishes that holds your attentiveness. There's a solid underscore by Trevor Jones (THE DARK CRYSTAL). With Paul Freeman, Al Matthews and Sean Hewitt.

A Coeur Joie (aka Two Weeks In September) (1967)

A high fashion model (Brigitte Bardot) leaves her lover (Jean Rochefort) in France to go to London for an extended fashion shoot. It's there she falls in love with a young geologist (Laurent Terzieff). Directed by Serge Bourguignon, whose film SUNDAYS AND CYBELE (1962) won the best foreign language film Oscar. His film career didn't fare very well after that and he made only three more feature films before he essentially walked away from directing in the late 1960s. If this ridiculous mess of a movie (it's dead on arrival) is any indication, perhaps it's just as well. Brigitte Bardot was a phenomenal screen presence but she's left adrift playing this aimless mannequin who can't seem to make up her mind. Paired with the charmless Terzieff, there's zero chemistry and all the montages of the two frolicking on the beach, roaming the Scotland countryside, making love on a bed of hay etc. only serves to emphasize how trivial the whole thing is. With James Robertson Justice and playing a fashion photographer, Michael Sarne who would later turn to directing and made the notorious MYRA BRECKINRIDGE (1970).

Here Come The Waves (1944)

Set during WWII, two identical twin sisters perform as a singing act in nightclubs. The blonde sister (Betty Hutton) is impractical and scatterbrained while the brunette sister (Betty Hutton) is down to earth and reliable. Feeling patriotic, they join the WAVES where they encounter a famous crooner (Bing Crosby) that the blonde sister has a crush on. Directed by Mark Sandrich (TOP HAT). This silly wartime musical is on the trite side but it has two things going for it. The first is a terrific song by Johnny Mercer and Harold Arlen, Ac-Cent-Tchu-Ate The Positive which was nominated for a best song Oscar and became a standard. Alas, it's performed in blackface (by Crosby and Sonny Tufts) which makes watching it performed uncomfortable. The second is Betty Hutton's performance as the twin sisters. As the blonde, she's the usual frantic and loud Betty Hutton but as the brunette, she's subdued and restrained. Clearly, she could act outside that frenetic persona that turns a lot of people off but that's the Hutton the public wanted to see. The film was a big hit at the box office. With Ann Doran, Catherine Craig and Noel Neill, who would find some fame in the 1950s on TV as Lois Lane on the SUPERMAN TV series.

The Lemon Drop Kid (1951)

A con man (Bob Hope) offers a tip on a horse to the girlfriend (Andrea King) of a mobster (Fred Clark). When the horse loses, the mobster is out $10,000 and gives the con man till Christmas to pay him back or he'll have him rubbed out. Based on the short story by Damon Runyon (previously filmed in 1934) and directed by Sidney Lanfield (YOU'LL NEVER GET RICH). Not great but still one of Bob Hope's better comedies. The laughs are genuine and frequent and Hope does what he does best. His primping in front of a mirror in anticipation of visiting his girlfriend (Marilyn Maxwell) is a testament to his comic prowess. The film is also perfect holiday fodder as it takes place during the Christmas season and the Christmas perennial Silver Bells was first introduced in this movie. With Lloyd Nolan, Jane Darwell, Jay C. Flippen, Tor Johnson and William Frawley (who also appeared in the 1934 version).

The Pale Horse (2020)

A mysterious list of names is found in the shoe of a dead woman (Madeleine Bowyer). An antiques dealer (Rufus Sewell) is determined to find out why his name is on the list. As more deaths occur, he finds himself thinking the unthinkable. Could this be the work of witchcraft and is he himself cursed? Very loosely based on the novel by Agatha Christie and directed by Leonora Lonsdale. THE PALE HORSE isn't one of Agatha Christie's best books so as an Agatha Christie purist, the changes made to the novel in its transition to film doesn't bother me at all. In fact, much of the movie improves on Christie's book. If one listens carefully to the dialogue, the identity of the murderer is revealed early in the film but you need to pay strict attention to the dialogue which, alas, not many do. The majority of the characters are extremely unlikable including our "hero" so you can't invest much concern in their fates. With Rita Tushingham, Bertie Carvel, Claire Skinner, Sean Pertwee, Georgina Campbell and Kaya Scodelario. 

