The Keyhole (1933)

A socialite (Kay Francis, gloriously overdressed) is married to an older wealthy gentleman (Henry Kolker) while not quite properly divorced from her sleazy ex husband (Monroe Owsley). She flees to Cuba to untangle her life but her suspicious husband hires a private detective (George Brent) to tail her. Based on the short story ADVENTURESS by Alice D.G. Miller and directed by Michael Curtiz (WHITE CHRISTMAS). This lively pre code dramedy is rather absurd in its complicated machinations that all come out well in the end but it's enjoyable in its romantic pulpiness nevertheless. There's an amusing subplot involving Glenda Farrell as a scheming scam artist bilking wealthy men out of their money who mistakes Brent's dull witted assistant (Allen Jenkins) for a rich man. With Helen Ware and George Chandler.

The Virginian (1946)

Set in 1885, a young woman (Barbara Britton) sets out from Vermont by train to Wyoming where she has a job as a school teacher. It's there she meets a cowboy (Joel McCrea) known as The Virginian and eventually falls in love with him. But she discovers the ways of the West are contrary to her upbringing. Based on the novel by Owen Wister and directed by Stuart Gilmore (THE HALF BREED). The third film version of the Wister novel, previously filmed in 1914 and 1929 and would eventually be filmed again in 2000. Handsomely shot in three strip Technicolor by Harry Hallenberger (LOUISIANA PURCHASE), it's an above average western despite Gilmore's lackluster direction. The relationship between McCrea and Britton and the film's finale echo the Cooper/Kelly aspect of HIGH NOON (1952). There's a lynching scene that's disturbing even though the victims are cattle rustlers. With Brian Donlevy, Fay Bainter, Sonny Tufts and Tom Tully.

The Hit (1984)

A British gangster's henchman (Terence Stamp) turned informer is trying to live in peaceful hiding in a remote Spanish village. One day two hit men (John Hurt, Tim Roth) kidnap him to bring him back for execution. Directed by Stephen Frears (DANGEROUS LIAISONS). What on the surface appears to be a traditional crime film is really a mythical contemplation of life and death. What should have been a simple "hit" turns messy when two other people (Bill Hunter, Laura Del Sol) become involved and Hurt's assurance slowly erodes. Mike Molloy's (THE SHOUT) lensing of the sparse Spanish countryside imparts a foreboding and almost imaginary aura to the movie. The performances are first rate all around. A distinctive film worth your time. With Fernando Rey and Jim Broadbent.

The Sheep Detectives (2026)

In a rural English village, a shepherd (Hugh Jackman) reads murder mysteries to his flock of sheep each evening. When the shepherd is murdered by persons unknown, the flock takes it upon themselves to solve the murder! Based on the novel THREE BAGS FULL by Leonie Swann and directed by Kyle Balda (MINIONS). An absolute delight! Not only a charming mixture of live action and computer generated animation but a damn good murder mystery! It's also a contemplative rumination on death, emotions and discrimination without going all preachy on us. It's amusing (though not of the belly laugh variety) and heartfelt in just the right places. The live action cast includes Emma Thompson, Hong Chau, Nicholas Braun, Nicholas Galitzine, Molly Gordon and Tosin Cole and the excellent sheep voice cast includes Julia Louis Dreyfus, Bryan Cranston, Patrick Stewart, Chris O'Dowd, Regina Hall, Tommy Birchall and Laraine Newman.

Foreign Affairs (1993)

A divorced, no nonsense college professor (Joanne Woodward) travels to England to do some research. Her seatmate on her flight is a talkative Oklahoman (Brian Dennehy) that gets on her nerves. When the flight arrives in London, she is glad to be rid of him. Alas, it won't be that last she sees of him. Based on the Pulitzer prize winning novel by Alison Lurie and directed by Jim O'Brien (THE JEWEL IN THE CROWN). A bittersweet romance anchored by two good performances but enough changes from the book that turn it into a sentimental tearjerker. The film is saddled with a subplot involving Woodward's young colleague's (Eric Stoltz) affair with an older TV actress (Stephanie Beacham) that seems superfluous. Unmemorable but for the two lead performances. With Ian Richardson, Robert Hands and Alex Kingston.

Le Saut De L'Ange (aka Angel's Leap) (1971)

In Bangkok, after his wife (Sophie Boudet) is mistakenly killed by a bullet intended for him, an ex-gangster (Jean Yanne) leaps back to France to exact revenge. But the mobsters who targeted him in Bangkok are waiting for him. Based on the novel by Bernard Paul Lallier and directed by Yves Boisset (LA FEMME FLIC). A taut and engaging vengeance thriller a la Francais. More complex than your routine Charles Bronson run amok revenge movie. By the movie's end, the body count is high what with characters murdered, both the guilty and the innocent, a suicide and you realize the futility of revenge. On one hand, you want Yanne to get his revenge (his wife is among several family members killed) but after all the bloodshed there are no winners. As the old adage says, an eye for an eye just ends up with everybody blind. With Sterling Hayden, Senta Berger, Raymond Pellegrin, Gordon Mitchell, Daniel Ivernel and Giancarlo Sbragia.

