Back From The Dead (1957)

Set in the Southern California coastline, a young wife (Peggie Castle) is possessed by the evil first wife of her husband (Arthur Franz). Her husband and sister (Marsha Hunt) attempt to get rid of the evil wife's spirit and bring the second wife back. Based on the novel THE OTHER ONE by Catherine Tunney (who adapts her book for the screen) and directed by Charles Marquis Warren (TROOPER HOOK). An intriguing premise poorly executed. While the film's rocky coastline and beaches bring a mood and atmosphere that helps, there's no getting around the fact that it's a low budget movie that needed a stronger script and direction. Although I saw the uncut and complete version of the film, it still seems that scenes are missing. Whether they were shot and edited out or never filmed at all, I don't know. But it seems curious how two scenes that would help the narrative don't exist in the final cut. The best thing about the film is the crisp B&W CinemaScope cinematography by Ernest Haller (LILIES OF THE FIELD). With Don Haggerty, Marianne Stewart, Evelyn Scott and Ned Glass.

Evita (1996)

The story of Eva Duarte (Madonna) who goes from a country girl in rural Argentina to the first lady of Argentina as the wife of President Juan Peron (Jonathan Pryce). Based on the musical by Andrew Lloyd Webber (music) and Tim Rice (lyrics) which began as a concept album in 1976 and eventually became a successful stage musical in London's West End in 1978 and Broadway in 1979. Directed by Alan Parker (SHOOT THE MOON). The film version went through a long gestation period with different directors (Oliver Stone, Ken Russell, Glenn Gordon Caron were all attached at some point) and actresses (Meryl Streep, Michelle Pfeiffer, Liza Minnelli) also attached. Some directors declined (Herbert Ross, Richard Attenborough) and actresses turned it down (Barbra Streisand reputedly hated the show). So what did we end up with when it finally reached the screen? A ponderous musical with high ambitions and a bark bigger than its bite. I saw the original production of EVITA with Patti Lupone and Mandy Patinkin and moderately enjoyed it but I wasn't bowled over by it. Although she (inexplicably) received positive reviews when the film opened, Madonna is all wrong. She's not an actress and her singing voice is too thin for the material. Her big number Don't Cry For Me Argentina should be a show stopper (it was when Patti Lupone did it) but here it fizzles. Plus they take away one of the show's best songs Another Suitcase In Another Hall away from Peron's teenage mistress (Andrea Corr) and give it to Madonna, who gives it no poignance. Antonio Banderas is a decent Che and as Peron, Jonathan Pryce acquits himself nicely. With Jimmy Nail.

Mon Crime (aka The Crime Is Mine) (2023)

Set in the 1930s, a struggling actress (Nadia Tereszkiewicz) confesses to a murder she did not commit claiming self defense. She is acquitted and becomes a media sensation as her acting career rises. Everything is fine ..... until the real murderer shows up. Based on the play by Georges Berr and Louis Verneuil (previously filmed in 1937 and 1946) and directed by Francois Ozon (8 FEMMES). Francois Ozon has been doing stellar work in recent years with films like FRANTZ, SUMMER OF 85 and PETER VON KANT but they seem to slip under the radar here in the U.S. This delightful black comedy has suffered the same fate. The film received excellent reviews and in previous years would have been a popular art house hit. Ozon's wacky ode to sisterhood has elements of screwball comedy, Hollywood gloss and an attempt at the Lubitsch touch. I don't want to overpraise it but this is the kind of movie that makes you fall in love with movies. Seek it out if you can. With a scene stealing Isabelle Huppert as an aging silent movie actress, Rebecca Marder, Fabrice Luchini, Andre Dussollier and Dany Boon.

Black Moon (1934)

A young wife and mother (Dorothy Burgess) feels compelled to return to the Caribbean island where she was born and raised. Her Uncle (Arnold Korff) urges her to stay away but nothing will keep her away. Leaving her husband (Jack Holt) behind, she and her little daughter (Cora Sue Collins) return to the island. Based on a short story by Clements Ripley and directed by Roy William Neill (FRANKENSTEIN MEETS THE WOLF MAN). While I enjoyed this minor pre code horror film, there's an underlying distasteful element of colonial racism permeating the movie. It's a tiny Caribbean island "ruled" by a Caucasian that exploits the indigenous people. Naturally, they would resent it yet their native "uprisings" are portrayed as a fearful thing rather than an indigenous people attempting to reclaim their island back from the white colonialist. Of course, since it's a horror movie, the natives practice voodoo and have human sacrifices. If you can get past all that, it's tight (one hour and 10 minutes) well done genre piece. With Fay Wray, Clarence Muse and Madame Sul Te Wan. 

Blow Out (1981)

Set in Philadelphia, a sound technician (John Travolta) who works on low budget horror movies is out late at night in a secluded area recording sounds when he witnesses a freak car accident. Unable to save her male companion, the sound technician rescues the girl (Nancy Allen). But soon after, the sound technician suspects this wasn't an accident but an intentional murder. Written and directed by Brian De Palma (CARRIE) in peak form. Critics have pointed out the obvious influence of movies like THE CONVERSATION (the tapes), BLOW UP (piecing together a murder through photos) but I'm surprised no one has pointed out (to my knowledge) how the film is indebted to Minnelli's SOME CAME RUNNING. Nancy Allen's not too bright chippie is a movie cousin to Shirley MacLaine's Ginny from SAME CAME RUNNING and the film's intense Liberty Day celebration downbeat finale echoes the carnival finale in Minnelli's film. Although critically lauded at the time of its release, it did only mild box office business. Today, its reputation is considerably enhanced. Stylish to the nth degree thanks to De Palma's collaborators, cinematographer Vilmos Zsigmond and composer Pino Donaggio. With John Lithgow, Dennis Franz and John McMartin.