Charlotte Rampling: The Look (2011)

A documentary on actress Charlotte Rampling featuring her in conversation with artists, friends and collaborators. Directed by the German film maker Anngelina Maccarone. If you're not a fan of Charlotte Rampling, it's highly unlikely that this film will appeal to you. If you are a fan of the actress, this gives us a fascinating glimpse of the woman and the actress. Never afraid to take on challenges in both her personal and professional life, she discusses film making, societal and cinematic taboos, love, death, personal demons, her relationships with the lens (as an actress and a subject) and Pauline Kael (not favorably) among many other subjects. At times, the movie has the feeling of a vanity project (although the film was not instigated by her) but she's a complex and unique woman and actress and I was fascinated throughout. Clips from THE NIGHT PORTER, THE DAMNED, THE VERDICT, THE SWIMMING POOL, GEORGY GIRL, UNDER THE SAND and STARDUST MEMORIES are peppered throughout. With Paul Auster and Juergen Teller.

Sierra Baron (1958)

Set in 1848 California (not yet a state), a Spanish rancher (Rick Jason) protects his land grant from Yankee landgrabbers. A Texas gunfighter (Brian Keith) is hired by a real estate agent (Steve Brodie) to kill the rancher but when the gunman falls in love with the rancher's sister (Rita Gam), he switches sides. Based on the novel by Thomas W. Blackburn and directed by James B. Clark (ONE FOOT IN HELL). A decent B western that played as a second feature during most of its initial release. The original source material got good book reviews so one would think it would have gotten a bigger budgeted production with a stronger cast and director. But what we ended up with is just a notch above the routine TV westerns that proliferated on television sets at the time. Filmed in Mexico which stands in for old California. With Mala Powers, Lewis Allan and Fernando Wagner.

Annie Laurie (1927)

Set in 17th century Scotland, the Campbells and the MacDonalds are two battling clans. A diplomat (David Torrence) seeks to negotiate a peace between the haughty Campbells and the rough hewn MacDonalds. His daughter (Lillian Gish) and one of the dashing MacDonald clan (Norman Kerry) are powerfully attracted to each other. Directed by John S. Robertson (THE SINGLE STANDARD). A box office failure that began the decline of Lillian Gish's Hollywood career. I enjoyed it for the most part though it seemed overly long or perhaps it's the movie's battle finale that seemed to go on forever. There's a sexual tension between the delicate Gish and masculine Kerry characters that gives Gish a sexiness that I don't ever recall seeing in her other silent films. The transfer I saw had an underscore consisting of Scottish folk tunes and blaring bagpipes which grated on my nerves after awhile. With Creighton Hale and Patricia Avery.

Wicked (2024)

After the death of the Wicked Witch Of The West (Cynthia Erivo), the citizens of Munchkinland in the country of Oz celebrate. But when asked by one of the citizens if she knew her, Glinda The Good (Ariana Grande) reflects on their mutual past and friendship. Based on the Broadway musical which was loosely based on the novel by Gregory Maguire (itself inspired by THE WONDERFUL WIZARD OF OZ by L. Frank Baum) and directed by Jon M. Chu (CRAZY RICH ASIANS). The film adaptation is based on the original musical's first act. The second film based on the show's second act is due to be released next winter. I've not seen the stage version, I had little interest in it. But I love this movie! It's an epic musical  (two hours and 40 minutes) bursting at the seams in ways that could never be contained on a proscenium stage. Curiously, the songs (by Stephen Schwartz of GODSPELL) are unmemorable and I doubt I'll remember any of them in two weeks but they work in the context of the movie and that's good enough for me. Ariana Grande is very good but Cynthia Erivo is sensational. I had a wonderful time at it and look forward to WICKED 2 next year. With Michelle Yeoh, Jeff Goldblum, Jonathan Bailey, Bowen Yang, Marissa Bode, Idina Menzel and Kristin Chenoweth.

