A documentary that looks at Hollywood's depiction of LGBT characters on film from the earliest days of experimental silent cinema through early 1990s cinema. Based on the non fiction book by Vito Russo and directed by Rob Epstein and Jeffrey Friedman (LINDA RONSTADT: THE SOUND OF MY VOICE). Laced with film clips and interviews with writers, actors and critics, the film is an often fascinating look back at how homosexuals were perceived in an era when it was a taboo subject matter. While the word homosexual is never mentioned, their presence is there whether it is the sissies of Edward Everett Horton and Franklin Pangborn to the predatory lesbian vampire of DRACULA'S DAUGHTER. As the Hays code is relaxed (before disappearing forever in 1968), the 1960s ushered in films, often problematic, that were not afraid to discuss the subject. While I personally disagree with some of the movie's attitude (I think THE CHILDREN'S HOUR is still relevant and THE BOYS IN THE BAND is a sorry excuse for a "groundbreaking" gay movie), it remains a superb archival record of the history of gay cinema and LGBT characters in film. With Tom Hanks, Shirley MacLaine, Tony Curtis, Susan Sarandon, Whoopi Goldberg, Farley Granger, Harry Hamlin, Harvey Fierstein and narrated by Lily Tomlin.
A sex worker (Mikey Madison) who does lap dancing at a sex club works as a prostitute on her off hours. For some unfathomable reason, she falls in love with a spoiled Russian brat (Mark Eydelshteyn), who's a definite case of arrested development. Their marriage causes a ruckus when his parents find out. Written and directed by Sean Baker (TANGERINE). The winner of the Palme d'Or at last year's Cannes film festival and one of the most critically lauded movies of 2024. I was underwhelmed. The film's first 45 minutes are excruciating to sit through and it doesn't start popping until around the 47 minute mark. Madison gives a terrific performance, better than the movie deserves although I found her character's stupidity annoying. As the Russian male bimbo, Eydelshteyn comes across as a poor imitation of the "wild and crazy" Czech brothers played by Dan Aykroyd and Steve Martin on SATURDAY NIGHT LIVE. Other than Madison, there is one other performance worth mentioning: Yura Borisov as a Russian henchman who brings some complexity to an underwritten role. I found much of the film repetitive and could have been shorn by 15 minutes at least. With Karren Karagulian, Vache Tovmasyan and Darya Ekamasova.
A down and out engineer (Wayne Morris) is in desperate need of money so he jumps at the chance at $1,000 for pretending to be engaged to society woman (Alexis Smith). What he doesn't know is that the woman's three previous fiances have all died mysteriously. Will he ferret out the killer or will he be the next victim? Directed by Lewis Seiler (GUADALCANAL DIARY). This combination of screwball comedy and horror is mildly amusing in spurts but overall, it's silly but not in a good way. Wayne Morris's character is a dolt who doesn't summon up much interest or empathy so we're left adrift without a character to invest in. The identity of the killer is supposed to be a surprise but choose the most unlikely suspect in the whole movie and you've solved it. Alexis Smith shows some spark and she would move on to better roles (and movies) and despite playing the usual stereotypical black comedy relief, Willie Best manages to provide some genuine laughs. With Brenda Marshall, Lee Patrick and Alan Hale.
Based on a true story, a social worker (Emily Watson) uncovers one of the most significant social scandals of recent times: the deportation of thousands of children from the United Kingdom to Australia. Children (some as young as 4 years old) who had been told their parents were dead and sent to children's homes on the other side of the world. But the injustice doesn't stop there as horror stories of what was done to them are revealed. Based on the non fiction book EMPTY CRADLES by Margaret Humphreys (played by Watson in the film) and directed by Jim Loach (MEASURE OF A MAN). This shocking scheme was first begun in 1869, largely discontinued in the 1930s but not entirely and not officially discontinued until the 1970s. The movie focuses on the children deported during the 1940s and 1950s. It wasn't until 2010 that the British government officially apologized for their part in this appalling scheme. It's a heartbreaking story and the movie doesn't manipulate the subject matter. Once again, the Catholic church's exploitation and abuse of these kids is horrendous. The strong central performance by Emily Watson gives the film an anchor to hold the movie together. With Hugo Weaving, David Wenham and Richard Dillane.
When a NATO plane accidently drops its nuclear cargo over Greece, the two pilots (Tom Courtenay, Colin Blakely) must retrieve the radioactive payload before government officials do. Written, produced and directed by Michael Cacoyannis (ZORBA THE GREEK). This black comedy is one of the most bizarre movies I've ever seen. Filmed in 1967, the movie is set in 1972 and the costumes (designed by director Cacoyannis) of the non Greek visitors have a slight futuristic look to them as does the dancing (choreography by Arthur Mitchell of the Dance Theatre Of Harlem) they do. While I appreciated the satire, its execution left something to be desired. The movie seems to go on forever covering the same ground. There's also a strong homoerotic undertone as Courtenay and Blakely spend the majority of the film running around in their tight jockey shorts while other male cast members wear bright colors (yellows, purples, reds) and see through shirts. Even Candice Bergen comes across as butch! I was entertained but probably not in the way the film makers intended. With Sam Wanamaker, Ian Ogilvy and Dimitris Nikolaidis.