Noah's Ark (1928)

Set in 1914 Europe before America enters WWI, an American playboy (George O'Brien) and his pal (Guinn Williams) are traveling through Europe. The playboy falls in love with a German girl (Dolores Costello) and they get married but the war separates them. Directed by Michael Curtiz (CASABLANCA), this ambitious film is a real curiosity. The first part of the film is almost unbearable with someone or other quoting the bible frequently. It has a real heavy handed preachy quality to it. The second half of the movie goes back in time with the actors from the first part all playing different characters as the movie tells the story of Noah and the flood. The flood sequence is excellent and the special effects are amazing for its day. Reputedly, three background actors (there were over 7,000) drowned and another had his leg amputated. The modern part of the film has dialogue while the biblical part of the movie is silent with a synchronized score. Worth checking out for the excellent flood special effects but man, is it a slog to get trough the first half. Reviews were poor but the public flocked to it. With Myrna Loy, Noah Beery and Louise Fazenda.

The Red Pony (1973)

Set near on the Monterey coast, a young boy (Clint Howard) has difficulty in his relationship with his father (Henry Fonda). Things are temporarily alleviated when his father gifts the boy with a colt. Based on the episodic novel by John Steinbeck (EAST OF EDEN) which was previously filmed in 1949 and directed by Robert Totten (DEATH OF A GUNFIGHTER). Despite the elimination of a major character (Billy Buck), the film is fairly faithful to the Steinbeck novel although like the 1949 film version, the killing of Nellie the mare is jettisoned and she and her colt are allowed to live. This being a family film I assume the writers thought the killing of Nellie would be too traumatic to young children. It's a decent if unexceptional rendering of the Steinbeck novel. At ages 68 and 58 respectively, Fonda and Maureen O'Hara seem a bit mature to be the parents of a 12 year old boy. The Emmy award winning score by Jerry Goldsmith (PATTON) owes a lot to Aaron Copland's acclaimed score to the 1949 version. With Ben Johnson, Jack Elam and Julian Rivero. 

Iron Man (1951)

A coal miner (Jeff Chandler) is encouraged by his brother (Stephen McNally) to become a boxer. His fiancee (Evelyn Keyes) also likes the idea because of all the potential money he can make which will help them get out of the small mining town. Based on the novel by W.R. Burnett (LITTLE CAESAR) which was previously made in 1931 and directed by Joseph Pevney (TAMMY AND THE BACHELOR). Sadly, this is no CHAMPION or THE SET UP. It's a run of the mill boxing movie with no fresh perspective on the fighting game. The boxing sequences are done well and one can't fault the actors if their performances are unexceptional. There's not much they can do with the formulaic screenplay. There's an early appearance by a young Rock Hudson as Chandler's friend and rival boxer with some indication of screen presence that would make him one of the biggest stars of 1950s Hollywood. I'm not a boxing enthusiast so the film didn't do much for me but if you're a fight fan then perhaps you'll get more out of it than I did. With Jim Backus, James Arness and Joyce Holden.  

Homecoming (2018)

At a transitional support center for veterans returning from war, a counselor (Julia Roberts) takes a particular interest in one veteran (Stephan James). But slowly, she begins to realize she is being used in a diabolical plot and that the therapy is just for show and covers up the true nature of the facility. Based on a scripted 2016 podcast and directed by Sam Esmail (MR. ROBOT). An intense five hour psychological conspiracy thriller that keeps you glued to the screen until its satisfying conclusion. Juxtaposing flashbacks with scenes in the present day, it's a jigsaw puzzle that we piece together as it flows vigorously as we attempt to keep up with its twists and turns. It's stylishly directed with some striking cinematography shot in alternating ratios. The acting is good with Shea Whigham particularly outstanding as a Department Of Defense investigator doggedly pursuing the case in the face of disinterest from his superiors, who would just as soon bury it. The one (minor) problem I had was that there was no original score. Instead, film scores from other movies were used and I found it distracting as I attempted to guess what movie the music came from. Among the scores recycled: BODY HEAT (John Barry), THE THING (Ennio Morrricone), KLUTE (Michael Small), THE CONVERSATION (David Shire) and VERTIGO (Bernard Herrmann) among many others. With Bobby Cannavale, Sissy Spacek, Hong Chau, Marianne Jean Baptiste and Jeremy Allen White.

Five Branded Women (aka Jovanka E Le Altre) (1960)

Set in 1943 Nazi occupied Yugoslavia, a German officer (Steve Forrest) has slept with several of the town's women, none of the women knowing about the others. Resistance fighters catch the German making love with a village girl (Jeanne Moreau) and castrate him. The girl, along with the German's other lovers (Silvana Mangano, Vera Miles, Barbara Bel Geddes, Carla Gravina) have their heads shaved and are driven out of the town. Based on the novel by Ivo Perilli and directed by Martin Ritt (THE LONG HOT SUMMER). An Italian-American production, this is a very potent anti war film without hitting us over the head. How does one hold on to one's humanity in the midst of war? With women as the central characters, we get a more in depth view of the struggle to survive against surmounting circumstances. Views are changed and softened as they come to terms of the reality of what war is. The film's view of humanity is guarded. Will there ever be peace or is war part of man's inherent nature? The excellent score is by Angelo Francesco Lavagnino. With Van Heflin, Richard Basehart, Harry Guardino and Alex Nicol.

The Wet Parade (1932)

A young man (Robert Young) and a young woman (Dorothy Jordan) fall in love. They have something in common. They are both the children of alcoholic fathers. One father (Lewis Stone) dies of chronic alcoholism and the other father (Walter Huston) kills his wife (Clara Blandick) in a fit of alcoholic rage. As prohibition looms in the foreseeable future, they are both determined to see it succeed. Based on the novel by Upton Sinclair (THE JUNGLE) and directed by Victor Fleming (THE WIZARD OF OZ). Although an MGM movie, the film has more in common with the tougher social conscience films coming out of Warners. The film shows both sides of the prohibition argument. The destruction alcohol has on families and the right of a free society to make its own choices. As the film ends, it doesn't offer a solution, only the hope that an eventual solution will be found. Considering its subject, the film isn't preachy but fairly balanced. The movie includes a fascinating montage of how bootleg liquor (often containing dangerous substances) is created, bottled and packed to look legitimate. Somewhat overlong as pre code films are usually less than 90 minutes this one runs two hours. With Myrna Loy, Jimmy Durante, Neil Hamilton, Wallace Ford, Emma Dunn and Gertrude Howard.