On Golden Pond (1981)

A cranky retired professor (Henry Fonda) and his wife (Katharine Hepburn) spend their summers on Golden Pond in New Hampshire. The husband is overly concerned with aging and death while his upbeat wife has a more positive view on life. When their estranged daughter (Jane Fonda) comes to visit with her new boyfriend (Dabney Coleman) and his son (Doug McKeon), old wounds are opened up. Based on the play by Ernest Thompson (who adapts his play for the screen) and directed by Mark Rydell (THE ROSE). Oy! A sappy piece of sentimental twaddle that was embraced by movie audiences in 1981 as well as the Academy Awards (10 Oscar nominations with Fonda and Hepburn taking home Oscars). It's one of those dramedies with contrived dialogue passing for wit that just about any Neil Simon comedy could surpass. It's far from the best work of both Hepburn and Fonda and the praise for their performances comes from the affection "we" have for them rather than their actual work. The film's best moments come whenever Jane Fonda is on screen. Somehow, she brings an honest pain to her performance that only emphasizes the false notes in the performances of Henry and Hepburn. Dave Grusin's maudlin score keeps pushing for tears. Banal to the point of nausea.

L'Adolescente (1979)

Set in the 1939 French countryside as war clouds loom over France, a 12 year old girl (Laetitia Chauveau) and her parents (Jacques Weber, Edith Clever) arrive from Paris to spend the summer with her grandmother (Simone Signoret). This will be the summer when the adolescent girl reaches puberty and the first inkling of falling in love. Directed by actress turned director Jeanne Moreau (LUMIERE), this is a lovely coming of age tale that manages to avoid the usual cliches and bring a fresh eye to a child's transition to young womanhood. I'm sure that might be because it was written by two women (Moreau and Henriette Jelinek) and directed by a woman and not some male's fantasy about a young girl's sexual awakening. Although released in France in 1979, it wasn't shown in the U.S. until 1982. A tender and fine film. With Francis Huster, Roger Blin and Michel Blanc.

Deadly Relations (1993)

An ex-military man and attorney (Robert Urich) is a controlling father to his four daughters who adore him. But as the girls grow up and marry, he spirals out of control and kills their husbands for insurance payoffs. Based on the non fiction book DEADLY RELATIONS: A TRUE STORY OF MURDER IN A SUBURBAN FAMILY by Carol Donahue and Shirley Hall (the murderer's  daughters) and directed by Bill Condon (GODS AND MONSTERS). Real life crimes are often crazier and more shocking than their cinematic counterparts and this true tale of obsession and murder is a humdinger. Impossible to believe the father she adores is a murderer until he confesses to cold bloodedly killing her husband (Tony Higgins), one daughter (Gwyneth Paltrow) must take matters into her own hands and turn her father over to the law. It may be pulp but the horror of the situation keeps you compelled to watch. Fans of true crime stories should enjoy this one. With Shelley Fabares, Matthew Perry, Roxana Zal and Georgia Emelin.

The Girl On A Motorcycle (1968)

A recently married teenage bride (Marianne Faithfull) gets up at dawn in France leaving her sleeping schoolteacher husband (Roger Mutton) and jumps on her motorcycle and leaves for Germany to meet her lover (Alain Delon). Based on the novel LA MOTOCYCLETTE by Andre Pieyre De Mandiargues and directed by Jack Cardiff (SONS AND LOVERS). A crazy mess of a movie trapped in its own 1960s time capsule. Endless shots of Marianne Faithfull in a tight fitting leather catsuit zipping on country roads and highways, her hair blowing in the wind as Les Reed's overblown score accompanies her. I think the movie is supposed to be erotic (it got an X rating in the U.S.) but its purple prose tends toward the camp. Sample: Delon: "Your body is like a violin in a velvet case" as he unzips Faithfull's leather catsuit and she squeals, "Skin me!". The film's colorized psychedelic tonal reversal of some of the images dates the movie. At times, I felt like I was watching an American International biker exploitation movie! The cinematography is pedestrian and you'd never know Cardiff (who also photographed the film) is one of cinema's great cinematographers. With Marius Goring and Jacques Marin.

To Have And Have Not (1944)

Set in Martinique, an island in the West Indies in 1940. A freelancing fisherman (Humphrey Bogart) avoids taking sides as the island is held by the pro German Vichy French. Eventually, in desperate need of money, he agrees to smuggle an anti German resistance member (Walter Surovy) and his wife (Dolores Moran) into Martinique. Very loosely based on the novel by Ernest Hemingway (and co-adapted for the screen by William Faulkner) and directed by Howard Hawks (RED RIVER). A splendid entertainment that represents the best of the Hollywood studio system. Yes, the ghost of CASABLANCA hovers over the movie but it's still a first rate yarn. In her auspicious film debut, Lauren Bacall became a star right out of the gate overshadowing the other female co-star, Dolores Moran (who I actually prefer). Hemingway's novel was later remade in 1950 as THE BREAKING POINT and 1958 as THE GUN RUNNERS but all three versions ignored the political and social factions of the original novel which is probably just as well (Hemingway considered it his worst book). With Walter Brennan, Marcel Dalio, Dan Seymour and Hoagy Carmichael.

