A struggling New York actor (Dustin Hoffman) can't get a break because of his bad reputation, he's just too difficult to work with. He disguises himself as a woman and auditions for a daytime soap opera. He gets the part and becomes the show's most popular star. Directed by Sydney Pollack (OUT OF AFRICA). One of the great comedies of the 1980s and one of Hoffman's two or three best performances. It's a satirical comedy that pokes fun at soap operas, at the acting profession and takes on sexism but doesn't hammer us with its social commentary. It remains first and foremost, a first class farce that's hard to resist, so why try? 42 years after its release, it holds up perfectly! With Jessica Lange (in an Oscar winning performance), Bill Murray, Teri Garr, Dabney Coleman, Geena Davis and director Pollack doing double duty as Hoffman's agent.
Two American scientists (Ariana Debose, John Gallagher Jr.) are sent to an International Space Station to join a fellow American (Chris Messina) and their Russian counterparts (Masha Mashkova, Costa Ronin, Pilou Asbaek). Friendship and cooperation are in abundance. But when a state of war is declared between the U.S. and Russia, each faction is ordered to take command of the I.S.S. at any cost. Directed by Gabriela Cowperthwaite (BLACKFISH). The first 15 minutes had me expecting the worst. The characters acted like college kids at a frat party rather than scientists. Fortunately, after war is declared, the film acquires an intensity and it's more serious. But it's often incoherent and motives not always clearly established. Its claustrophobic setting adds to the tension but ultimately, it offers nothing we haven't seen before in better science fiction movies. It often telegraphs what's to come as with Gallagher's paranoia and Ronin's shifty eyes. We know they're not to be trusted.
A scientist (Alec Craig) has discovered how to make inexpensive synthetic diamonds that are difficult to tell from the real thing. While he intends to provide them for the American defense effort, a group of criminals kidnap him in order to get the formula for their own financial benefit. Enter The Falcon (George Sanders) to solve the crime. Directed by Irving Reis (BACHELOR AND THE BOBBYSOXER), this is the second entry in the 16 movie FALCON franchise. While I enjoyed the first one (THE GAY FALCON), I found this one on the weak side. The mystery isn't very interesting and the emphasis is heavily on humor. Several cast members from the first flick return for this go round including Wendy Barrie as Sanders' frustrated fiancee, Allen Jenkins as his sidekick and James Gleason as a police detective. At a running time of one hour and three minutes, it gets the job done without any unnecessary distractions. With Edward Gargan, Mona Maris, Elizabeth Russell and Hans Conreid.
A young woman (Daniela Giordano) recently released from prison is sent to a boarding house where mysterious things are going on. The house is a front for a sadistic cult intent on "purifying" wayward girls. Directed by William Rose (THE SMUT PEDDLER). A rather ludicrous giallo with unpleasant torture scenes and gratuitous nudity. But it's so ineptly made that one can't be offended by it. There's no style or atmosphere (de rigueur for a decent giallo), no sense of dread or impending doom. The two leads (Giordano and John Scanlon) are attractive enough but don't have enough presence to hold our attention. With Raf Vallone (and what is he doing in something like this?), Karin Schubert, Rosalba Neri, Brad Harris, Frank Latimore and Angelo Infanti.
When two black panthers escape in the Swiss alps after their train car is derailed, a disparate group of guests congregate at a local inn. But are any of them who they say they are? Could it be the secret microfilm that has international implications hidden in one of the panther's collars that brings them there? Based on the novel PANTHER'S MOON by Victor Canning (Hitchcock's FAMILY PLOT) and directed by Vincent Sherman (AGAINST ALL FLAGS). This is a nifty little thriller that delivers the goods. With a gaggle of suspects lurking along the edges as the hunt for the panthers proceeds, director Sherman doesn't leave time for any distraction (even the romance is kept tight) as the tension mounts. A minor entry to be sure but strong enough to hold our attention to the very end. With Howard Duff, Marta Toren, Walter Slezak, Philip Friend, Robert Dougla, Philip Dorn and Kurt Kreuger.