The Canary Murder Case (1929)

A conniving showgirl known as The Canary (Louise Brooks) is blackmailing several men for money and has set her cap on the son (James Hall) of a millionaire who's engaged to another girl (Jean Arthur). When the showgirl is found strangled to death, there's no shortage of suspects. Based on the novel by S.S. Van Dine and directed by Malcolm St. Clair (JITTERBUGS). Originally made as a silent film but as talkies became the norm, it was reshot as a talking film. Louise Brooks refused to redo her scenes so her voice was dubbed by Margaret Livingston (SUNRISE). The result is a stagnant murder mystery with awkward performances. The actors sound like they're reciting lines instead of acting. As to the mystery, the identity of the murderer is pretty obvious. One just waits for the explanation of how he plotted his alibi although when it comes it's pretty preposterous. The film was successful enough that William Powell did three more movies playing Philo Vance, the film's detective. An early talkie curiosity and not much else. With Eugene Pallette, Gustav von Seyffertitz and Lawrence Grant.

Friendly Persuasion (1956)

Set in 1862 Indiana during the Civil War, a Quaker family lives quietly in peace until the war comes to their door and decisions and conflict force them to re-examine their pacifist values. Based on the novel by Jessamyn West and directed by William Wyler (BEST YEARS OF OUR LIVES). Winner of the Palme d'Or at the Cannes film festival and recipient of six Oscar nominations including best picture. West's plotless novel spans 40 years but the film focuses on just one year and several family members were eliminated from the narrative and new characters added. I'm not an expert on Quakers but apparently there are some inaccuracies in the movie on their beliefs and actions. But what remains is a lovely well intentioned little film. Gary Cooper as the family patriarch seems uneasy in his role (reputedly he found his character too passive) while Dorothy McGuire as the mother is perfection. A simple story simply told, one would be hard put to dislike it. With Anthony Perkins (in an Oscar nominated performance), Marjorie Main, Richard Eyer, Robert Middleton, Phyllis Love, Peter Mark Richman, John Smith, Robert Fuller and a scene stealing goose named Samantha.

Priscilla (2023)

While serving in the Army in 1959, singer Elvis Presley (Jacob Elordi) meets a 14 year old American girl (Cailee Spaeny) from a military family stationed in Germany. Despite her being 10 years younger than him and a minor, he falls in love with her. Based on the autobiographical book ELVIS AND ME by Priscilla Presley and directed by Sofia Coppola (LOST IN TRANSLATION). On one level, I found it sort of creepy. A grown man pursuing a 14 year old girl, shades of LOLITA. On another level, I found it a strong portrait of an immature teenager thrust into a world beyond her understanding. She's still a child at the beginning of the relationship but as she matures and becomes her own woman, she's outgrown him.  Cailee Spaeny gives a strong performance aging from 14 to 27 believably. As Presley, Jacob Elordi has a harder time of it because we're so familiar with Elvis. I hated the look of the movie (Philippe Le Sourd is the cinematographer), the film looks like it was filmed through a nylon stocking. With Ari Cohen, Dagmara Dominczyk and Tim Post.

Mille Milliards De Dollars (1982)

A young French journalist (Patrick Dewaere) discovers how an American company will stop at nothing to take over French industries including murder. Directed by Henri Verneuil (THE SICILIAN CLAN), this is an intricate political thriller that defies being far fetched and steamrolls its way to its intense conclusion. I'm not that familiar with financial business dealings and corporate takeovers so I'll just take it that the movie knows what it's talking about. The film's lead (Dewaere) doesn't have much screen presence but a raft of fine supporting actors compensate for his shortcomings. Philippe Sarde's (GHOST STORY) effective underscore consists entirely of pianos. With Jeanne Moreau (only one scene but impressive), Mel Ferrer, Anny Duperey, Charles Denner, Michel Auclair and Caroline Cellier.

Zaza (1939)

Set in France, a beautiful music hall performer (Claudette Colbert) is much desired by men. However, she falls in love with a man (Herbert Marshall) who withholds some important information from her ..... like he's married! Based on the play by Pierre Berton and Charles Simon (previously filmed in 1923 with Gloria Swanson) and directed by George Cukor (GASLIGHT). A dreary little romance drama that has nothing going for it. George Cukor is known for getting the best performances out of his female stars and Colbert isn't half bad (and she looks ultra glam in Edith Head's period costumes) but the story is just another variant of BACK STREET. No reason to visit this unless you're a Claudette Colbert completist. With Bert Lahr, Constance Collier, Monty Woolley, Genevieve Tobin and Helen Westley.

The Unseen (1945)

A young and inexperienced girl (Gail Russell) is hired as a governess for two motherless children (Richard Lyon, Nona Griffith). However, she senses immediately that something is wrong with the two children, especially the boy who seems under the malevolent influence of his previous governess (Phyllis Brooks). Based on the novel MIDNIGHT HOUSE by Ethel Lina White (and adapted for the screen by Raymond Chandler) and directed by Lewis Allen (THE UNINVITED). If the plot sounds very familiar then you've read TURN OF THE SCREW by Henry James. Ethel Lina White has had other of her novels adapted for the screen, notably THE SPIRAL STAIRCASE and THE LADY VANISHES. Paramount had a big hit the previous year with THE UNINVITED also directed by Lewis Allen and it made Gail Russell a popular young actress. So naturally Paramount demanded a follow up. It's quite well done although the serial killer isn't too hard to identify once you eliminate the obvious. Alas, the film's last ten minutes are weak and dissipate the tension carefully built up till then. Murder mystery fans should enjoy this one. With Joel McCrea, Herbert Marshall, Isobel Elsom, Tom Tully, Norman Lloyd and Elisabeth Risdon.