Strictly Dishonorable (1951)

Set in New York in the 1920s, an opera singer (Ezio Pinza) who has a reputation as a womanizer is compromised when he lets a young music student (Janet Leigh) sleep in his apartment although nothing happened between them. To avoid a scandal, they go through a sham marriage. Based on the play by Preston Sturges (previously filmed in 1931) and directed by Melvin Frank and Norman Panama (WHITE CHRISTMAS). A total stinker! Ezio Pinza had scored a big hit on Broadway in SOUTH PACIFIC and MGM figured that this might translate to movie stardom. He did two movies for MGM of which this is the first released and they both flopped. The camera didn't like Pinza and he wasn't a good actor, on film anyway. He's stiff and it sounds like he's reading his lines phonetically. The film's biggest sin is making the appealing Janet Leigh unappealing! Although set in the 1920s, the costumes and hair are strictly 1951! At a relatively brief 98 minutes, the movie felt like three hours! With Millard Mitchell, Beverly Garland, Gale Robbins, Arthur Franz, Esther Minciotti and Maria Palmer.

Before And After (1996)

A small Massachusetts community is rocked by a shocking killing. The only suspect (Edward Furlong) goes on the run which leaves his parents (Meryl Streep, Liam Neeson) facing a wrenching dilemma. How far will they go to protect him, even if he's guilty. Based on the novel by Rosellen Brown and directed by Barbet Schroeder (REVERSAL OF FORTUNE). This is a frustrating film. Putting aside the morality and the ethics of covering up evidence to protect a family member, this seemingly intelligent family does everything wrong and when everything comes crashing down around them, all I could think was how they brought it on themselves. While the truth is disturbing, it's still the truth and the deceit and cover up only doubles their pain. If something is wrong then it's wrong and sticking up for a family member because family comes before everything is wrong when that family member commits a crime! All this mess could have been avoided if the truth had been told at the very beginning. I had no sympathy for this family and the movie seems to be pushing us into empathizing with the difficulties this family is going through. It doesn't help that Edward Furlong seems to be playing a zombie rather than an actual human. The best thing about the film is the superior score by Howard Shore (DEAD RINGERS). With Alfred Molina, John Heard, Ann Magnuson, Daniel von Bargen, Wesley Addy and Kaiulani Lee.

In Society (1944)

Two plumbers (Bud Abbott, Lou Costello) are called to repair a leaky faucet in the bathroom of a wealthy businessman (Thurston Hall). When they arrive, a fancy costume ball is in full swing and their taxi driver (Marion Hutton, Betty's sister) is mistaken for a guest. More complications ensue when another guest (Kirby Grant) falls for the cab driver and invites her to a posh weekend at a country estate. Directed by Jean Yarbrough (KING OF THE ZOMBIES). This Abbott and Costello comedy is a middling affair. Not one of their best efforts but there are a couple of genuine funny scenes (the bagel street straw hat sequence, the runaway sofa) but alas, not enough to lift the movie out of the routine. With Thomas Gomez, Arthur Treacher, Steven Geray and George Dolenz.

ゴジラ-1.0 (aka Godzilla Minus One) (2023)

Set in 1945 Japan as WWII is nearing its end, a kamikaze pilot (Ryunosuke Kamiki) feigns a mechanical problem on his plane to avoid his duty and lands on a Japanese base for repairs. When the base is attacked by a dinosaur like creature during the night, he freezes up and fails to shoot the weapon in his plane which causes the other soldiers to be massacred. This act of cowardice traumatizes him post war but he may have a chance to redeem himself. Written and directed by Takashi Yamazaki (STAND BY ME DORAEMON). The 37th film in the GODZILLA franchise and easily the best since the original 1956 GOJIRA. Its success in that respect is that like the original film, it's not all about the creature. The human beings are crucial to the narrative and we care about them. They're not just supporting players to a giant lizard! The Oscar winning special effects are superb and the excellent cinematography of Kozo Shibasaki and the fine underscore of Naoki Sato also contribute to the film's achievement. Shockingly, although the film was a big hit in Japan, its critical reviews were much better outside Japan. The film's ending screams out, "Sequel coming soon!". With Minami Hamabe, Hidetaka Yoshioka, Sakura Ando and Munetaka Aoki.