Set in a Pacific Northwest U.S. Cavalry outpost in 1871. A renegade Shoshone leader (H.M. Wynant) is taking his time attacking the fort, waiting for the right time. Meanwhile, inside the fort, a clash of wills between the fort's stubborn commander (Edward Platt) and a Lieutenant (John Ericson) who was once his wife's (Lola Albright) lover threatens to put everyone at risk. Based on the novel by Gordon D. Shirreffs and directed by Paul Landres (THE RETURN OF DRACULA). Nothing to see here, just a routine Cavalry vs. the Indians fifties' western. The most interesting aspect of the movie is actually the subplot. The insanely jealous commander's (Platt) relationship with his bitter wife (Albright). I couldn't help but sympathize with her but, of course, the movie treats her as a conniving bitch who comes to a sad end. Albright brings more to the part than it deserves. With Rachel Ames, Toni Gerry (just awful as an Indian maiden) and Harvey Stephens.
A teenage girl (Angelina Jolie) moves from Philadelphia to New York City to pursue a modeling career. Her rise to the top of the modeling world is meteoric. But the price she pays is devastating. Directed by playwright turned director Michael Cristofer (THE SHADOW BOX). The tragic true story of Gia Carangi, often referred to as one of the very first "supermodels", her rise to fame in the fashion world and her descent into drugs and death from AIDS. Very well done for what it is, it's an unpleasant tale and often difficult to sit through. This was Angelina Jolie's breakthrough role and she's fantastic and the reason to see the film. In the hands of a lesser actress, this could have been yet another cautionary tale about the dangers of excess and drugs but Jolie's layered performance let's us see the innocent under the glamour, the hurt puppy looking for affection. With Faye Dunaway, Mercedes Ruehl, Mila Kunis, Elizabeth Mitchell, John Considine and Eric Michael Cole.
On the eve of her wedding, the bride (Helen Hayes) wrongfully blames the groom (Robert Montgomery) for her father's (Lewis Stone) death and banishes him forever. This leads to unhappiness when both get married to others and find themselves trapped in loveless marriages. Based on the novel by Hugh Walpole and directed by William K. Howard (FIRE OVER ENGLAND). Boy, does this one creak! I find movies about women self sacrificing their lives over men or children that are bad eggs rather masochistic. But in the 1930s, this was still considered noble! This was the kind of drivel that drove Helen Hayes back to the legitimate stage. After this film, she wouldn't make another movie (excluding a cameo as herself in STAGE DOOR CANTEEN) for 17 years. Here, she suffers and suffers as she can't get a divorce from her insane husband (Otto Kruger) and Robert Montgomery suffers along with her losing an arm in the war and a child to an early death. With May Robson, Donald Crisp, Jessie Ralph and Ethel Griffies.
A doctor (Walter Matthau), who is a recent widower, embarks on a quest to be a modern day Casanova. But when he meets a recent divorcee (Glenda Jackson) who won't be another one of his conquests, he must adjust his expectations of swinging bachelorhood. Directed by Howard Zieff (PRIVATE BENJAMIN). While it's nice to see a romantic comedy about two mature people, this rather mundane romcom goes nowhere. Moreover, I didn't find the movie's background of an incompetent hospital run by an incompetent staff amusing either. Patients die because of inept doctors, funny yes? Funny, no! What makes the movie tolerable is the star power and the chemistry between Matthau and Jackson. Reputedly, they loved working together and would go on to co-star in HOPSCOTCH two years later. The movie was a big hit and even spawned a TV series spinoff. With Art Carney, Richard Benjamin, Candice Azzara, Reva Rose, Thayer David, Brad Dexter and Jane Connell.
A private detective (Lloyd Nolan) attempts to escort a witness (Mary Beth Hughes) on a train going from Denver to San Francisco where she will testify at a trial. But there are people who don't want the girl to testify and will do anything in their means to stop her. Based on the novel SLEEPERS EAST (previously filmed in 1934) by Frederick Nebel and directed by Eugene Forde (CHARLIE CHAN ON BROADWAY). This is the second entry in the four movie 20th Century Fox franchise featuring the detective Michael Shayne. I'm a big fan of movies set on trains and if it's a thriller or a mystery set on a train, I'm doubly happy so this movie was right up my alley. It's a brisk, fast moving (one hour, 14 minutes) mystery drama and there's always something going on so there's no wasted time. Good fun! With Lynn Bari, Louis Jean Heydt, Edward Brophy and Mantan Moreland.
After the destruction of the House Atreides, its heir (Timothee Chalamet) and his pregnant mother (Rebecca Ferguson) accompany Fremen troops to the Fremen hold where he joins them in their battle against the Harkonnen. Based on the novel by Frank Herbert (previously filmed in 1984) and a sequel to DUNE (2021) and directed by Denis Villenueve (ARRIVAL). I wasn't a big fan of the 2021 installment but I found this entry superior. It's a true epic, spectacular in its visuals and far reaching in its scope. That being said, as good as it is, I found it much ado about nothing. It's like a beautiful coffee table book, an adornment that's pleasing to look at but essentially superficial. As to its narrative, it's bonkers but who goes to movies like this for plot? With Zendaya, Javier Bardem, Josh Brolin, Christopher Walken, Charlotte Rampling, Florence Pugh, Dave Bautista, Lea Seydoux, Stellan Skarsgard, Anya Taylor Joy and Austin Butler.