The Outfit (1973)

After mobsters put a hit on his brother, an ex-convict (Robert Duvall) just released from prison sets out to avenge his brother's death but also make a profit from the mob. Based on the novel by Richard Stark (aka Donald E. Westlake) and directed by John Flynn (THE SERGEANT). A gritty, hard hitting crime movie with noir-ish trimmings. In fact, there are those who would call it a contemporary film noir (or is it neo noir?). It's not as highly thought of as similar films of the decade like POINT BLANK or FRIENDS OF EDDIE COYLE. It lacks their style  and artistry but it's still a solid effort with some nice performances. Aficionados of crime and noir should find much to please them. A favorite of Quentin Tarantino. The supporting cast is crammed with familiar faces, many associated with noir classics. With Karen Black, Robert Ryan, Joe Don Baker, Sheree North, Henry Jones, Joanna Cassidy, Jane Greer, Marie Windsor, Timothy Carey, Richard Jaeckel, Anita O'Day and Elisha Cook Jr.

Pyro (1964)

Set in Spain, a married American architect (Barry Sullivan) begins an affair with a beautiful but psychotic woman (Martha Hyer). When he refuses to divorce his wife to marry her, she sets fire to his house killing his wife (Sherry Moreland) and daughter (Pilarin Gomez) and disfiguring him because of fourth degree burns. He survives with one thought in mind ..... revenge. Directed by Julio Coll, this is essentially a Spanish film written and produced by an American (Sidney Pink) and with two American actors in the leads. The crew and remainder of the cast are Spanish. It's a low budget exploitation movie that begins with an adulterous affair that turns into a horror movie after the fire sequence. Before he's disfigured in the fire, it's very difficult to have any sympathy for Sullivan's character. He knows he's hurting his family but he continues the illicit affair regardless. The movie gives a brief bit of background about Hyer's past that helps explain her psychosis. The film may be obvious and formulaic but it accomplishes what it sets out to do. With Fernando Hilbeck and Soledad Miranda.

Let's Dance (1950)

An ex-showgirl (Betty Hutton) is in a custody battle with her Bostonian mother in law (Lucile Watson) over her son (Gregory Moffett, a most annoying child actor). She takes her son and runs off to New York City where she renews a friendship with her ex-partner (Fred Astaire), who gets her a job in a nightclub. Based on the short story LITTLE BOY BLUE by Maurice Zolotow and directed by Norman Z. McLeod (THE PALEFACE). I guess teaming Fred Astaire with  Betty Hutton (at the time, Paramount's biggest female star) seemed like a good idea but couldn't they have come up with a better and more original script? The elegant Astaire and the frenzied Hutton are a mismatched pair and there's little chemistry there. On the plus side, the songs by Frank Loesser are a pretty good batch  (a novelty number by Hutton, Can't Stop Talking About Him is delightful) and the dance numbers (choreography by Hermes Pan) are good but we still have to put up with the anemic screenplay in between the musical numbers. The movie did decent box office business, enough to turn a profit. With Roland Young, Ruth Warrick, Shepperd Strudwick, Barton MacLane and Harold Huber. 

Ex-Lady (1933)

A commercial illustrator (Bette Davis) and an advertising writer (Gene Raymond) live together without benefit of marriage, an institution they don't believe in. Eventually, they cave in to convention and get married but it takes its toll on their relationship. So they decide to remain married but live apart thus keeping their relationship "fresh". Can it work? Directed by Robert Florey (MURDERS IN THE RUE MORGUE). This is a remake of ILLICIT, a Barbara Stanwyck film that had come out only two years earlier. Yet another Warner Brothers programmer showing they didn't know what they had in Bette Davis. She's glammed to the max but it's a dreary little affair. This pre code movie titillates us with its tale of unconventional lovers scorning traditional marriage but by the end of the film, it sends them into a conventional "happily ever after" marriage thus ensuring the institution of marriage is the decent way to go. Davis is always interesting to watch but she's like Sisyphus rolling that rock up a hill, trying is useless. With Frank McHugh and Claire Dodd.

East Side West Side (1949)

A New York socialite (Barbara Stanwyck) loves her husband (James Mason) but he is having an affair with a party girl (Ava Gardner). Despite his promises that she means nothing to him and that he'll never see her again, he can't help himself and continues the affair. It will take a murder to end the affair. Based on the novel by Marcia Davenport and directed by Mervyn LeRoy (QUO VAIDS). I found this soap opera set among the chic environments of Manhattan's social set diverting for most of its running time but once the murder element shows its face, it treads on thin ice and not very interesting thin ice at that. Luckily, the movie gives the large cast an opportunity to strut their acting prowess (even Cyd Charisse is less enervated than usual). With Van Heflin, Nancy Davis, William Conrad, Beverly Michaels and Gale Sondergaard playing Stanwyck's mother although she was only 8 years older.

Mulholland Drive (2001)

An aspiring young actress (Naomi Watts in her breakthrough role) arrives in Los Angeles and befriends a young woman (Laura Harring) with amnesia, who is recovering from a car accident. Written and directed by David Lynch (BLUE VELVET). Where does one begin talking about this surrealistic puzzle of a film? Lynch had a great success with the TV series TWIN PEAKS so it was natural he'd want to dip his creative toes into the water again. MULHOLLAND DRIVE was originally conceived as a pilot for a proposed TV series but network executives rejected it. So Lynch filmed some additional scenes to the pilot and the subsequent feature film became one of the most acclaimed films of 2001. But what does it mean? Lynch isn't telling and he leaves it up to the audience to interpret the film. Is it a dream? A nightmare? A parallel universe? An alternate consciousness? What it IS, is one of the most audacious and original films of the 21st century. No need to understand it when you can bathe in its creativity. Just enjoy the rollercoaster ride. With Justin Theroux,  Ann Miller, Lee Grant, Robert Forster, Dan Hedaya, Chad Everett and James Karen.