You Will Meet A Tall Dark Stranger (2010)

Set in London, an older man (Anthony Hopkins) abandons his wife (Gemma Jones) of 40 years to recapture the vitality of life, their daughter (Naomi Watts) is frustrated that her writer husband (Josh Brolin)can't seem to support them so they can begin a family. Then there are the two women who change the men's lives: a nubile blonde (Lucy Punch) who attaches herself to Hopkins and an exotic brunette (Freida Pinto) who Brolin becomes obsessed with. Written and directed by Woody Allen (MANHATTAN), this movie doesn't break any new ground for the prolific Allen but rather coasts on what he does best. Except in this case, it's not his best but it's far from his worst either. As usual, Allen follows a handful of characters as they sift, ponder and ruminate on the complexities of life and more specifically, romantic relationships. Allen is as cynical as always and only allows the most delusional of the characters to find some semblance of happiness while everyone else drown in their neurosis and anxieties. With Antonio Banderas, Pauline Collins, Anna Friel and Celia Imrie.

Camille Claudel (1988)

An aspiring sculptress (Isabelle Adjani in an Oscar nominated performance) is taken under the wing of the renowned sculptor Auguste Rodin (Gerard Depardieu). A troubled romance ensues when she feels he is attempting to suppress her art in favor of his own. Based on the book by Reine Marie Paris and directed by cinematographer turned director Bruno Nuytten (he shot INDIA SONG, JEAN DE FLORETTE, POSSESSION among many others). This biographical drama on the admired sculptress is overlong (it runs three hours) and its use of artistic license is often dubious but a bravura performance by Isabelle Adjani overrides any concerns one may have on the movie's accuracy. 13 years earlier, Adjani had delivered another superb performance of an obsessed woman's descent into madness in Truffaut's STORY OF ADELE H (1975) but she doesn't repeat herself here. Her Camille's madness is less ironic and more intense than her Adele H. But the performances aren't competitive, they stand equally side by side. With Alain Cuny, Madeleine Robinson and Laurent Grevill. 

Tampico (1944)

Set during WWII. When an oil tanker captain (Edward G. Robinson) rescues the survivors of a torpedoed passenger ship, he finds himself attracted to one of the survivors (Lynn Bari). They rush into marriage but when his ship sinks under suspicious circumstances, he must face the fact that his wife may be a German spy! Directed by Lothar Mendes (THE MAN WHO COULD WORK MIRACLES). A surprisingly decent war drama that's refreshingly free of the usual propaganda aspects that were infused into so many war movies made during WWII. One doesn't ordinarily think of Robinson as a romantic leading man but he and Lynn Bari make for a believable romantic couple. Parts of the movie are similar to the 2016 Robert Zemeckis film ALLIED though this has a happier conclusion. The score is by David Raksin (LAURA). With Victor McLaglen, Marc Lawrence and Mona Maris.

La Terreur Des Batignolles (aka The Terror Of Batignolles) (1931)

A thief (Boucot Fils) breaks into a home when he thinks its occupants are away for the evening. He's in the middle of robbing them when they (Jean Wall, Germaine Aussey) walk in so he hides behind a curtain where he hears them planning a double suicide pact. Written by Jacques De Baroncelli and directed by Henri Georges Clouzot (LE CORBEAU) in his directorial debut. This short film is an amusing piece of whimsy although one doesn't think of Clouzot as a director of comedy. After all, this is the man who brought us THE WAGES OF FEAR and DIABOLIQUE. Clouzot wouldn't direct another movie all by himself until 1942's L'ASSASSIN HABITE AU 21. It's a piece of well done fluff but basically an archival footnote to the career of one of France's best directors.