Speedway (1968)

A NASCAR racing driver (Elvis Presley) bails friends and acquaintances out of financial hardship. Unfortunately, his business manager (Bill Bixby) is a compulsive gambler and has mismanaged the driver's income. Enter the Internal Revenue Service in the form of an agent (Nancy Sinatra). Directed by Norman Taurog (BROADWAY MELODY OF 1940). After KID GALAHAD (1962), Presley pretty much gave up on dramatic acting and SPEEDWAY remains a typical example of the Elvis formulaic movies that followed. It's the usual mixture of pretty girls, inane comedy, a handful of songs whipped together and presto! An Elvis movie! Outside of GRAND PRIX (1966), racing movies hold no interest for me so I found the movie on the tedious side. On the plus side, the choreography by Alex Romero is lively and Presley lets his leading lady (Sinatra) do a song of her own as well as a duet with him. With Gale Gordon and William Schallert.

Signe Arsene Lupin (1959)

At the end of WWI, the gentleman thief Arsene Lupin (Robert Lamoureux) resumes his mischievous lifestyle with zeal. The theft of three paintings committed by an adversary (Yves Robert) leads him to the mysterious treasure of the Golden Fleece. Based on the character created by Maurice Leblanc in 1905 and directed by Yves Robert (THE TALL BLOND MAN WITH ONE BLACK SHOE). One of the lesser adventures of Arsene Lupin hampered by some miscasting. Gentleman thieves are still criminals and in order to win the audiences over they need charm (think Ronald Colman in RAFFLES or David Niven in THE PINK PANTHER) or else a strong star presence (Steve McQueen in THE THOMAS CROWN AFFAIR). Alas, Lamoureux has neither. In fact, Lamoureux comes across as smug and annoying. The contrived plot is overly complicated and there's nothing really to hold our interest. A disappointment. With Alida Valli, Jacques Dufilho and Roger Dumas.

Tish (1942)

A bossy, hard headed old maid (Marjorie Main) tends to stick her opinions and nose where it's not wanted. When she decides to break up her nephew's (Lee Bowman) engagement to a girl (Virginia Grey) she doesn't like and push him into the arms of another girl (Susan Peters), things don't go as planned. Based on a short story by Mary Roberts Rinehart and directed by S. Sylvan Simon (THE FULLER BRUSH MAN). Marjorie Main was a character actress and rarely starred in a film of her own (that would change with the Ma and Pa Kettle movies). TISH is one of the rare films all her own, it's even named after her character. This one is fitfully amusing and Main's bossy old maid is assisted by two spinster friends (Zasu Pitts, Aline MacMahon) who provide contrast (Pitts is ditsy, MacMahon is acidic) to contrast with Main's cantankerous virago. The movie takes a dark turn when a major character tragically dies. The film was a hit and I'm surprised that MGM didn't try to make a Tish series similar to the Maisie series. With Guy Kibbee and Richard Quine, who would quit acting to direct movies (BELL, BOOK AND CANDLE).

Lilly Turner (1933)

A hard luck dame (Ruth Chatterton) has a terrible habit of falling for the wrong men. After her abusive bigamist husband (Gordon Westcott) abandons her when she's pregnant, she marries an alcoholic carnival barker (Frank McHugh). But when a psychotic muscle man (Robert Barrat) develops an obsession with her and a genuine, gentle man (George Brent) enters her life she attempts to control her own destiny. Based on the play by Philip Dunning and George Abbott and directed by William A. Wellman (THE HIGH AND THE MIGHTY). An odd pre code racy melodrama. I like Ruth Chatterton but she seems rather matronly (she was 41 at the time) to have so many men hot for her. I couldn't help but think how Barbara Stanwyck (26 at the time the movie was made) or Joan Crawford (29 at the time) would have been better cast. That aside, Wellman gives the film an appropriate sordid atmosphere that gives it some authenticity. At a brief running time of one hour and five minutes, it's quite watchable. Three years later when the production code administration was in effect, Warners attempted to reissue the film but the PCA denied them a certificate. With Marjorie Gateson and Ruth Donnelly.

Tall In The Saddle (1944)

A cowboy (John Wayne) arrives in the western town of Santa Inez to work as a foreman for the K.C. ranch. But he finds out that the owner of the ranch was murdered and the ranch inherited by his grandniece (Audrey Long). But there's a lot more to the mysterious cowboy than he's letting on. Based on the novel by Gordon Ray Young and directed by Edwin L. Marin (NOCTURNE). A minor entry in the John Wayne western canon but a solid one. It works as both a western and a mystery. When it comes to leading ladies, Wayne always worked better with a strong actress and here the underrated Ella Raines is a match for him. There are enough shootouts, chases and fist fights to satisfy the western fans but the movie is a bit more than that and should appeal to moviegoers who aren't particularly interested in westerns. Audiences liked it enough to make it a hit. With the annoying Gabby Hayes, Ward Bond, Elisabeth Risdon, Frank Puglia and Don Douglas.

