The Dark Crystal (1982)

Set on a different planet thousands of years ago, a powerful crystal cracks which causes two new races to appear, the gentle Mystics and the cruel Skeksis. As the Great Conjunction of the planet's three suns draws near,  the dying Mystic master (Sean Barrett) instructs a young boy (Stephen Garlick) of a near extinct race called Gelflings to heal the crystal by retrieving a missing shard from the crystal. Directed by Jim Henson (LABYRINTH) and Frank Oz (LITTLE SHOP OF HORRORS). Notable for its groundbreaking animatronics (for its time), this dark fantasy film received mixed reviews upon its original release but has since gone on to become a cult classic. I think it's a marvelous fantasy with Henson creating a captivating world of unique creatures and a compelling storyline. Perhaps a little too dark for younger children (the Skeksis may scare those under ten years old) but I'll take its epic high fantasy over the J.R.R. Tolkien output any day of the week. The gorgeous score is by Trevor Jones. With Billie Whitelaw, Barry Dennen and Lisa Maxwell.

Winner Takes All (1975)

A suburban housewife (Shirley Jones) is addicted to gambling and finds herself $30,000 in debt. She's kept this addiction a secret from her husband (Laurence Luckinbill) but when he needs the money to buy into a business, she scrambles to replace it before he finds out. Directed by Paul Bogart (TORCH SONG TRILOGY). Films about alcoholism and drug addiction are pretty common. Movies about gambling addiction are fewer and this melodrama takes its protagonist to rock bottom. We see her self destructing before our very eyes and unable to stop herself, she slides deeper and deeper into gambling hell until she can't sink any lower. As far as these cautionary movies go, this is a solid entry. Shirley Jones gives a very strong central performance and she's surrounded by a vigorous supporting cast. With Sylvia Sidney, Joan Blondell, Sam Groom, Joyce Van Patten and Alice Backes.

Sans Lendemain (aka There's No Tomorrow) (1939)

A widow (Edwige Feuillere) is reduced to working as a topless dancer in a disreputable nightclub in order to support her young son (Michel Francois). When a former love (Georges Rigaud), now a successful doctor, reenters her life, she hides her present life and puts on a charade of being more successful than she is. But maintaining her secret won't come easy or without a cost. Directed by Max Ophuls (LETTER FROM AN UNKNOWN WOMAN). This high class soap opera didn't quite work for me. I found the woman's deception disturbing. If the man (Rigaud) really loved her, her present situation wouldn't matter. Her lying only makes matters worse and gets her deeper into trouble with each lie. During his glossy melodrama period at Universal, Douglas Sirk remade several films that were popular in the 1930s (IMITATION OF LIFE, MAGNIFICENT OBSESSION, WHEN TOMMOROW COMES) and it's too bad, he didn't remake this one. It could have used his critical eye while supplying the lush melodramatic ironies of a woman descending into a hell of her own making but not choosing. With Daniel Lecourtois, Mady Berry, Paul Azais and Georges Lannes.

Our Vines Have Tender Grapes (1945)

Set in Wisconsin, the film follows a year in the life of Norwegian immigrants in a small farm town. There is no plot as such, it's an episodic slice of Americana seen through the eyes of a seven year old girl (Margaret O'Brien). Based on the novel by George Victor Martin and directed by Roy Rowland (HIT THE DECK). It's a well intentioned movie, the kind of film you might refer to as endearing or sweet. But I found it overly simplistic and sentimental in spite of some good performances, notably Edward G. Robinson in an atypical role as a gentle and kindly hard working farmer who dreams of having a new barn. The film has a slight socialist bent which might have been unconsciously placed by screenwriter Dalton Trumbo whose last credited film this was until 1960. The House Un-American Activities Committee caused him to be blacklisted from Hollywood for 15 years (although he continued to write screenplays under pseudonyms). 1945 audiences embraced it and the film was a big hit for MGM. With Agnes Moorehead, James Craig, Frances Gifford, Jackie Butch Jenkins, Morris Carnovsky, Sara Haden and Elizabeth Russell.

All Hands On Deck (1961)

A Lieutenant (Pat Boone) in the U.S. Navy is assigned to look after a troublesome sailor (Buddy Hackett) who comes from an oil rich Indian tribe. This assignment conflicts with his intended marriage to a reporter (Barbara Eden). Based on the novel WARM BODIES by Donald R. Morris and directed by Norman Taurog (BLUE HAWAII). The novel received good reviews and was compared to MISTER ROBERTS. I've not read the book but obviously something was lost in its transition to the screen. It's pure sitcom material (and not a good sitcom) and it plays out like an extended episode of MCHALE'S NAVY. The most glaring aspect of the movie is the troublemaking Native American played by Buddy Hackett. Simply put, its portrayal is degrading to Native Americans and it's not a situation of "that's how they did things then" because is was embarrassing even in 1961. This was Boone's first film since JOURNEY TO THE CENTER OF THE EARTH (1959) because he took almost two years off to study acting with Sanford Meisner. With Dennis O'Keefe, Warren Berlinger, Gale Gordon and Ann B. Davis.

Half Angel (1951)

A prim and proper nurse (Loretta Young) has a suppressed personality. Sometimes, her other personality, that of a bold seductress takes over but she doesn't remember what happens. Complications ensue when the repressed nurse becomes engaged to one man (John Ridgely) but the femme fatale seduces another man (Joseph Cotten), who falls in love with her. Directed by Richard Sale (GENTLEMEN MARRY BRUNETTES). This Technicolor comedy should be way funnier than it is. The premise is rife with farcical possibilities but they're nowhere to be found. The movie's screenplay assumes that the very idea of a woman having a split personality is comic enough and it just isn't. It's not fair to judge the performances of Young and Cotten because the script puts a strait jacket on them. Even expert farceurs like Irene Dunne and Cary Grant would be hard pressed to elevate the comedic quotient. With Cecil Kellaway, Jim Backus, Irene Ryan and Basil Ruysdael.

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.