Enchanted Island (1958)

Set in the 19th century, two sailors (Dana Andrews, Don Dubbins) jump ship to escape retribution from their tyrannical Captain (Ted De Corsia). But their escape is halted when they are taken in by a tribe of cannibals. Matters get complicated when the older sailor (Andrews) falls in love with the cannibal chief's granddaughter (Jane Powell). Loosely based on TYPEE by Herman Melville and directed by Allan Dwan (SLIGHTLY SCARLET). Attempts to make a film of Melville's TYPEE went back as early as 1944 and for awhile John Huston was interested in directing with Gregory Peck to star. Eventually, this cliched mish mash that no one was happy with was the result. Dana Andrews was often so intoxicated he couldn't work and the producers later sued him! A terribly miscast Jane Powell plays the cannibal princess and no amount of brownface could hide her inadequacies. By the time the movie was finished, RKO went bankrupt and Warners took over the film's distribution. However, he cinematographer Jorge Stahl Jr. does a good job of making Mexico look like the South Seas. Not bad enough to be camp and pretty sad all around. With Arthur Shields and Friedrich von Ledebur.

La Syndicaliste (2023)

An Irish trade unionist (Isabelle Huppert) living and working in France for a nuclear power company is found gagged and bound to a chair in her home after being sexually violated and a triangle cut on her stomach. But this was no random attack but a reprisal for being a whistleblower about a secret deal between a French government owned utility company and a Chinese power company. Based on the incredible true story as documented in the non fiction book by Caroline Michel Aguirre and directed by Jean Paul Salome (LA DARONNE). An excellent film that, alas, had only a very limited release in the U.S. The movie has a familiar vibe, it's a French cousin of American films that focus on a female activist trying to expose government corruption. Think Meryl Streep in SILKWOOD or Julia Roberts in ERIN BROCKOVICH. But what it lacks in originality is made up for by a killer mesmerizing performance by Isabelle Huppert. If you're an Huppert fan (and who isn't?), this is a must see. With Gregory Gadebois, Pierre Deladonchamps, Marina Fois and Yvan Attal.

I Remember Mama (1948)

A young aspiring writer (Barbara Bel Geddes) recalls her childhood in 1910 San Francisco and the influence of her Norwegian immigrant mother (Irene Dunne) on the family. Based on the play by John Van Druten by way of the autobiographical novel MAMA'S BANK ACCOUNT by Kathryn Forbes and directed by George Stevens (SWING TIME). A nostalgic and sentimental (but not necessarily in a bad way) look back coming of age tale. It's a film that I've slowly warmed up to over many years but I still find parts of it treacly. As the mother, Irene Dunne is good (it's my favorite of her dramatic roles) and a raft of fine supporting players add to the appeal of the story. The best performance in the movie comes from Oscar Homolka (recreating his stage role) as the intimidating Uncle and family patriarch. Although a critical hit and recipient of five Oscar nominations, it did poorly at the box office. With Philip Dorn, Sir Cedric Hardwicke, Florence Bates, Ellen Corby, Rudy Vallee, Edgar Bergen, Barbara O'Neil, Florence Bates and Edith Evanson.

Downstairs (1932)

A manipulative and scheming chauffeur (John Gilbert) has just been hired by a wealthy Baron (Reginald Owen) and his wife (Olga Baclanova). He then proceeds to romance the female members of the staff including a married maid (Virginia Bruce). It isn't long before he uses deceit, extortion and blackmail to get want he wants. Directed by Monta Bell (LIGHTS OF OLD BROADWAY). This pre code drama is based on a story by its star John Gilbert. To his credit, he doesn't attempt to whitewash his character. He's a grade A prick with no redeeming qualities and isn't above romancing a woman old enough to be his mother to get at her life's savings. This being a pre code film, he may get his comeuppance but he's allowed to continue his selfish ways and as indicated by the movie's final shot, he'll happily do just that. As the head butler and chief of the household staff, the loyal and upstanding Paul Lukas provides a contrast to the liar and womanizing chauffeur. A very pleasurable entertainment. With Hedda Hopper and Bodil Rosing.

The View From Pompey's Head (1955)

Set in South Carolina, a New York attorney (Richard Egan) returns to his Southern roots when he tries to avert a lawsuit by a distinguished Southern author (Sidney Blackmer) and his wife (Marjorie Rambeau). He also renews a romance with the girl (Dana Wynter), now married as he is, he left behind. Based on the novel by Hamilton Basso and directed by Philip Dunne (BLUE DENIM). Basso's 1954 novel isn't much remembered today but it was a huge best seller that spent 40 weeks on the New York Times best seller list (film rights were sold for $100,000) and got excellent reviews. The film version is a solid melodrama that plays out like a juicy best seller involving secrets, infidelity, miscegenation, domestic violence and prejudice. Although Richard Egan and Dana Wynter are very good, the film could have used some star power (the director wanted Gregory Peck and Audrey Hepburn) to boost the film. Neatly shot in CinemaScope by Joseph MacDonald (HOW TO MARRY A MILLIONAIRE) and a great score by Elmer Bernstein (MAGNIFICENT SEVEN) that he recycled for FAR FROM HEAVEN (2002). With Cameron Mitchell, Jerry Paris, Rosemarie Bowe and Dorothy Patrick. 