Manon Des Sources (aka Manon Of The Spring) (1986)

Ten years after her father's death, Manon (Emmanuelle Beart) has no idea that her neighbor (Yves Montand) cheated her out of her father's land. But when she discovers that he and his nephew (Daniel Auteuil) were directly responsible for her father's death,  she goes after them with a vengeance. Based on the novel THE WATER OF THE HILLS by Marcel Pagnol (an adaptation of his 1952 film MANON DES SOURCES) and directed by Claude Berri (THE TWO OF US). Not a sequel but the second part of Berri's JEAN DE FLORETTE (they were shot back to back) which had been released three months earlier. Not only a satisfying conclusion to the tale but I think I liked it a tad more. Stunningly shot by Bruno Nuytten (BRUBAKER), it's a satisfying conclusion to a tale of deceit, betrayal and revenge. It allows us to eventually have empathy for Auteuil's bumbling hick and even Montand's destructive patriarch, both of whom we detested in JEAN DE FLORETTE. With Hippolyte Girardot and Yvonne Gamy.

11 Harrowhouse (1974)

With the help of a wealthy playgirl (Candice Bergen) and an angry employee (James Mason), a small time diamond merchant (Charles Grodin) attempts a daring robbery of the world's largest clearinghouse for diamonds. Based on the novel by Gerald A. Browne and directed by Aram Avakian (END OF THE ROAD). I'm partial to a good heist film but this one is a mess. It's supposed to be a heist comedy/thriller but there are no laughs and no tension. Everything seems so haphazard (reputedly the movie had many rewrites) and unfocused and Avakian never directed another movie. Clearly, he was the wrong director for a movie like this. As the film's leading man, Grodin is also a problem. He was never leading man material and this movie shows why. He doesn't have a strong screen presence, he's rather unpleasant in fact. Not to mention the most tedious and endless car chase that brings the movie to its near close. Only James Mason manages not to embarrass himself. With Trevor Howard, John Gielgud, Helen Cherry and Peter Vaughan.

Beauty For The Asking (1939)

Manhattan society is shocked by the news that a millionairess (Frieda Inescort) has abruptly married an unknown salesman (Patric Knowles). But not as shocked as the manicurist (Lucille Ball), who's engaged to him. Directed by Glenn Tryon (GEORGE WHITE'S SCANDALS). A surprisingly enjoyable programmer with a strong performance by Lucille Ball as a jilted woman who gets her revenge by starting up her own cosmetics company and becoming a wealthy businesswoman. As the cad who jilts his fiancee to marry for money, Patric Knowles isn't good enough for either woman. It's also refreshing to see Ball become a successful businesswoman in a man's world and doesn't give up her career to satisfy a man's ego (which was typical of the era) and she still gets the man in the end. With Donald Woods, Inez Courtney and Leona Maricle.

The Atomic Submarine (1959)

An alien invasion begins when an unidentified submerged object attacks international ships for no reason. A U.S. nuclear submarine is ordered to hunt down the mysterious underwater saucer and destroy it. Directed by Spencer Gordon Bennet (KING OF THE CONGO). A low budget piece of science fiction pulp shot in six days (and it shows it). With a cliched script, wooden acting and preposterous plot, it should be more B movie fun than it is but it's not. The special effects are subpar what with obvious stock footage and toy submarines floating through a fish tank, it's not even kitsch. There's a minor (very minor) attempt at something deeper with the submarine's lieutenant commander (Arthur Franz), a militarist and a pacifist doctor (Brett Halsey) debating the merits of war versus peace but it's superficial. With Dick Foran, Tom Conway and Joi Lansing.

Unlikely Angel (1996)

After she dies in an automobile accident, a brassy lounge singer (Dolly Parton, RIP) is prevented from entering the gates of Heaven by St. Peter (Roddy McDowall) because she hasn't done enough good deeds. He gives her a second chance by allowing her to return to earth to accomplish the necessary good deeds by Christmas Eve. Directed by Michael Switzer (FALLEN ANGEL). A Christmas movie made for television, this is a predictable by the numbers telefilm. You know exactly where it's going to go and the outcome is never in question. Hey, it's a Christmas movie! There's only one reason to bother with a movie like this and that's Dolly Parton. Even in a mediocre vehicle like this, she shines. She knows her limitations as an actress but like certain actresses (Betty Grable comes to mind), she's so likable and with a charismatic personality that you can't take your eyes off her. She gets to sing several songs in her inimitable style and even manages to make Jingle Bells sound fresh. With Brian Kerwin and Maria Del Mar.