His Birthright (1918)

A young bi-racial man (Sessue Hayakawa) of Japanese ancestry travels to America to get revenge on his American father (Howard Davies), a naval officer who abandoned his Japanese mother (Tsuru Aoki, Hayakawa's actress wife), who committed suicide after he left her. Directed by William Worthington (THE DRAGON PAINTER). Alas, this silent film doesn't survive intact as major portions of the original print are missing (and not known to survive) so intertitles are provided to fill us in on what we're missing. This compromises the integrity of the film and leaves an unsatisfactory narrative. What we're left with looks promising and the young Sessue Hayakawa gives what seems like a well crafted performance but I don't think it's really fair to critique either the movie or Hayakawa's performance under the circumstances. Still, I'm glad to have been given a taste of it. With Marin Sais as the German spy who uses Hayakawa's hatred of his father to her advantage, Mayme Kelso and Sidney De Gray.

The Sell Out (1976)

Set in Israel, the CIA and the KGB determine that a double agent (Oliver Reed) must be assassinated for the good of both agencies. The agent's only hope to survive is his retired mentor (Richard Widmark). Directed by Peter Collinson (THE ITALIAN JOB). A mish mash international spy thriller that's often confusing. Widmark's character is poorly thought out. Surely a spy with that much experience wouldn't be so reckless as to put innocent people in constant danger. The most interesting character is Gayle Hunnicutt as Widmark's wife or girlfriend (the film is unclear on this), who was Reed's ex mistress. Unfortunately, Hunnicutt's hysterical and shrill performance renders that interest moot. The film's car chases are pedestrian and the violence unpleasant. The only notable thing about the movie is the cinematography of Arthur Ibbetson (WILLY WONKA AND THE CHOCOLATE FACTORY) which does a fine job of displaying the Israeli landscape. With Sam Wanamaker, Peter Frye and Assi Dayan.

You Can't Run Away From It (1956)

When a wealthy heiress (June Allyson) marries a gold digging playboy (Jacques Scott), her father (Charles Bickford) has her kidnapped and puts plans in motion to annul the marriage. But she escapes and traveling incognito on a bus, she teams up with a down on his luck reporter (Jack Lemmon) to get back to her husband. Based on the short story NIGHT BUS by Samuel Hopkins Adams (previously made in 1934) and directed by Dick Powell (THE ENEMY BELOW). The first film version, Frank Capra's IT HAPPENED ONE NIGHT got Oscars for best picture, director,  actor, actress and screenplay. So is it cinematic heresy to enjoy this version as much as the original? If so, then I'm a heretic. But then I actually prefer Allyson and Lemmon to Claudette Colbert and Clark Gable in general. It's a semi musical with only four musical numbers (five if you include the title tune sung by the Four Aces). The songs aren't very good but there's a charming Scarecrow Ballet which allows June Allyson to show off her dancing skills (she started out on Broadway as a dancer). With Jim Backus, Jack Albertson, Barrie Chase, Allyn Joslyn, Stubby Kaye and Henny Youngman.

U.M.C. (aka Operation Heartbeat) (1969)

A widow (Kim Stanley) files a lawsuit against a gifted surgeon (Richard Bradford) claiming he allowed her husband (William Windom) to die so his heart could be transplanted into the doctor's ailing mentor and friend (Edward G. Robinson). Directed by Boris Sagal (THE OMEGA MAN). At one time, it wasn't unusual for networks to make a movie pilot for a potential television series to see how it played out and these pilots often played as feature films overseas. U.M.C. (retitled OPERATION HEARTBEAT for its theatrical showings) is one such example. Shown in April, the pilot was picked up and under the title MEDICAL CENTER, it premiered in September of the same year although Richard Bradford was replaced by Chad Everett. As to the film itself, it's a standard medical drama, neatly done with the courtroom segment standing out. It also provided a rare opportunity to see the great Kim Stanley on film (her film and TV work are rare) although the role isn't especially interesting. With Maurice Evans, Kevin McCarthy, James Daly, Shelley Fabares, James Shigeta, J.D. Cannon and Audrey Totter whose role seems to have been severely cut.

A Covenant With Death (1967)

Set in a small border town in the 1920s. After his promiscuous wife is found murdered, her husband (Earl Holliman) is arrested. He's a bad apple and unlikable and he's found guilty and sentenced to death. But on the day of his execution, he accidentally kills the hangman. When evidence comes forth that proves he didn't kill his wife, the young judge (George Maharis) must decide if he must stand trial for murder again ..... but this time for the death of the hangman. Based on the novel by Stephen Becker and directed by Lamont Johnson (CATTLE ANNIE AND LITTLE BRITCHES). A potentially gripping drama on institutionalized justice and the finite crevices that define law is shortchanged by a sloppy screenplay, ineffective direction and subpar casting. This should have been an A production with a top notch director, screenplay and cast along the lines of Preminger's ANATOMY OF A MURDER but what we get is a second rate film that belonged on a TV movie of the week episode. The time expended on the romantic issues with Maharis having to choose between Laura Devon and Wende Wagner only wastes our time. With Gene Hackman, Katy Jurado, Arthur O'Connell, Sidney Blackmer, Kent Smith, Lonny Chapman and Emilio Fernandez.  