Set in New York City, a Korean war veteran (Don Murray) is addicted to drugs. While his brother (Anthony Franciosa in an Oscar nominated performance) knows about his habit, his pregnant wife (Eva Marie Saint) does not. When their estranged father (Lloyd Nolan) comes for a visit, things come to a head. Based on the play by Michael V. Gazzo and directed by Fred Zinnemann (A MAN FOR ALL SEASONS). Though the film is minimally opened up for the screen, it still plays out like a filmed play. The narrative is divided between the drug addiction scenario and the strained marital situation. The "kitchen sink" domestic scenes between Murray and Saint are a real drag although the domestic scenes between Saint and Franciosa are well written and played out. While the movie might have seemed strong stuff in 1957 (though the edge had been taken off by Preminger's THE MAN WITH THE GOLDEN ARM two years earlier), its impact has weakened over the ensuing years. The acting is good though. There's a potent score by Bernard Herrmann. With Henry Silva, Gerald O'Loughlin and William Hickey.
Bernie Madoff (Robert De Niro) has been a successful and influential financier and broker since the 1960s. So it comes as a shock to the Wall Street community when it's revealed that he defrauded investors of over $65 billion dollars. As the creator of the largest Ponzi scheme in history, the film follows the events of December 2008 and Madoff's downfall and the lives he destroyed including his own family. Based on the non fiction book by Diana B. Henriques (who plays herself in the movie) and directed by Barry Levinson (RAIN MAN). The film doesn't illuminate anything that we didn't already know about Madoff and there's a lot of padding here that could have been trimmed but overall, it remains a solid look at an evil man who won't or can't accept the cataclysmic harm of what he did. Levinson's direction might be questionable at times but the strong performances propel the narrative forward. As Madoff's wife, Michelle Pfeiffer bring an ambiguous empathy to her character so that you're both empathetic and unsympathetic at the same time. With Alessandro Nivola, Lily Rabe, Hank Azaria and Nathan Darrow.
A private detective (Patric Knowles) is hospitalized at a private hospital after a nervous breakdown. Instead of rest however, a murder occurs in the hospital and he's back in action. Based on the novel by Mignon B. Eberhart and directed by Bobby Connolly and Crane Wilbur. A low budget B programmer that should have been fun but its achingly unfunny humor turns its brief running time into a laborious dud. The movie has the usual trimmings, murders on a dark and stormy night, a plethora of possible murderers and all the suspects gathered in one room at the finale when the detective announces the killer. The murder mystery aspect of the movie is just okay but is there anything worse than a lame attempt at screwball comedy by people who don't know how to do it? With Ann Sheridan, John Ridgely, Charles Trowbridge and Jean Benedict.
An older gentleman gambler (Jean Gabin) hangs around racetracks looking for suckers and giving them fake "tips" on the horses. He never places the money because the horses aren't really expected to win and he pockets the money for himself. But how long can he continue to do this without getting caught? Directed by Gilles Grangier (LE DESORDRE ET LA NUIT). I'm not interested in horse racing and the technicalities of betting and odds are lost on me. So much of the movie's subject leaves me at a loss. Fortunately, the film isn't about horse racing but the charming Gallic con man played by Gabin. You can see why his victims are almost willingly taken in. It's a cinematic French meringue, crisp on the edges but light and fluffy on the inside. Handsomely shot in wide screen B&W by Louis Page (MAIGRET SETS A TRAP). With Madeleine Robinson, Paul Frankeur, Jean Lefebvre, Jacques Marin and the furiously overacting Louis De Funes.
The longtime news anchor (Peter Finch) of a struggling TV network is fired because of poor ratings. But after he has a disturbing breakdown on air and starts speaking his mind, his ratings pick up. An ambitious executive (Faye Dunaway) picks it up and runs with it, turning the show into a hit. Written by Paddy Chayefsky (MARTY) and directed by Sidney Lumet (THE VERDICT). I'm not the biggest fan of Chayefsky's writing, his writing style is often too obvious and he has a tendency to hit you over the head. Neither am I a fan of Lumet's directing style. But I have to admit they both hit the nail on the head with this dark satire on the (then) TV industry. One of the most prescient movies ever made, it still holds up today. When Ned Beatty's billionaire says, "There is no democracy. There is no America", I got chills! If the film were remade today, it wouldn't be about the TV industry but the internet with stand ins for men like Musk and Zuckerberg. The acting is excellent right down the line with Dunaway's calculating TV executive standing out. She's a fascinating monster but while repulsed, you can't help liking her. She has such glee in her wickedness. She even talks TV ratings before, during and after sex! With William Holden, Robert Duvall, Beatrice Straight (one great speech that won her an Oscar), Wesley Addy, William Prince, Darryl Hickman, Conchata Ferrell and Marlene Warfield.
Set in 1900 Alaska, an honest prospector (John Wayne) gets swindled out of his mine. He turns to a saloon proprietor (Marlene Dietrich) for assistance in his battle against a crooked gold commissioner (Randolph Scott). Based on the novel by Rex Beach (previously filmed in 1914, 1923, 1930 and again in 1955) and directed by Ray Enright (ANGELS WASH THEIR FACES). Despite the presence of Dietrich, Wayne and Scott, this is a surprisingly dull western. Its cinematic popularity (being filmed five times in a forty year period) eludes me. It is in fact, the three stars which hold the movie together. They're not movie stars for nothing! The film is famous for the fist fight finale between Wayne and Scott, one of the longest fist fights ever filmed at three minutes. The movie has some moments which don't play well today. Namely, John Wayne in blackface and Marietta Canty's stereotypical black maid. Its art direction got an Oscar nomination. With Margaret Lindsay, Harry Carey and Richard Barthelmess.