The Racket (1928)

Set in Chicago during the Prohibition gang wars. A policeman (Thomas Meighan) tries to keep the peace but he is hampered by massive corruption in the city's politics. Based on the play by Bartlett Cormack and directed by Lewis Milestone (ALL QUIET ON THE WESTERN FRONT). The film was nominated for a best picture Oscar and later remade in 1951. It's a strong crime film with noir-ish trimmings long before Hollywood went full noir in the 1940s. It's a cynical movie that ends with the corruption still firmly in place unlike the 1951 remake where it's suggested that the bad guys will be exposed. Along with Josef von Sternerg's UNDERWORLD (1927), one of the best gangster movies of the silent era. The transfer I saw had a very good newly written score by Neil Brand. With Louis Wolheim, Marie Prevost, Lucien Prival and George E. Stone.

Le Baccanti (aka The Bacchantes) (1961)

The kingdom of Thebes is suffering from a deadly drought which the prophet Tiresias (Akim Tamiroff) says it's because its king (Alberto Lupo) does not revere the god Dionysus (Pierre Brice). It is up to Thebes future queen (Taina Elg) to aid in resolving the situation. Loosely based on THE BACCHAE by Euripides and directed by Giorgio Ferroni (MILL OF THE STONE WOMEN). Serious scholars of Greek tragedy needn't bother but I'm inordinately fond of Italian sword and sandal epics also referred to as peplum. Blame it on my childhood! So I enjoyed this one much more than I should have. A trained dancer, Taina Elg had a brief Hollywood career from 1955 to 1959 but outside of LES GIRLS (1957), she was never used as a dancer. Here, in the movie's highlight, she gets to dance (the choreographer Herbert Ross would later direct such films as THE TURNING POINT and THE GOODBYE GIRL) an abandoned homage to the god Dionysus. With Alessandra Panaro and Raf Mattioli.

Pillion (2025)

A timid gay man (Harry Melling) from the London suburbs is swept off his feet when an enigmatic, impossibly handsome biker (Alexander Skarsgard) takes him on as his submissive. As their relationship intensifies, both are pushed out of their comfort zones. Based on the novel BOX HILL by Adam Mars Jones and directed by Harry Lighton in his feature film directorial debut. Hollywood's wan attempts at exploring BDSM relationships (9 1/2 WEEKS, 50 SHADES OF GREY) seemed more intent on titillating audiences rather than a serious look at such relationships. Lighton's movie could, not altogether inaccurately, be described as MY BEAUTIFUL LAUNDRETTE meets LAST TANGO IN PARIS but its interest isn't prurient but rather an incisive and ultimately heartbreaking look at two people whose self exploration eventually puts a barrier in their relationship. Both Skarsgard and Melling are excellent. An impressive film debut and I look forward to what Lighton comes up with next. With Douglas Hodge and Lesley Sharp.

Thieves' Highway (1949)

An ex-GI (Richard Conte), now working as a trucker, is bent on satisfaction from the man responsible for crippling his father (Morris Carnovsky). But when the ruthless market operator (Lee J. Cobb) gets wise to his plan, treachery and heartbreak follow. Based on the novel THIEVES' MARKET by A.I. Bezzerides (who adapted his book for the screen) and directed by Jules Dassin (NEVER ON SUNDAY). Like his THE NAKED CITY, Jules Dassin shot this film on actual locations (in this case, San Francisco) rather than studio soundstages. The movie is much admired by film noir fans and while it's an effectively gritty look at corruption and duplicity in the produce market of the day, I found it rather pedestrian. Conte makes the perfect noir protagonist and Norbert Brodine's (KISS OF DEATH) dark and shadowy cinematography emphasizes the noir atmosphere and goes a long way in giving authenticity to the plot. With Valentina Cortese, Barbara Lawrence, Millard Mitchell, Jack Oakie and Tamara Shayne.

Return To Treasure Island (1954)

A descendant of Jim Hawkins (Dawn Addams) returns to Treasure Island with a priceless map with the intention of locating the treasure buried there by Long John Silver (Robert Long). But she's not the only one after the hidden treasure. Directed by E.A. Dupont (VARIETE). Dupont did some impressive work in his native Germany and Great Britain. His American career was far less illustrious and this snoozefest was his swan song! It's incredibly amateurish and badly acted. It's Tab Hunter's worst performance and he would later redeem himself but boy, is he a piece of wood here. Shirtless throughout the entire movie, he's reduced to hunk eye candy. The narrative is laughable with lots of plot holes. Even at a brief running time of one hour and 15 minutes, it's a slog. With Porter Hall and James Seay.