Anesthesia (2016)

A philosophy professor (Sam Waterston) is stabbed several times during a mugging. Attempting to escape, he randomly buzzes an apartment for help. The apartment he's buzzing houses a married man (Corey Stoll) and the woman (Mickey Sumner) he's having an affair with. At this point, the narrative goes into flashback mode where we see the events leading up to the attack. Written and directed by actor turned director Tim Blake Nelson (O BROTHER WHERE ART THOU), who plays Waterston's son. It's an ensemble piece with a cast of (mostly) talented actors in a film that could justifiably be called pretentious but I liked Nelson's attempt, flawed as it may be, to bring a thought provoking eye to a contemporary society that seems adrift in a malaise where rage takes the place of honest communication. The large cast includes Glenn Close, Kristen Stewart, Gretchen Mol, Richard Thomas, Natasha Gregson Wagner, Hannah Marks, Gloria Reuben and in a superb performance, K. Todd Freeman as a man with a brilliant mind but now a desperate junkie.

White Room (1990)

An aspiring writer (Maurice Godin) spies on neighbors for inspiration. One night while spying on a famous singer (Margot Kidder), he witnesses her brutal murder. Attending her funeral, he encounters a mysterious woman (Kate Nelligan), who he follows to her secluded home. What exactly is her connection to the murdered singer? Written and directed by Patricia Rozema (I'VE HEARD THE MERMAIDS SINGING). An odd little Canadian noir-ish fairy tale that has a kind of hypnotic spell that makes you want to stick with it to see where it's going. The film is compromised by the uncharismatic Maurice Godin who has a tepid screen presence (although apparently he has a solid reputation as a theatre actor). Fortunately, its three actresses (Sheila McCarthy as a quirky Bohemian artist is the third) are strong enough to compensate for Godin's blah presence. I could have done without the film's coda which demeans what we've just been watching. With Barbara Gordon and Les Rubie.

It Happened In Athens (1962)

Set in 1896, the Greek government decides to revive the Olympic games, this time as an international competition. A poor Greek country shepherd (Trax Colton) makes the trip to Athens in the hopes of competing in the marathon. Directed by Andrew Marton (KING SOLOMON'S MINES). 10 years in gestation, the film was originally to be made at MGM. For some reason, the project attracted 20th Century Fox's attention and they bought the script from MGM. Outside of being filmed entirely in Greece, there's nothing about the movie that's remotely memorable. In fact, it's a rather sad affair. The top billed Jayne Mansfield plays a famous Greek stage actress in 1896 although there's nothing either Greek or period (1896) about her! After this movie, Fox released Mansfield from her contract and thus ended her career as a major star. A good looking hunk, Trax Colton was never heard from again after this movie. With Nico Minardos, Ivan Triesault, Xenia Kalogeropoulou, Titos Vandis and Bob Mathias.

In The Meantime, Darling (1944)

Set during WWII, a spoiled young socialite (Jeanne Crain) has grown up privileged and entitled. So when she marries a soldier (Frank Latimore), she has a difficult time adjusting to the life of an Army wife and feels out of place at a rooming house with other Army wives. Produced and directed by Otto Preminger (ANATOMY OF A MURDER). Normally, I would assume this bland war comedy was a director for hire job for Preminger but he also produced it. His next film would be the career defining LAURA. I'm partial to the freshly scrubbed appeal of Jeanne Crain so the film held my interest but it's a disposable film that would hold little appeal to anyone else I would imagine. Crain had a prominent but supporting role in HOME IN INDIANA earlier in the year and sensing her potential, 20th Century Fox gave her a leading role and star billing here. As Crain's father, Eugene Pallette was fired by Preminger after he used a racial slur against co-star Clarence Muse and the remainder of his part was eliminated from the film. With Gale Robbins, Jane Randolph, Cara Williams, Stanley Prager, Elisabeth Risdon, Mary Nash, Reed Hadley and Heather Angel.