Working Girl (1988)

An ambitious young secretary (Melanie Griffith) gets a job as assistant to a powerful executive (Sigourney Weaver) in mergers and acquisitions. When she pitches an idea to her boss, the executive dismisses the idea. But later she finds out that her boss has put the idea into execution and takes credit for it! Directed by Mike Nichols (WHO'S AFRAID OF VIRGINIA WOOLF?). In SOMETHING WILD (1986), Melanie Griffith showed she was ready for major stardom, she just needed the right vehicle and WORKING GIRL turned out to be it. Although third billed, this is her movie all the way (at least when Sigourney Weaver isn't stealing scenes). Top billed Harrison Ford is just along for the ride. The film is an enjoyable and stylish romantic comedy, sharply written and precisely executed. It received six Oscar nominations including best actress (Griffith), supporting actress (Weaver, Joan Cusack) and won the best song Oscar for Carly Simon. With Alec Baldwin, Kevin Spacey, Olympia Dukakis, Oliver Platt, Philip Bosco, Nora Dunn and Ricki Lake.

Destination Inner Space (1966)

An unidentified object has been circling an undersea laboratory that has been studying marine life. The government sends a Navy Commander (Scott Brady) to investigate. It is deemed that it came from another planet and when a cylinder is removed from the alien craft and taken aboard the sea lab, it spawns a deadly creature. Directed by Francis D. Lyon (CULT OF THE COBRA), this low budget sci-fi horror owes much to THE THING FROM ANOTHER WORLD (1951). It's a variation of THE THING that's set at the bottom of the sea rather than a snowbound Alaska. Although made as a theatrical feature film, it looks like it was shot for television. The film's "monster" is pretty decent, even if it is reminiscent of a rubber monster out of a Japanese sci-fi monster flick. I'm a fan of low budget sci-fi B movies so I was entertained even though I know it isn't very good. If you're similarly inclined, you should enjoy it. If you're not, skip it. With Sheree North, Gary Merrill, Wende Wagner, Mike Road and Biff Elliot.

L'Istruttoria E' Chiusa: Dimentichi (aka The Case Is Closed: Forget It) (1977)

A successful architect and family man (Franco Nero) is sent to prison for a crime he did not commit. While pending an appeal, he lives through the horrors of a corrupt prison system. Based on the novel TANTE SBARRE by Leros Pittoni and directed by Damiano Damiani (A BULLET FOR THE GENERAL). This Italian crime drama is a rough watch. I've seen movies on corrupt prison systems before but never one as dastardly as this. Franco Nero is very good as the naive innocent but a little too naive as it quickly becomes apparent to us that protesting and shooting off your mouth is only going get him into deep trouble (like beatings and solitary confinement) but he continues to do it. Rather than admire him for protesting inhuman and unfair prison conditions, all I could think was "Shut your mouth, stupid!". Eventually he is broken down by the system. So much so that when he is finally freed, instead of revealing the horrors he's seen and lived through, he keeps it to himself. With Riccardo Cucciolla, Georges Wilson, John Steiner, Claudio Nicastro and Ferruccio De Ceresa.

Chicago Deadline (1949)

In a cheap hotel room in Chicago's South Side, a hard nosed reporter (Alan Ladd) finds the body of a dead girl (Donna Reed). Her address book leads to a host of men seemingly frightened by her death but many claiming not to know her. The newspaperman is determined to find out about the girl and what lead to her lonely death. Based on the novel ONE WOMAN by Tiffany Thayer and directed by Lewis Allen (DESERT FURY). The ghost of LAURA hovers over this noirish crime mystery and despite a provocative narrative, the plot is often confusing. The reporter's pursuit of the truth never results in a completely satisfying revelation of the girl and who she was. Yes, we know more about her by the time the movie ends but not enough. Her story is told through flashbacks but they're colored by the people recollecting. Good try but no soap! With Arthur Kennedy, June Havoc, Irene Hervey, Shepperd Strudwick, Barry Kroeger, Marietta Canty and Margaret Field. 

The Prizefighter And The Lady (1933)

An alcoholic has been fight manager (Walter Huston) discovers a bouncer (Max Baer) in a bar that throw a mean punch. He decides to take the strapping lad and build him into a prizefighter. Meanwhile, the boxer falls in love with the mistress (Myrna Loy) of a nightclub owner (Otto Kruger). Directed by W.S. Van Dyke (THE THIN MAN). Hollywood was not averse to taking a well known athlete and attempting to turn them into movie stars. Sometimes it worked (Esther Williams is the best example) but usually it didn't (doe anyone remember the attempt to make Joe Namath a movie star?). Here, it doesn't. Max Baer was a world heavyweight champion and while he had movie star looks, his acting is stiff and awkward. I cringed when they put him in a song and dance number! His inadequacies show up even more when he's acting opposite fine actors like Loy and Huston. But even if the role of the prizefighter had been played by a better actor, it's still a tedious and unoriginal movie. Inexplicably the screenplay received an Oscar nomination. Go figure! With Vince Barnett and Muriel Evans.

Inside Man (2006)

Set in New York City, a band of masked robbers dressed in painter coveralls invade a bank and take hostages. Thus begins a cat and mouse game between the leader of the robbers (Clive Owen) and a police detective (Denzel Washington) assigned to negotiate. But the detective suspects that the bank robbers are after more than just money. Directed by Spike Lee (DO THE RIGHT THING), this is a crackerjack of a heist thriller! Intense and stylish, Lee drives the clever screenplay written by Russell Gewirtz to the extreme and we're never less than riveted as the layers are slowly stripped away. Audiences went for it and it remains to this day, Lee's highest grossing movie. While Lee is strictly a director for hire here (the movie was originally supposed to be directed by Ron Howard), he still infuses the film with touches that I suspect weren't in the original screenplay but came from Lee himself. There's a stunning score by Terence Blanchard. With Jodie Foster, Christopher Plummer, Willem Dafoe, Chiwetel Ejiofor and Kim Director.