A newspaper columnist (Douglas Fairbanks Jr.) is in love with a struggling actress (Frances Dee). When the actress is blackmailed by a mobster (Lyle Talbot), he attempts to intervene but this intervention will end badly. Based on the novel by Rian James and directed by William A. Wellman (THE HIGH AND THE MIGHTY). For the film's first twenty minutes, I thought I was watching a pre code romantic comedy. Then it suddenly turns dark until we get blackmail, murder and the covering up of that murder. I found the movie's romantic cynicism and the lack of a "happy" ending refreshing and the murderer even gets away with it! The junior Fairbanks is at his most appealing and there's a nice turn by Lee Tracy as his best friend. A neat little romcom with a dose of arsenic that should be better known. With Ann Dvorak, Warren Hymer and Cecil Cunningham.
Set in rural Japan, when a small mining village starts to experience strange deaths in the nearby mines, authorities discover that the caves are besieged by giant caterpillars with an appetite for humans. But they're not the only creatures lurking in the caves. Directed by Ishiro Honda (the original GODZILLA). One of the more popular of the Japanese giant monster movies in the wake of the international success of GODZILLA (1954). This movie played often on TV during my childhood years and I developed a great affection for it. Even as a kid, I was touched by the end of the twin Rodan monsters, so devoted to each other that one couldn't/wouldn't live without the other. The special effects look only ever so slightly tacky today but there's a cheesy charm to them. While it doesn't have the human connection like the original GODZILLA (or the recent GODZILLA MINUS ONE), for fans of these Japanese creature features, there's still much to like. The score is by the Akira Ifukube. With Kenji Sahara and Yumi Shirakawa as the film's romantic leads.
Drawn to Mexico by a letter from an ex-reporter (Morris Ankrum), now an alcoholic expatriate that fled the country when the culprits in a murder case he covered threatened his life, a novelist (George Brent) helps spirit the fugitive and his daughter (Karen Sharpe) back to the U.S. But can he get them to safety in time with a crew of deadly killers in pursuit? Directed by Rex Bailey (FANGS OF THE ARCTIC). The pleasures of low budget B movies are erratic. Often their incompetence make you lose interest fast, other times you get a quick fix like eating at MacDonald's to tide you over till you can get a decent meal. MEXICAN MANHUNT is like the latter. It's quick, unpretentious and serves its purpose. This crime film is basically a road movie with its participants pursuing and being chased while switching cars, driving backroads and attempting to outwit their pursuers. The identity of Mr. Big, the man behind it all, is supposed to be a surprise but the list of suspects are practically nil so its pretty easy to guess who it is. With Hillary Brooke, Marjorie Lord, Douglas Kennedy, Alberto Morin and as the most incompetent hit man I've ever seen in a movie, Marvin Press.
Set in 1880 Colorado, when a stranger (Jerry Gatlin) is caught cheating in an after hours poker game, one (Roddy McDowall) of the players goads the other players into lynching the man. When two townspeople are murdered, a gambler (Dean Martin) remembers both the dead men were playing in the fatal card game. Eventually, the killer stalks the other players until there is only one left. Based on the novel by Ray Gaulden and directed by Henry Hathaway (TRUE GRIT). The mid 1960s saw a spate of "buddy" westerns with two big male stars (think Wayne & Mitchum in EL DORADO, Wayne & Douglas in THE WAR WAGON, Wayne & Hudson in THE UNDEFEATED, Martin & Peppard in ROUGH NIGHT IN JERICHO etc.). Here it's Robert Mitchum as the town's preacher opposite Martin. Most of them were routine and could easily be dismissed. 5 CARD STUD didn't deserve that fate as it's rather different. If Agatha Christie wrote a western, it might have played out like 5 CARD STUD. It's not to difficult to identify the killer after the first half hour but it's not who is the killer as to how and when will the killer be found out? Both westerns and mystery fans should enjoy this. With Inger Stevens, Yaphet Kotto, Katherine Justice, Ted De Corsia and Ruth Springfield.
At a state hospital for dangerous criminals, Arthur Fleck (Joaquin Phoenix) aka The Joker is awaiting trial for the murder of five people. It is there he meets a strange woman (Lady Gaga) who is fascinated by his persona of The Joker. Directed by Todd Phillips (THE HANGOVER). A sequel to the 2019 film, JOKER which was a massive hit and won Joaquin Phoenix a best actor Oscar. I had mixed feelings about the first JOKER movie but not about Phoenix's performance that was justly lauded. This film bombed at the box office and received negative reviews. Is it that bad? I don't think so. Oh, it's a failure all right but I liked that director Phillips took the sequel in a different direction which angered the original film's fanboys. He turned it into a nihilistic jukebox musical! Quentin Tarantino is a big fan of the film and called it a "big f*ck you to the audience" and that about sums it up. Who was the film designed for? JOKER fanboys wanted more of the same, not a musical and fans of movie musicals aren't interested in DC stuff. Alas, Phillips doesn't fully commit to the musicals aspect and only two numbers remotely work: Lady Gaga's rendition of Close To You and their duet on Gonna Build A Mountain. I'll chalk it up as an ambitious, often fascinating mess. With Brendan Gleeson, Catherine Keener, Zazie Beetz and Steve Coogan.