8番出口 (aka Exit 8) (2025)

Exiting the subway, a young man (Kazunari Ninomiya) gets lost trying to exit the station. He finds that he is trapped in the looping corridors and must spot possible anomalies in each loop to escape. An adaptation of the video game THE EXIT 8 and directed by Genki Kawamura (A HUNDRED FLOWERS). I've never played a video game in my life so in spite of the movie's good reviews, I wasn't sure I was the demographic for a movie like this. I needn't have worried. The movie is divided into three segments and the first segment THE LOST MAN is rather tedious and the film doesn't find its rhythm until the second segment, THE WALKING MAN when the horror of it all comes out in full force. It's all rather existential, suggesting that modern man leads a dull repetitive life, unable to break out of his routine. If you have the patience to hang in there, there are rewards though ultimately I found the ending tipping over into sentimentality. With Yamato Kochi, Naru Asanuma, Kotone Hanase and Nana Komatsu.

Ginger & Rosa (2012)

Set in 1962 England, two teenage girls (Elle Fanning, Alice Englert) are inseparable. They share everything together from dreams to politics. But as the threat of nuclear war escalates amid the sexual revolution, their friendship is threatened. Written and directed by Sally Potter (ORLANDO). A coming of age story that eschews the stereotypes and cliches inherent in the genre. The title is a misnomer, it should have been called GINGER because although Englert's Rosa is an important part of the narrative, it's Fanning's marvelous performance that takes over the film and anchors it as Englert's Rosa begins to fade into the background. Fanning's Ginger is a bit of an emotional mess but this is due in part to her parents (Alessandro Nivola, Christina Hendricks) antipathy and more importantly, her father's lack of parental interest. Refined and astute, it's a refreshing portrait of adolescence on the cusp of maturity. With Annette Bening, Oliver Platt, Timothy Spall and Jodhi May.

Storm Warning (1951)

In the South to visit her sister (Doris Day), a model (Ginger Rogers) witnesses a murder by the Ku Klux Klan. Traumatized by the terror she has just seen, she's shaken to the core when she meets her sister's husband (Steve Cochran) and recognizes him as one of the Klan murderers. Directed by Stuart Heisler (THE GLASS KEY). A well intentioned attack on the Ku Klux Klan but it hedges its bet by eliminating all references to racism. Their victims aren't black, Jewish or foreigners but a white journalist who was going to expose them. That aside, it's still pretty gritty for its era and there's a solid dramatic performance by Rogers (more impressive than her Oscar winning KITTY FOYLE turn) as well as a strong performance by Doris Day in her first dramatic role. Whether intentional or not, the shadow of A STREETCAR NAMED DESIRE hovers over the proceedings with the triangle of Rogers, the brutish Cochran and Day. Not as potent as it should have been but compelling nonetheless. With Ronald Reagan, Hugh Sanders and Ned Glass.

The Case Of The Avenging Ace (1988)

During his time as an appellate judge, Perry Mason (Raymond Burr) denied the appeal of a man (Larry Wilcox) convicted of murder. Now having returned to law practice, he takes on the man's case for a new trial when a new witness (Joel Colodner) appears. But when the witness is murdered, Mason's client becomes the main suspect. The eighth entry in the thirty Perry Mason movies that followed the series end in 1966. As far as the telefilms go, this one is unique in that Mason has to solve two murders. The original murder of which his client was convicted and the new murder of the witness ..... or are both killers one and the same? It's rather convoluted with the two storylines running concurrently (there is some flashback usage). Not boring but I still found it one of the lesser Mason telefilms. With Patty Duke, Barbara Hale, William Katt, Don Galloway, Erin Gray, Charles Siebert and David Ogden Stiers.

La Seconde Verite (aka The Second Twin) (1966)

A middle aged, married attorney (Robert Hossein) falls in love with a disc jockey (Michele Mercier) at a disco club. The lovestruck attorney can't bring himself to leave his wife (Malka Ribowska) but when his mistress's wealthy suitor (Jeann Claude Rolland) is murdered, he becomes the main suspect. Based on the novel UN HOMME A PART ENTIERE by Jean Laborde and directed by Christian Jaque (THE BLACK TULIP). While never less than gripping, I found this a frustrating movie mainly because of the two lead characters. I just couldn't drum up much empathy for a hot tempered adulterer (who's not satisfying either his wife or his mistress) and his mistress who whines that she's only getting part of him when hey! He's a married man! Still, the complicated structure of the narrative is strong enough to hold one's attention to the very end. Let's say I liked it in spite of my self. With Bernard Tiphane and Pascale De Boysson.