The Werewolf (1956)

Set in a small mountain community, a man (Steven Ritch) who has been in a minor automobile accident is surreptitiously injected with a serum that turns him into a werewolf by two unscrupulous doctors (Ken Christy, S. John Launer). Directed by Fred T. Sears (EARTH VS. THE FLYING SAUCERS). This isn't a B movie, it's a C movie! It's a low budget quickie that has some nice location shooting (Big Bear Lake in Southern California) but everything else from the plot, the acting and the writing is hokey. I like a good werewolf movie as much as the next horror fan but this one drags out its hour and twenty minutes so slowly that it feels like a longer film. The transition from man to werewolf is well done, I'll give it that but it's pretty low on the totem pole of werewolf movies. With Don Megowan, Joyce Holden and Eleanore Tanin.

May December (2023)

An actress (Natalie Portman) travels to Savannah, Georgia to spend some time with a woman (Julianne Moore) she is going to portray in a film. The woman has a controversial past that caused a scandal when at the age of 36, she had an affair with a 13 year old boy. After serving time in prison, they got married. Directed by Todd Haynes (FAR FROM HEAVEN), the film is suggested by but not based on the Mary Kay Letourneau affair and subsequent marriage after she served a prison sentence as a sex offender. It's an uncomfortable watch and for much of the film I wondered just where Haynes was going. Ultimately, it's a very tragic story although some reviewers referred to the film as humorous. The three leads (the third is Charles Melton who plays the husband) are excellent. Haynes makes no judgement of the characters although the morality of the initial relationship is addressed. A line had been crossed that should never have happened and its damage is present in the couple's contemporary lives. Surprisingly, it's Portman's actress that comes off the worst. She seems predatory and manipulative. Michel Legrand's score to THE GO BETWEEN has been adapted to underscore the film. With Cory Michael Smith and Elizabeth Yu. 

Escape (1940)

Set in pre WWII Germany, an American (Robert Taylor) travels to Germany in search of his actress mother (Alla Nazimova) who had returned to her native country to sell her family estate. But everyone seems terrified and unable to provide any information to him. What he doesn't know is that she is in a concentration camp with a death sentence hanging over her. Based on the novel by Ethel Vance and directed by Mervyn LeRoy (RANDOM HARVEST). I found this movie engrossing but not without its flaws. Did Robert Taylor's American have to be such a hot headed dolt? He's  in a foreign country but behaves like a bull in a china shop instead of being subtle to get the information he wants. As the countess who falls in love with him, Norma Shearer keeps the "great lady of the screen" attitude in check but she's still not very good. Director Mervyn LeRoy manages to keep the tension quotient high so we're often on pins and needles as Germans close in on our protagonists. Since we weren't in the war yet, the film doesn't mention Germany, Nazis or Hitler but there is a swastika in the background in one scene so we know exactly where we are. With Conrad Veidt, Felix Bressart, Philip Dorn and Bonita Granville.

The Prince Of Tides (1991)

A teacher and football coach (Nick Nolte) living in South Carolina leaves for New York when his sister (Melinda Dillon, whose part seems to have been truncated) attempts suicide. His sister's psychiatrist (Barbra Streisand) wants him to help his sister get well by probing their childhood past which the siblings have blocked out. Based on the novel by Pat Conroy (who co-wrote the screenplay) and directed by Barbra Streisand (YENTL). For the most part, this is a lovely adaptation of Conroy's book and as a director, Streisand brings a lot of sensitivity and empathy to the project. She directs the actors well and Nolte and Kate Nelligan (as his domineering mother) gave superb performances and both received Oscar nominations for their work here. But I wish she had cast another actress as the psychiatrist instead of playing the part herself. While I don't agree with a certain segment that refers to the film as a vanity project for her, she throws the movie out of whack. She has herself photographed and lit as lovingly as Josef von Sternberg did for Marlene Dietrich. The emphasis on her seems more on Streisand than on the character she's playing. Yes, she is a true Star and while basking in the starlight is one of the pleasures of moving going, it throws the narrative off kilter. Also casting her son Jason Gould as a wannabe football player was a mistake, his scenes with Nolte are excruciating. With Blythe Danner, Jeroen Krabbe, George Carlin and Brad Sullivan.

Mandalay (1934)

A Russian refugee (Kay Francis) is abandoned by her no good gunrunner lover (Ricardo Cortez) in Rangoon (now Yangon in Myanmar). Circumstances force her to work as a "hostess" in a brothel. When she saves up enough money, she leaves for the city of Mandalay where she hopes to start a new life under an assumed name. While on a ship headed to her destination, she falls in love with an alcoholic doctor (Lyle Talbot) but then her ex-lover enters the picture. Directed by Michael Curtiz (WHITE CHRISTMAS). I very much enjoyed this sordid pre code melodrama. The movie takes advantage of the freedom of the pre code era of Hollywood film. A major character even gets away with murder scot free! Kay Francis is very affecting as the promiscuous tramp attempting to turn her life around and Ricardo Cortez just drips with slime as her manipulative lover. The film was a modest hit. Certainly not a major or important film but a good example of pre code cinema. With Warner Oland, Ruth Donnelly, Etienne Girardot, Rafaela Ottiano and Reginald Owen.

House Of The Long Shadows (1983)

A young novelist (Desi Arnaz Jr.) makes a bet with his publisher (Richard Todd) that he can write a best seller in 24 hours. To this end, he will spend those 24 hours in a secluded old mansion in Wales. But things don't turn out quite as he planned when a ghoulish family reunion interrupts his solace. Based on the 1913 novel SEVEN KEYS TO BALDPATE by Earl Derr Biggers (creator of Charlie Chan) and the play by George M. Cohan which was adapted from the novel and directed by Peter Walker (DIE SCREAMING MARIANNE). This is the seventh film adaptation of the Biggers novel and Cohan play. Three silent versions (1916, 1917, 1925) and three sound adaptations (1929, 1935, 1947). This version keeps the structure of the novel and play including its "twist" ending but jettisons the plot in favor of a far more violent horror movie narrative. It sweetens the deal with the participation of three horror movie icons: Vincent Price, Christopher Lee and Peter Cushing. It doesn't make it a better movie than its predecessors, just a more interesting one. Alas, interesting doesn't translate to quality and its rather sad to see such genuine icons of the genre exploited in this way. With John Carradine, Sheila Keith and Julie Peasgood.