A caricaturist (Ronald Colman) and a girl (Ginger Rogers) who works in a bookshop share the cost of a sweepstakes ticket. The catch: although she's engaged to an insurance salesman (Jack Carson), if they win she'll go on a platonic "honeymoon" with him. Based on the French film BONNE CHANCE (1935) and directed by Lewis Milestone (ALL QUIET ON THE WESTERN FRONT). Full of suggestive situations but still clean enough to get by the code, this is a rather sweet romantic comedy. By 1940, Rogers had more than proven herself as an expert comedienne but Colman doesn't seem suited to romcom material. The critics gave it good reviews (maybe overpraised it) and it was a hit with audiences. I found it charming enough but it lacked the sparkle and wit that would make it a true classic of Golden Age comedy like THE AWFUL TRUTH or HIS GIRL FRIDAY. Still, I'm grateful for what it is ..... sassy and fun. With Spring Byington, Harry Davenport, Leon Belasco and Lucile Gleason.
Based on the true story of Joseph Merrick (John Hurt), called John Merrick in the film, a severely deformed man in 19th century London. He is rescued from an abusive carnival show by a surgeon (Anthony Hopkins) and taken to London hospital where he is studied and taken care of. Based on two books, THE ELEPHANT MAN: A STUDY IN HUMAN DIGNITY by Ashley Montagu and THE ELEPHANT MAN AND OTHER REMINISCENCES by Frederick Treves and directed by David Lynch (BLUE VELVET). The first mainstream movie by the visionary Lynch, this is a beautifully crafted and poignant film though often difficult to watch. The human cruelty is hard to take and Lynch doesn't allow us to look away. That John Hurt was able to give such a strong performance under all that prosthetic make up is truly remarkable. The striking B&W cinematography is by the great Freddie Francis (ROOM AT THE TOP). With Anne Bancroft, John Gielgud, Wendy Hiller, Freddie Jones, Michael Elphick, Lesley Dunlop and John Standing.
Once a child piano prodigy from a professional musical family, an ill tempered young man (Jack Nicholson) now works on oil rigs in the oil fields. He lives with his uneducated girlfriend (Karen Black), who work as a waitress. When word gets to him that his father (William Challee) is dying, he drives up to Washington state. Directed by Bob Rafelson (KING OF MARVIN GARDENS). One of the key films of the "new" Hollywood of the 1970s, Nicholson's alienated character doesn't fit in anywhere. He feels superior to the lower class company he keeps like his brainless girlfriend and his oil rig pals but he loathes the intellectual pretensions of the artistic upper class where he came from. You can feel Nicholson's rage and contempt bottling up but he has no idea what he wants or where to fit in. Thematically, the film is a riff on the superior SOME CAME RUNNING (1958), Nicholson's character echoing Frank Sinatra's novelist. I wasn't sympathetic to Karen Black's country singing waitress either, she was clinging and annoying, no wonder Nicholson wanted to get away from her. Compare her to SOME CAME RUNNING's poignant Ginny (Shirley MacLaine). With Susan Anspach, Lois Smith, Billy Green Bush, John P. Ryan, Sally Struthers, Fannie Flagg, Helena Kallianiotes, Ralph Waites, Toni Basil, Irene Dailey and as the waitress in the famous chicken salad scene, Lorna Thayer.
A taxi driver (Henry Fonda) and his waitress girlfriend (Maureen O'Sullivan) plan on buying their dream house and his starting up his own taxi cab business. But when he and a friend (Alan Baxter) are arrested for murder after being identified by witnesses, his fiancee is determined to find the evidence to prove their innocence. Based on the short story MURDER IN MASSACHUSETTS by Joseph F. Dinneen and directed by John Brahm (HANGOVER SQUARE). The story itself was based on a real murder case although much dramatic license has been taken. Some 17 years before Fonda played the wrongly accused man in Hitchcock's THE WRONG MAN, this film is very similar thematically and in its outcome. It's a solid effort and even Fonda (not a favorite) is good. But the movie really belongs to the feisty O'Sullivan. The film is also subtly anti-capital punishment. With Ralph Bellamy, Stanley Ridges and John Qualen.
An aging gold digger (Kay Francis) is no longer able to attract rich men so she does the next best thing. She mentors a young girl (Mildred Coles) that she passes off as her niece and together they con men out of their money and split the profits. Directed by Frank Woodruff (LADY SCARFACE). Ostensibly a comedy, I found the film rather sad. At age 36, Kay Francis was still attractive and vital and to see her reduced to pimping an innocent young girl and pushing her toward a life of using men for profit, I was not amused. But this being 1941, it has a happy ending and everybody gets what they want and no one gets hurt. It's passable entertainment and Kay Francis fans should enjoy it. With James Ellison, Nigel Bruce, Margaret Hamilton (doing the wise cracking Thelma Ritter maid bit), Katharine Alexander and G.P. Huntley.
After his brilliant scientist son (Ross Martin) is killed in an accident, his father (Otto Kruger) transplants his brain into the huge body of a cyborg. But the experiment soon backfires when the cyborg becomes independent and takes control of the father. Directed by Eugene Lourie (THE BEAST FROM 20,000 FATHOMS). This minor B science fiction flick was released on a double bill rather than on its own. Still, it has acquired a small cult following. Why, I don't know as I found it an unexceptional updated retelling of the Frankenstein story. Its ineptitude can be seen toward the end when the man built monster starts killing people at the United Nations. Instead of running away in terror, people stand there screaming so they can be next in line to be killed! Ross Martin does some good voice acting as the cyborg but the rest of the cast sinks (or should I say stinks?). With Mala Powers, John Baragrey, Robert Hutton and Charles Herbert giving one of those horrible child actor performances that doesn't resemble any actual living kid.