Wabash Avenue (1950)

Set in the Chicago of the 1890s, a burlesque queen (Betty Grable) is romantically pursued by the owner (Phil Harris) of the dance hall but she's not interested. Enter the owner's ex-partner (Victor Mature) and she's interested. But her career ambitions come first. Directed by Henry Koster (THE ROBE). A remake of one of Grable's hits, CONEY ISLAND which came out seven years earlier. I wasn't a big fan of CONEY ISLAND but I still liked it a bit better than this stolid effort. Grable is wonderful in her jazzy numbers like I Wish I Could Shimmy Like My Sister Kate but weak after Mature turns her into a ballad singing "lady". Who wants to see Grable as a chanteuse? We're also saddled (in a subplot) with an irritating Irish drunk played for laughs by James Barton. One of it songs, Wilhelmina got an Oscar nomination. With Reginald Gardiner and Robin Raymond.

Cover Up (1949)

Set during Christmastime, an insurance investigator (Dennis O'Keefe) is sent to a small midwestern town to find out whether the death of one of its policy holders was a suicide or a murder. But the victim was hated by the whole town, no one is sorry about his death which hinders his investigation. Directed by Alfred E. Green (THE JOLSON STORY). A little known but worthy murder mystery that's slightly hindered by having a victim so detestable that you don't care that he's dead, just who killed him. Not unlike Agatha Christie's MURDER ON THE ORIENT EXPRESS. The real mystery is whether the investigator who insists on solving the killing that no one cares about is going to turn in the murderer, who seems to have done the town a favor. A minor entry worth checking out. With William Bendix, Barbara Britton, Art Baker, Virginia Christine, Russell Arms and Doro Merande.

Hold That Blonde! (1945)

A wealthy kleptomaniac (Eddie Bracken) turned to theft when he was spurned by a girl. His psychoanalyst (George Zucco) advises him to find another girl. So he fastens his interest on a girl (Veronica Lake), who happens to be helping a criminal gang steal a valuable necklace. Based on the play THE HEART OF A THIEF by Paul Armstrong and directed by George Marshall (DESTRY RIDES AGAIN). As a comedy, it's hit and miss, mostly miss. There's a scattering of genuinely funny bits but Marshall doesn't know when to quit. There's a sequence where Bracken (who's good at the physical comedy) wearing only a towel is hanging on a window ledge but it goes on and on and on, way past its humor expiration date. Lake is lovely but she's not much of a comedienne so it's left to Willie Best (much subtler than usual) to provide the best comedic moments. With Albert Dekker, Donald MacBride, Jody Gilbert and Norma Varden.

Two Arabian Knights (1927)

Set during WWI, two American soldiers (William Boyd, Louis Wolheim) are caught by the Germans and placed in a POW camp. They escape dressed in the white robes of Arab prisoners and are sent with other Arab prisoners to Constantinople. Based on a short story by Donald McGibney, produced by Howard Hughes and directed by Lewis Milestone (ALL QUIET ON THE WESTERN FRONT), who won an Oscar (at the very first ceremony) for his direction here. A very slight "buddy" comedy with Mary Astor thrown in for romance. I found it rather unmemorable except for the movie's last shot of Wolheim giving a eunuch an intense sexual vibe ..... what? Am I reading into it? There's a slight xenophobic undertone that I found bothersome.  The film gives off a distaste of Islamic culture and tradition and even uses it as a punchline for laughs. William Boyd would find fame in the 1930s and 40s as Hopalong Cassidy. With Boris Karloff and Michael Visaroff.

The Private Files Of J. Edgar Hoover (1977)

A chronicle on the life and career of FBI director J. Edgar Hoover (James Wainwright as the young Hoover, Broderick Crawford as the mature Hoover) from 1924 to his death in 1972. Written, produced and directed by Larry Cohen (IT'S ALIVE). The movie suffers from cramming almost 50 years of a polarizing public figure into two hours. There's no time to explore with any depth so what we get is a shallow movie of highlights of his career. It's a highly fictionalized and speculative version of Hoover's life, both negative and positive. The only other character with major screen time is Robert Kennedy (Michael Parks) but Parks is truly awful here. In addition to not being convincing, he annoyingly interjects "uh" between every five words spoken! In addition to Kennedy, other famous people portrayed include Martin Luther King (Raymond St. Jacques), Franklin D. Roosevelt (Howard Da Silva), Lyndon B. Johnson (Andrew Duggan) and Roy Cohn (George D. Wallace). The score by Miklos Rozsa is disappointing, it sounds recycled from his past film scores. The huge cast, most with little screen time, includes Rip Torn, Celeste Holm, Dan Dailey, Jose Ferrer, Lloyd Nolan, Ronee Blakley, Jack Cassidy, June Havoc, Michael Sacks, Tanya Roberts and Brad Dexter.

The Drama (2026)

An engaged couple (Zendaya, Robert Pattinson) are having drinks with their best man (Mamoudou Athie) and maid of honor (Alana Haim) when they all play a game of "What's the worst thing you ever did?". When the bride to be tells of the worst thing she ever did, it throws their relationship into chaos and their future is clouded. Written and directed by Kristofer Borgli (DREAM SCENARIO). The film has been described as a dark romantic comedy but I didn't it funny at all, just deeply disturbing. Which doesn't mean I didn't like it, I did. But I found almost all the characters messed up (except for Mamoudou Athie) including Pattinson's bridegroom who comes across as creepy from the very start and he only gets worse as he unravels. The film builds in its intensity until all explodes at the wedding. Alas, director Borgli fumbles in the last ten minutes when he gives us a conventional (and highly inappropriate) romcom ending which makes a mockery of everything that preceded it. With Hailey Benton Gates and Sydney Lemmon.