La Moglie Del Prete (aka The Priest's Wife) (1970)

After she discovers her lover (Venantino Venantini) of four years is married, an ex-singer (Sophia Loren) calls a suicide hotline before taking sleeping pills. She survives the suicide attempt but not without being attracted to the voice at the other end of the line. When she meets the voice, he turns out to be a priest (Marcello Mastroianni). But that doesn't stop her from pursuing him romantically. Directed by Dino Risi (PROFUMO DI DONNA). Sophia Loren and Marcello Mastroianni made 17 movies together and their chemistry is undeniable. But if this film isn't their worst, it certainly ranks near the bottom. It's a tedious "comedy" for most of its running time but it turns very serious in its last half hour and begins to get interesting before its abrupt conclusion. The Roman Catholic church and its clergy don't come off very well and ultimately, neither does Mastroianni's character. But Loren's character doesn't get off lightly either. In her pursuit of the priest, she's a near psychotic stalker. There's a nice melodic score by Armando Trovajoli. With Gino Cavalieri, Pippo Starnazza and Miranda Campa.

Never A Dull Moment (1968)

A struggling actor (Dick Van Dyke) is mistaken for a paid assassin for the mob. Fearing for his life if they discover they've made a mistake, he plays along. Then it becomes a race against time to escape before they find out he's a fraud. Based on the novel THE RELUCTANT ASSASSIN by John Godey and directed by Jerry Paris (THE GRASSHOPPER). A very odd narrative for a Walt Disney family movie. A mob hit man whose assignment is to kill two security guards while a priceless painting is stolen from a museum so that a "retired" gangster (Edward G. Robinson) can add painting to his art collection? Dick Van Dyke works overtime mugging and pratfalling but he only adds to the desperation vibes that the movie gives off. Luckily, there's Edward G. Robinson good naturedly parodying his early gangster roles and he gives the movie its only distinction. Other than his professionalism, it's a pretty ragged effort. With Dorothy Provine, Henry Silva, Joanna Moore, Mickey Shaughnessy, Tony Bill and Slim Pickens.

The Raiders (1952)

Set in a pre statehood California, a prospector (Richard Conte), his wife (Margaret Field, Sally's mother) and brother (William Reynolds) are fortunate enough to find a piece of land that provides enough gold that will give them a brighter future. But all that ends when hired gunmen steal the gold and kill the prospector's wife and brother. He vows vengeance. Directed by Lesley Selander (FLIGHT TO MARS), this Technicolor western is congenial enough if you don't ask too much. The movie suggests the deterioration of Conte's revenge seeker as he becomes more like the men he's hunting. As a Mexican woman whose father's land was stolen by the ruthless land baron (Morris Ankrum) responsible for all the bloodshed, Viveca Lindfors provides a voice of conscience which he ignores. There's enough action to satisfy most western fans although the deus ex machina ending is too quick and too convenient. With Hugh O'Brian, Barbara Britton, William Bishop and Richard Martin. 

The Falcon's Brother (1942)

An amateur detective known as the Falcon (George Sanders) is meeting his brother's (Tom Conway) ship arriving from South America. Unfortunately, the brother's body has been discovered and deemed a suicide. Although the Falcon identifies the body, he knows the body is not his brother's. Directed by actor and occasional director Stanley Logan. This was a transition film with Sanders, who had played the Falcon in the previous three films, handing over the role to his real life brother Tom Conway. Sanders and Conway were similar enough that the transition went smoothly and the franchise continued successfully with Conway in nine more movies. As for this episode, it passes painlessly but while decent, it's not an especially memorable entry in the series. With Don Barclay (replacing Allen Jenkins as the Falcon's stooge), Jane Randolph, Edward Gargan, Amanda Varela and Keye Luke.

Consolation Marriage (1931)

A shopkeeper (Irene Dunne) loses the man she loves (Lester Vail) when he marries a rich woman instead. A reporter (Pat O'Brien) is jilted when the woman (Myrna Loy) he loves marries another man. When the two meet, a friendship and camaraderie develops between the two of them and since they get along so well, they decide to enter a marriage of convenience with no strings. But later, when both their first loves re-enter their lives, decisions must be made. Directed by Paul Sloane (THE WOMAN ACCUSED). This pre-code movie is a mundane melodrama whose sappy outcome is never in doubt. Irene Dunne is in weepie mode as she suffers and suffers between abandoning her baby for the man she loves and the pain of being abandoned again by her current husband. I've never cared for Dunne's weepie performances like PENNY SERENADE, LOVE AFFAIR and here. I much prefer her in screwball comedies. The cat eyed and shimmering Myrna Loy is so much more attractive, who wouldn't dump the teary eyed "laughter through the tears" Dunne for Loy? With John Halliday and Gertrude Howard (the most likable character in the film).

The Loneliness Of The Long Distance Runner (1962)

Caught for stealing money from a bakery, a defiant working class teenager (Tom Courtenay) is sent to a custodial institution for youthful offenders. There his talent for cross country running attracts the eye of the borstal's head (Michael Redgrave), who grooms him to win a race against a private school. Based on a short story by Alan Sillitoe (who adapted his story for the screen) and directed by Tony Richardson (TOM JONES). One of the best examples of Britain's kitchen sink "angry young man" dramas, the movie's outcome is never in question but the film divides its narrative with the delinquent's time at the borstal and flashbacks to his family life and the circumstances that led to his arrest. Courtenay doesn't try to make his character likable and while we're never sure just why he's so hostile, there's an empathy for his situation. He's lost and unsure of what he wants out of life. The underscore by John Addison is quite effective. With Alec McCowen, James Fox, Frank Finlay, Avis Bunnage and Julia Foster.