An architect (Maurice Ronet) is unhappily married to his shrewish wife (Yvonne Furneaux). His interest in the murder case of a suspected wife killer (Gert Frobe in a genuinely creepy performance) is fueled after the man is acquitted and he strikes up an acquaintance with the man, who is still under suspicion by a police detective (Robert Hossein) that will have dire consequences. Based on the novel THE BLUNDERER by Patricia Highsmith (THE TALENTED MR. RIPLEY) and directed by Claude Autant Lara (THE DEVIL IN THE FLESH). An intense noir-ish thriller strikingly directed by Autant Lara, a director not noted for thrillers. The cat and mouse interplay between the three protagonists (Ronet, Frobe, Hossein) is expertly done. We observe coolly from a distance as all the characters are unpleasant or unlikable to some degree. Even Hossein's detective is a nasty piece of goods. Fans of film noir should eat this up. With Marina Vlady and Paulette Dubost.
Set in Glendale, California during the Great Depression of the 1930s. A recent divorcee (Kate Winslet) struggles to raise her two daughters: the pretentious Veda (Morgan Turner who morphs into Evan Rachel Wood) and the tomboyish Ray (Quinn McColgan). She eventually finds financial success when she turns her pie baking skills into a successful series of restaurants. She's less of a success as a mother as she indulges her older daughter's selfish ways and doesn't realize she's created a monster! Based on the novel by James M. Cain (previously filmed in 1945) and directed by Todd Haynes (FAR FROM HEAVEN). Cain's novel is about a middle class divorcee trying to maintain her lifestyle during the depression and about her tumultuous relationship with her devious daughter. The popular 1945 film adaptation turned it into a film noir by adding a murder which isn't in the book thus changing Cain's intent where there is no violence. Running over five hours, Haynes' adaptation is a faithful rendering of Cain's novel. Winslet gives a virtuoso performance and seeing a real actress in the part (sorry, Crawford fans) is a revelation. With Guy Pearce, Melissa Leo, Mare Winningham, James LeGros, Brian F. O'Byrne and Hope Davis.
A Hungarian born Jewish architect (Adrien Brody) survives the Holocaust and immigrates to America. Although addicted to heroin, he struggles to attain the American dream until a wealthy client (Guy Pearce) enters and changes his life. Co-written and directed by Brady Corbet (VOX LUX), who won the best director award at the Venice film festival for his work here. An epic period drama that runs three hours and 40 minutes including an intermission and shot in the higher resolution VistaVision process. It's a powerful look at the immigrant experience starting with 1947 and ending in 1980 with Brody's architect a broken man at the film's beginning and try as he might, he can't seem to heal himself. Brody is amazing here but the best performance comes from Guy Pearce as his disturbed mentor. It's ambitious film making and director Corbet aces it. The period detail in the art and set direction is stunning, almost as if I were watching a movie in the 1940s or 1950s. There are some unpleasant images in the film, the shooting up of heroin and the most disturbing male rape scene since DELIVERANCE (1972). The audacious score is by Daniel Blumberg. The excellent cast includes Felicity Jones (sensational as Brody's wheelchair bound wife), Joe Alwyn, Raffey Cassidy, Stacy Martin, Issach D. Bankole and Alessandro Nivola.
A single mother (Anna Kendrick) runs a video blog while raising her son (Joshua Satine). At her son's school, she meets another mother (Blake Lively), who has a high powered job and the women become best friends although they are very different. But when her friend goes missing, she takes it upon herself to discover what happened but when the friend's dead body is found drowned in a lake, that would seem to be the end of it. But it isn't ..... and a darker scenario shows that her deceased friend wasn't exactly who she thought she was. Based on the novel by Darcey Bell and directed by Paul Feig (BRIDESMAIDS). I love a good mystery movie and this black comedy/mystery is a humdinger. Alas, like many such films it can't sustain itself until the end and the movie's last half hour is pretty ludicrous. But up till then I was glued to the screen. Both Kendrick and Lively are very good, giving contrasting performances, one sugar (Kendrick) and one spice (Lively). There are enough twists and turns to keep movie mystery lovers happy. With Henry Golding, Jean Smart, Linda Cardellini and Rupert Friend.
Rescued from drowning in the swimming pool of a nouveau riche Beverly Hills businessman (Richard Dreyfuss), a homeless bum (Nick Nolte) proceeds to turn the entire household upside down. Based on the play BOUDU SAUVE DES EAUX by Rene Fauchois (previously filmed in 1932 by Jean Renoir) and directed by Paul Mazursky (BOB & CAROL & TED & ALICE). It's funny what time does to your perception of a movie. When I first saw this film on its initial release, I thought it was positively hilarious. While I still found much to enjoy this time around, I found the movie strained and more than a bit smug. Has my sense of humor changed or was the movie always this way? Mazursky gives the movie a silly bourgeois Hollywood ending rather than the free spirited "thanks but no thanks" ending of the Renoir version. Still fun even if its lost some of its luster. With Bette Midler, Little Richard (who gets to sing), Elizabeth Pena, Tracy Nelson, Michael Yama, Dorothy Tristan, Irene Tsu and a scene stealing dog called Mike.