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When a food critic (Julia Roberts) hears from her best friend (Dermot Mulroney), with whom she had a romantic fling years ago, is going to get married, she plots to break up the wedding. Directed by P.J. Hogan (MURIEL'S WEDDING), this is one of the better romantic comedies of the 1990s. Ronald Bass's screenplay subverts the genre by making Roberts' heroine a terrible person. She's deceitful, manipulative, selfish and suitably chastised by the finale while her rival (Cameron Diaz) is sweet and forgiving. Fortunately, romcom queen Roberts is eminently likable so while you're appalled by her actions, you can't really hate her. This aspect makes the film refreshing next to its romcom counterparts who usually go down the predictable path. Director Hogan's previous film MURIEL'S WEDDING used ABBA on the soundtrack to propel the movie along, here he uses the music of Burt Bacharach to similar effect. With Rupert Everett stuck in the cliched role of the heroine's gay best friend, Paul Giamatti, Susan Sullivan, Philip Bosco and Rachel Griffiths.
At a banquet honoring the renowned detective Charlie Chan (Warner Oland), the host (David Torrence) is killed by a gunshot. Chan insists on investigating and find the murderer of his friend. Based on the Chan character created by Earl Derr Biggers and directed by James Tinling (UNDER THE PAMPAS MOON). The ninth film in the Charlie Chan franchise produced by Fox. It's a decent entry in the Chan universe although slow at times but it's well constructed and its one hour and 11 minutes running time is compact so there's no dead weight. Mystery fans should appreciate this solid effort. With Jon Hall, Irene Hervey, Keye Luke and Halliwell Hobbes.
Set in a small Sicilian village, a Carabinieri chief (Franco Nero) investigates the murder of a truck driver but the code of silence instigated by the Mafia has a hold on the town and no one is willing to talk. Based on the novel by Leonardo Sciascia and directed by Damiano Damiani (HOW TO KILL A JUDGE). This is an excellent crime drama (released in the U.S. under the title MAFIA). It's an intense movie that vividly portrays the iron clad hold the Mafia has on districts where their very presence intimidates the populace into a silent complicity. Franco Nero and Claudia Cardinale (as the wife of a murder victim) both won the David Di Donatello award (the Italian Oscar) for their work here and the film won best picture. The movie works as both a crime thriller and as a social statement on the grip of the Mafia and the implication of government collusion. The film opts for a realistic downbeat ending. With Lee J. Cobb, Nehemiah Persoff, Serge Reggiani and Tano Cimarosa.
Two college girls (Deborah Raffin, Lynne Moody) from California are traveling through the deep South when they have car trouble. The town sheriff (Chuck Connors) doesn't like their attitude and arrests them for trespassing. After raping one of the girls, the sheriff with the assistance of the town's corrupt Judge (Ralph Bellamy) have the girls sent to a prison work farm. Directed by John Llewellyn Moxey (CITY OF THE DEAD). Originally made for television as an ABC movie of the week, the film was released theatrically overseas in Europe and Asia (it was a box office smash in China). I watched the theatrical version which includes nudity, foul language and lesbian sex not in the TV version and runs about 11 minutes longer. It's all under the pretense of showing the ghastly and corrupt conditions of prison farms but it's really an exploitation movie (think BLACK MAMA, WHITE MAMA from 1973) that wants to titillate us with sadism and girl on girl sex while deploring the cruelty and exploitation of female prison workers. I felt a bit sleazy watching it. With Tina Louise, Lana Wood, Robert Reed, Della Reese and Fionnula Flanagan.
A struggling rock singer (Carrie Hamilton) is getting nowhere career wise in New York City. So she decides to relocate to Japan where there is a demand for American girl singers. But her Japanese adventure isn't quite what she thought it would be. Co-written and directed by Fran Rubel Kuzui, this is a delightful romantic musical. It's not the kind of musical where the characters break out into song. Instead, all the songs are performed as part of the Japanese rock scene. The experience of a fish out of water Caucasian girl trying to break into the Japanese music business and her romance with a Japanese rock singer (Yutaka Tadokoro) is sweet and the musical performances are fun. A real sleeper that's recently been restored and getting a second chance. With Tetsuro Tamba, Masumi Harukawa and Taiji Tonoyama.
Set in 1948, a Major (Alec Guinness) has been in command of a Scottish battalion until a new Colonel is chosen. He is popular with his men so when he is passed over for the command, there is resentment toward the new Colonel (John Mills) and no one is more contemptuous of the new Colonel than the Major himself. Based on the novel by James Kennaway (who adapted his novel for the screen) and directed by Ronald Neame (PRIME OF MISS JEAN BRODIE). This is a marvelous psychological drama anchored by two superb performances from two of Britain's greatest actors. The role of the hard drinking, arrogant sneering Major is a departure from the usual parts Guinness had played and he immerses himself in the role while Mills brings a poignant anxiety as a man on the edge of a nervous breakdown. Their clash is heartbreaking and ends tragically for both men. With Susannah York, Dennis Price, Kay Walsh, Gordon Jackson, Peter McEnery and Allan Cuthbertson.