Othello (1965)

Set in the Venice and Cyprus of 1603, a Moor military commander (Laurence Olivier) is manipulated by his ensign (Frank Finlay) into thinking his new bride (Maggie Smith) has been unfaithful with his loyal lieutenant (Derek Jacobi). Based on the classic play by William Shakespeare and directed by Stuart Burge (JULIUS CAESAR). Unable to get the financial backing to do a proper cinematic adaptation of OTHELLO with elaborate sets and shot on location, Olivier had to settle for a filmed adaptation of the National Theatre Of Great Britain production done on a sound stage using the original stage setting designs. Shot in wide screen Panavision by Geoffrey Unsworth (2001 A SPACE ODYSSEY), what the movie lacks in a cinematic style, it makes up for with four great performances: Olivier, Finlay, Smith and Joyce Redmond as Emilia, all who received Oscar nominations for their performances. Not that the movie is without its flaws. The performances are conceived for the stage and director Burge does little to alter that. Then there's the "blackface" performance of Olivier which can make one uncomfortable in 2026 especially with all those close ups. That aside, Olivier is brilliant, capturing all the rage, jealousy, pain and anguish of Shakespeare's Moor. With Robert Lang, Anthony Nicholls and Sheila Reid.

Tall Man Riding (1955)

Seven years after being driven out of town by a cattle baron (Robert Barrat), a cowboy (Randolph Scott) returns to get his revenge. But he's not the only one who wants revenge on the cattle baron. Based on the novel by Norman A. Fox and directed by Lesley Selander (FLIGHT TO MARS). A routine second string western that's watchable even if it pretty much contains the usual western cliches. The following year Scott would embark on a series of classic westerns partnering with Budd Boetticher that put a programmer like this in the shade. Typical of westerns, there's the "good" girl (Dorothy Malone) and the "bad" girl (Peggie Castle as a saloon singer) so we know who Scott will end up with. Unusual for a western though, the women are best friends rather than rivals. Scott's hero is flawed which makes him more interesting than the usual western cowboy. He's stubborn, unreasonable and makes mistakes. With William Ching, John Baragrey, Paul Richards and John Dehner.

The Man Who Haunted Himself (1970)

A man (Roger Moore) finds himself in bewildering circumstances after recovering from a near fatal car accident. Friends and colleagues repeatedly sight him in places he's never been, a girl (Olga Georges Picot) he has briefly seen only once claims an intimate relationship with him. Does he have a doppelganger ..... or is he losing his mind? Based on the novel THE STRANGE CASE OF MR. PELHAM by Anthony Armstrong and directed by Basil Dearden (KHARTOUM) in his final film. Armstrong's book had previously been adapted for an episode of ALFRED HITCHCOCK PRESENTS in 1955 but there it had been done whimsically. Dearden has made it a psychological horror film. Roger Moore (three years before he became James Bond) is startingly good here, his best ever performance. Initial reviews were dismissive but in the ensuing years, it's become a cult movie. Dearden does a good job of building the tension until the clever if unsound conclusion. Although I consider it a horror movie, there are no scares or violence but the horror of a situation you have no control over. A movie worth rediscovering. With Hildegard Neil, Freddie Jones, Anton Rodgers and Thorley Walters.

Maigret Voit Rouge (aka Maigret Sees Red) (1963)

Three men cruising Paris's Pigalle district in a Chevrolet, shoot a bystander (Harry Max). Shortly after, the body is stolen. Inspector Maigret (Jean Gabin) suspects a ring of U.S. mobsters. This leads him to a bar where Americans gather and a mysterious femme fatale (Francoise Fabian) works. Based on the novel MAIGRET, LOGNON AND THE GANGSTERS by Georges Simenon and directed by Gilles Grangier (SPEAKING OF MURDER). I enjoyed the other two Maigret movies with Jean Gabin I've seen, MAIGRET SETS A TRAP and MAIGRET AND THE SAINT FIACRE CASE but this one seemed a little off to me. It might have something to do with the introduction of American gangsters into the mix. Their portrayal seemed cliched and stereotyped as if Grangier had seen too many American gangster movies and exaggerated what he took from them. As usual, Gabin is a treasure and his commanding presence anchors the film. A shade disappointing but still worth catching. With Marcel Bozzuffi, Roland Armontel, Paul Frankeur, Paul Carpenter and Pauline Dubost.