Anna Christie (1930): The German Version

A young woman (Greta Garbo) comes to New York to see the father (Hans Junkermann) that abandoned her 15 years ago to a farm family. Unknown to her father, she was raped on the farm and later turned to prostitution to support herself. When she meets a burly if crude sailor (Theo Shall), she finds herself falling in love but will he be able to accept her past? Based on the play by Eugene O'Neill and directed by Jacques Feyder (CARNIVAL IN FLANDERS). In the early years of sound films, studios frequently produced foreign language versions of their films. Usually with the same sets but different actors. Garbo had made her sound debut in the English language version (released the same year) and she's the only cast member to appear in both versions. I've always preferred Garbo's performance in the German version to the English language version. Her performance in English version seems too stilted and she seems uncomfortable with the language (that would quickly improve) and she's more relaxed and natural in the German version. With Salka Viertel and Herman Bing.

The Private Life Of Sherlock Holmes (1970)

When a beautiful woman (Genevieve Page) is rescued from drowning in a river, she has no memory. What she has grasped in her hand is the address of the renowned detective Sherlock Holmes (Robert Stephens). What follows is international intrigue and one of the most challenging cases of Holmes' career. Directed by Billy Wilder (SUNSET BOULEVARD). One of Wilder's most underrated movies and his last really good film. He only made four movies after this and none of them are really good. The original version ran three hours and 20 minutes plus intermission but the studio (United Artists) insisted on the film being cut and the release version runs two hours and 5 minutes. Alas, the cut footage no longer exists so we'll never get to see the film as Wilder intended. What's left is very good indeed and in his best film role, Stephens offers us a complex Holmes (with an ambiguous sexuality) and his drug use intact. Colin Blakely's Dr. Watson is used primarily for comedic effect. The relationship with the Belgian played by Page is as close to a romance as allowed in a Holmes movie and the last few scenes concerning her are very touching. There's a gorgeous score by Miklos Rozsa (BEN HUR). With Christopher Lee, Tamara Toumanova, Clive Revill, Stanley Holloway and Catherine Lacey.

The Daughter Of Rosie O'Grady (1950)

An ex-vaudevillian (James Barton) is anti show business and when his middle daughter (June Haver) shows aspirations for a show business career, he puts his foot down and forbids it. But that won't stop her and she gets a job with a producer (Gordon MacRae) who has romantic aspirations in her direction. Directed by David Butler (ROAD TO MOROCCO). A routine nostalgic Warners musical set in the early 1900s and if that's your cup of tea then this concoction should do it for you. It's reminiscent of those old fashioned nostalgic Technicolor musicals 20th Century Fox used to do with Betty Grable (THE DOLLY SISTERS) and Alice Faye (LILLIAN RUSSELL) in the 1940s but by the 1950s, they were wearing thin. The only musical number I actually enjoyed was a lively ragtime dance by Haver and Gene Nelson. As the obnoxious father, James Barton is incredibly annoying and one wonders why his daughters stick around and take his abuse. As the youngest daughter, Debbie Reynolds makes her film debut but she comes across as an ordinary ingenue. She moved to MGM after this film and they realized she was no ordinary starlet and she soon became one of MGM's most popular stars. With S.Z. Sakall, Jane Darwell, Marsha Jones and Sean McClory.

The Room Next Door (2024)

Two women were friends in their youth when they both worked on the same magazine but their lives took different paths. Ingrid ((Julianne Moore) became a writer while Martha (Tilda Swinton) became a war correspondent. Years later they meet again when Martha is dying of cancer. Based on the novel WHAT ARE YOU GOING THROUGH by Sigrid Nunez and directed by Pedro Almodovar (VOLVER) in his first film in the English language. Death! The subject everyone doesn't want to talk about, to confront and to deal with. Moore's writer has issues with the subject and avoids the topic but when her good friend is dying, she doesn't have a choice and must deal with it. If this sounds like a "chick flick" weepie, it isn't. BEACHES it's not. Almodovar brings a mixture of poignance and low keyed humor to the subject but puts a very real face on death. When the movie reaches its final moments, it's lovely and touching and Almodovar doesn't jerk any tears. Tissues are not required. Swinton gives another superb performance and Moore hasn't been this great in years. With John Turturro and Alessandro Nivola.