Set during WWII, a young American officer (Donald O'Connor) serving in Burma encounters a mule called Francis (Chill Wills) who can talk. But whenever he attempts to convince his superiors that the mule can talk, he's sent to the psychiatric unit. Based on the novel by David Stern (who adapted his novel for the screen) and directed by Arthur Lubin (FOOTSTEPS IN THE FOG). The first of the Francis the talking mule movies which grew into a seven movie franchise, all starring Donald O'Connor except the final entry (FRANCIS IN THE HAUNTED HOUSE) where he was replaced by Mickey Rooney. This first entry is mildly amusing and to its credit, its one joke premise doesn't get tiring though it did with each following movie. The public made it a huge hit (it had a modest budget) hence the sequels. An inspiration for the MISTER ED talking horse TV series. Wit Patricia Medina, Tony Curtis, John McIntire, Ray Collins, Eduard Franz and Frank Faylen.
Set during the New York City blackout of July 13th and 14th in 1977. Four escaped criminals (Robert Carradine, Don Granbery, Terry Haig, Victor B. Tyler) invade a posh Manhattan apartment house and rob, rape, kill and terrorize its inhabitants. Directed by Eddy Matalon. Although the movie takes place in New York City, this is a French Canadian film. It's also pretty lousy as well as pointless. The criminals are psychotic, the main cop (James Mitchum) is incompetent, the majority of the apartment house tenants are idiots, who are we to care about? The acting is mediocre with Don Granbery overacting terribly as one of the psycho criminals. The contrived screenplay is stuffed with cliches and there's not a genuine moment of suspense in the entire film. The saddest part is seeing some veteran actors like June Allyson, Ray Milland and Jean Pierre Aumont mired in this mess. With Belinda J. Montgomery and Fred Doederlein.
A witch (Isabela Corona) sees in her mirror that her goddaughter (Dina De Marco) is going to be murdered by her husband (Armando Calvo). She asks Satan to prevent the murder but the devil says it is the goddaughter's fate and not to interfere. But after her goddaughter's death, Satan gives her permission to get her revenge on the husband and his new wife (Rosita Arenas). Directed by Chano Urueta, this B&W Mexican supernatural horror film owes a lot to Franju's EYES WITHOUT A FACE with a dash of REBECCA and THE BODY SNATCHER thrown in for good measure. While nowhere near the caliber of those three movies, it's artfully done and fans of horror movies should enjoy its modest attributes. It's gory enough that I'm glad it was shot in black and white instead of color. With Carlos Nieto and Alfredo Wally Barron.
A U.S. state department employee (William Powell) is deported from France for stealing state documents. In the U.S., he's unemployable due in part to the depression and partly because of the French scandal. So he cons his way into being a partner in a detective agency run by a shady gumshoe (Arthur Hohl). Directed by Michael Curtiz (CASABLANCA), this private detective drama is a stale piece of goods. Certainly not the fault of William Powell who brings a nice presence to the movie but in its lackluster screenplay and traffic cop direction by Curtiz. The most interesting aspect of this pre code film is the cocaine sniffing junkie played by James Bell. At a brief running time of one hour and 6 minutes, the movie's pacing keeps it from being dull but it's a forgettable film. With Margaret Lindsay, Ruth Donnelly, Natalie Moorhead and Gordon Westcott.
Set in the mythical town of Toyland where all the storybook characters live, Tom Piper (Tommy Sands) and Mary Contrary (Annette Funicello) are about to be married. But the evil Barnaby (Ray Bolger) has the groom kidnapped so he can have Mary to himself! Very loosely based on the 1903 operetta by Victor Herbert and directed by Jack Donohue (MARRIAGE ON THE ROCKS). This Walt Disney production is the second film adaptation of BABES IN TOYLAND, it was previously filmed in 1934 with Laurel and Hardy. In addition to altering the operetta's plot, much of the original lyrics have been jettisoned though most of Victor Herbert's music remains. As to the film itself, it still might appeal to very young children but adults will have a hard time of it. It's too treacly. On the plus side, it's shot in vivid colors and the choreography by Tom Mahoney is lively. With Ed Wynn, Tommy Kirk, Mary McCarty, Henry Calvin, Gene Sheldon and Ann Jillian.
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