When the wealthy and eccentric Lord Dwellyn (Norman Stuart) dies, his funeral also doubles as a wedding when he marries his mistress (Stella Stevens). But in order to inherit his wealth, she must live in his mansion along with his corpse for the rest of her life. However, when his relatives and friends start getting killed off, his bride fears she may be next! Directed by Georg Fenady (TERROR IN THE WAX MUSEUM). Horror comedies (CAT AND THE CANARY, GHOST BREAKERS) are usually fun but this one misses the boat. Its droll humor is amusing in fits and spurts but overall, the laughs just aren't there. One can't fault the cast who try their damnedest but other than Elsa Lanchester doing her specialty as the deceased's dotty sister, the actors flounder. It's not so much the script but Fenady's sluggish direction. The man doesn't seem to have a funny bone in his directorial body. With Roddy McDowall, Farley Granger, Shani Wallis, Patric Knowles, Victor Buono, Jamie Farr, John McGiver and Bernard Fox who wastes way too much screen time as an unfunny constable.
A racketeer (Victor McLaglen) pays for his protege (John Baer) to go to law school. But when he graduates, the young man has second thoughts about his mentor's business and this feeling is intensified when he falls in love with a girl (Kathleen Crowley) from a good family. Directed by William Witney (THE BONNIE PARKER STORY). A mundane crime potboiler with Victor McLaglen giving the same blustery performance he'd been giving for years. Equal measures of sentimentality and crime but none of it mounting to anything other than a B movie potboiler. Even with its brief running time of 70 minutes, it quickly becomes tedious. The film ends with a ludicrous shoot out on a ski lift and a wounded and dying McLaglen climbing the ski lift, taking falls and climbing snow covered slopes. With Anthony Caruso, June Vincent, Nicolas Coster, Richard Reeves and Edith Evanson.
After the Pope (Bruno Novelli) dies of a heart attack, an English cardinal (Ralph Fiennes) leads a conclave which will elect a new Pope. But secrets and corruptions among the most popular candidates threaten to upend the election process. Based on the novel by Robert Harris and directed by Edward Berger (ALL QUIET ON THE WESTERN FRONT). A first rate melodrama with excellent performances (Fiennes is brilliant)! The intricacies of the Roman Catholic papal election process are, for the most part, painstakingly adhering to accuracy although there are some dubious matters (like in pectore) that are questionable. The film works as a spellbinding mystery as layers are peeled, each revealing that the cardinals are just as prone to ambition or tempted by corruption as lesser mortals. It's gripping, amusing and filled with tension. Die hard Catholics may perceive an anti Catholic bias or resent the more progressive views of the film. With John Lithgow, Stanley Tucci, Isabella Rossellini, Sergio Castellitto, Brian F. O'Byrne and Carlos Diehz.
An inquisitive television reporter (Leslie Nielsen) covers an automobile accident involving a U.S. senator (Bradford Dillman) but when he goes to the hospital where the senator was taken, he is told no record of any such patient exists. When he investigates, deadly attempts are made to stop him. Directed by Bob Wynn (THE NURSE KILLER). Shot on videotape, it was transferred to film for its theatrical and TV release. Shot in 17 days, it was one of the earliest films to deal with cloning although the term is never used in the movie. Its potentially intriguing narrative is sabotaged by sloppy writing and the script is full of plot holes. The New Mexico lab is supposed to be a top secret institution with heavy security but doors are left unlocked allowing anyone to go in and Nielsen's character easily breaks into the place. With Angie Dickinson, James Daly, Jack Carter and Robert J. Wilke.
A young but feisty taxi dancer (Lana Turner) is invited by a drunken but wealthy college boy (Lew Ayres) to a swanky upper crust weekend at his ivy league school. When she shows up, he doesn't even remember her. Humiliated, she turns the tables on the snobby college set. Based on a short story by Jane Hall and directed by S. Sylvan Simon (THE FULLER BRUSH MAN). An entertaining programmer with an 18 year old Lana Turner on the cusp of stardom. It's always fun to see snooty snobs get their comeuppance but there's more to some of the characters than just that. Notably, Marsha Hunt as an aging debutante unable to face that's she's no longer young. The movie telegraphs her tragic fate rather unsubtly. With Anita Louise, Ann Rutherford, Richard Carlson, Jane Bryan, Peter Lind Hayes, Mary Beth Hughes, Tom Brown and Ernest Truex.
Produced by Walt Disney, eight animated segments are set to pieces of classical music with the renowned Leopold Stokowsi conducting the Philadelphia orchestra. A unique and daring concept for its day and if seen in one's childhood, the imagery is retained forever. Audacious for 1940, I suspect in today's reactionary atmosphere, some of the imagery would be attacked. Certainly in a Disney animated movie, one doesn't expect nude females practicing satanic rituals (Mussorgsky's NIGHT ON BALD MOUNTAIN) or drunken orgies (Beethoven's PASTORAL SYMPHONY) and surely, the religious creationists would take offense at the suggestion that we evolved from lower creatures (Stravinsky's RITES OF SPRING). For me, the film's highlight has always been the charming comedic ballet of ostriches, elephants, hippos and alligators (Ponchielli's DANCE OF THE HOURS). The film is also the first use of stereophonic sound in a major motion picture. Considered a "longhair musical", the film was a surprise hit and ran in one theatre in New York City for almost a year. But the film's cost was prohibitive so FANTASIA didn't show a profit until many years later, notably in 1969 when it became popular with teenagers and college students because of its psychedelic features. When I saw the 1969 reissue, the aroma of marijuana in the theatre was thick.
NASA successfully lands a robotic surveyor on Mars but it is almost immediately destroyed by some unknown energy. Meanwhile, the scientist (Kent Taylor) in charge of the project returns to his home in California where strange occurrences suggest that Martians have duplicated doppelgangers of his family. Directed by Maury Dexter (HOUSE OF THE DAMNED). This low budget slice of B&W sci-fi Cinemascope cheese is a bore! Not much happens other than the cast walking or running around the large mansion (the Greystone Mansion in Beverly Hills) that serves as the location for the majority of the movie's brief (although it doesn't seem brief) running time. The movie was relegated to the lower half of a double feature, in this case an Elvis Presley movie. The film's cardinal sin is wasting the wonderful Marie Windsor as Taylor's constantly fretting wife. With William Mims and Betty Beall.
Set in rural Oregon, a one night stand between a kinky woman identified as the lady (Willa Fitzgerald) and a man identified as the demon (Kyle Gallner) so eager to get laid that he'll try anything turns into a deadly cat and mouse game. Written and directed by JT Mollner (OUTLAWS AND ANGELS). Billed as "a thriller in six chapters" the film is told in a nonlinear order beginning with chapter three rather than chapter one. It's a wild ride although what should have been a surprise revelation midway through the film is obvious rather early in the movie. There are many twists and turns but if you hang in there long enough, it pays off in the end. Fitzgerald is terrific here and Gallner is good, too. The body count is pretty high which should please those who like a lot of blood in their thrillers (some may even consider it a horror movie). Actor Giovanni Ribisi is one of the movie's producers and impressively makes his debut as a cinematographer with this film. With Barbara Hershey and Ed Begley Jr.
Just released from prison for embezzlement, a con artist (Peter Ustinov) uses another man's identity to get a job with a major corporation and then proceeds to use their mainframe computer to issue checks to bogus companies, then proceeds to cash the checks! Directed by Eric Till (IMPROPER CHANNELS). The screenplay of this British comedy caper film was inexplicably nominated for an Oscar for best original screenplay! It's modestly entertaining but far from fresh or original. Ustinov's corporate thief isn't very likable so we're not rooting for him to get away with the money and the corporation he's embezzling from isn't particularly odious so we don't have a grudge against them. There's no tension or suspense which is deadly for a heist film, comedy or drama. Two performances stand out: Maggie Smith (a last minute substitute for Lynn Redgrave) as an incompetent secretary, who ends up as Ustinov's love interest and Bob Newhart as Ustinov's company rival. With Karl Malden, Robert Morley and Cesar Romero.
An impoverished Polish princess (Norma Shearer) falls in love with a ne'er-do-well penniless baron (Melvyn Douglas) who makes his living as a professional guest in the homes of awe struck Americans who are impressed with titled nobility. Loosely based on a play by Noel Coward (part of his TONIGHT AT 8:30 plays) and directed by Robert Z. Leonard (ZIEGFELD GIRL). This high drawing room comedy needs some champagne sparkle in order to succeed but it's more like stale beer. Shearer was nearing the end of her reign as the queen of MGM and it's movies like this that hastened her retirement. Melvyn Douglas who's usually adept at comedy stumbles but given the flat material and uninspired direction, he's forgiven. To their credit, they do try but they try too hard as if they realize the material is weak and overcompensate. There's a courtroom scene that's supposed to be hilarious but it's painfully unfunny. The supporting cast is good: Marjorie Main, Gail Patrick, Lee Bowman, Florence Bates, Connie Gilchrist and Alan Mowbray.
Hong Kong police are perplexed by a series of infant kidnappings. 18 babies have been kidnapped so far and they are clueless as to the perpetrator. Their only hope is a trio of women: the wife (Anita Mui) of a police inspector (Damian Lau), a bounty hunter (Maggie Cheung) and a woman (Michelle Yeoh), who knows why the babies are being kidnapped. Directed by Johnnie To (BREAKING NEWS). I'm not a big fan of Hong Kong martial arts movies and the fantastic plot of this martial arts mayhem is bonkers! And a bit distasteful what with kidnapping and killing babies, cannibal children, decapitations and mutilations etc. Fortunately, the three leading actresses are very appealing and Michelle Yeoh's storyline has the strongest emotional connection which resonates just enough to make you care. The film's setting has a noir-ish big city feel to it. Totally absurdbut there's a certain appeal to its nonsensical nuttiness. With Yen Shi Kwan and Anthony Wong.
An accident prone inventor (Red Skelton) of safety gadgets winds up driving a cab to prove the worth of his latest brainchild, an unbreakable windshield he calls Elastiglass. Meanwhile, a crooked lawyer (Edward Arnold) and a phony psychiatrist (Walter Slezak) plot to steal his secret formula. Directed by Jack Donohue (ASSAULT ON A QUEEN). Red Skelton is a problematic comic actor. You either love him or hate him. I'm rather indifferent toward him myself and I've enjoyed him as much as I've disliked him. This film is a mixed bag, full of slapstick and pratfalls and the chuckles tended to be few and far between. I think I laughed twice. It's not horrible, just tedious. The 1950 public apparently liked it enough to make it a hit. With Gloria DeHaven, James Gleason, Jay C. Flippen and Herbert Anderson.
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