The Thief Of Bagdad (1940)

When Prince Ahmad (John Justin) is blinded and cast out of Bagdad by the nefarious Jaffar (Conrad Veidt), he joins forces with the scrappy thief Abu (Sabu) to win back the royal palace, as well as the heart of a beautiful princess (June Duprez). Directed by Ludwig Berger, Tim Whelan and Michael Powell. One of the best movie fantasies ever made. Ludwig Berger was the original director but producer Alexander Korda was unhappy with his work so he brought in Michael Powell, who eventually had to leave due to another commitment and Tim Whelan brought in to finish the film. The film won Oscars for best cinematography (Georges Perinal), art direction (Vincent Korda) and special effects. Handsomely shot in Technicolor, the film was a pioneer in its technical aspects and though those aspects are perhaps too obvious by 21st century standards, the film holds up as a grand entertainment. Sabu is delightful as the spirited thief of the title, June Duprez is perfectly cast as the beautiful princess with only John Justin lacking as the prince. He's handsome enough but he lacks personality and charisma. With the imposing Rex Ingram as the genie, Miles Malleson, Mary Morris and Adelaide Hall.

Secret Agent Of Japan (1942)

Set in Shanghai prior to Pearl Harbor, an apoliticial nightclub owner (Preston Foster) with a mysterious past has no allegiance to anyone but himself. But he unwillingly becomes involved in espionage when he gains access to information that the Japanese government wants at any price including torture and murder. Enter an allied spy (Lynn Bari) to complicate matters further. Directed by Irving Pichel (THEY WON'T BELIEVE ME). Yet another WWII propaganda piece but with a difference. This one is very entertaining as it (mostly) spares the jingoism and concentrates on the action. It's a B movie but if it was an A picture, he would have starred actors like Humphrey Bogart and Ann Sheridan, it's that good. It's an invigorating above average slice of WWII propaganda with good acting and director Pichel keeps it moving forward at a rapid pace. With Janis Carter, Steven Geray and Victor Sen Yung.

Mississippi (1935)

Set in the Old South, a gentleman (Bing Crosby) loses his honor and the respect of his fiancee (Gail Patrick) after he refuses to engage in a duel. After taking a singing job on a riverboat, he must learn to regain his confidence with the help of a quirky captain (W.C. Fields). Based on the novel MAGNOLIA by Booth Tarkington (THE MAGNIFICENT AMBERSONS) and directed by A. Edward Sutherland (THE INVISIBLE WOMAN). The third version of the Tarkington novel (previously filmed in 1924 and 1929). A mess of a movie! It's a musical with songs by the great Rodgers and Hart but none of the songs are memorable and the film reeks of a glamorized Old South which Hollywood seemed enamored of in the 1930s and 40s. Black people are referred to as "darkies" and their children as "pickaninnies", get the picture? Obviously, I don't "get" W.C. Fields at all as I've never found him funny and I'm not a Crosby fan (at least, not without Bob Hope) so the movie was a slog for me to get through. The mixture of comedy with the code of the Old South (duels and all that nonsense) which is taken seriously doesn't jell well. With Joan Bennett, Queenie Smith and John Miljan.

South By Southwest (1997)

A young woman (Mel Harris) witnesses the murder of a government agent. Placed under FBI protection and using a pseudonym, she boards a train heading from Los Angeles to Florida. On the train, she shares a dinner with the renowned mystery writer, Jessica Fletcher (Angela Lansbury). When she suddenly disappears, the writer is determined to solve the mystery. Directed by Anthony Shaw (MRS. ARRIS GOES TO PARIS). MURDER SHE WROTE ended 12 seasons in 1996 and its star Angela Lansbury did four movies featuring her character in the telefilm format. This one was the first. It's a decent murder mystery with a dash more paranoia and intrigue than the standard MSW episodes. Lansbury's Fletcher gets more involved in the physical action of the piece but if you're a fan of the series as I am, this is an acceptable offering. With Keith David, Elya Baskin, Harriet Sansom Harris and Ray Baker.

ブラザー (aka Brother) (2001)

After his clan is defeated in a criminal war with a rival family, a yakuza enforcer (Takeshi Kitano) flees to America. There, he reunites with his younger brother (Claude Maki), who sells drugs to make money. He then creates a gang of his younger brother and his African American friends to challenge a Mexican gang's turf. Written and directed by Takeshi Kitano (ZATOICHI). This was Kitano's first and only film made outside of Japan to date. It's in both Japanese and English. While Kitano's film making is skilled, taking a violent Yakuza style narrative out of Japan and placing it smack in the middle of Los Angeles just doesn't work. Having all the central gangsters played by Japanese, African Americans and Mexicans also leaves an uncomfortable taste. Kitano brings in the Mafia (Italians) near the end but they aren't given nearly as much time as the other ethnicities. The violence is overdone but without much style and becomes plodding after awhile. The whole enterprise feels "fish out of water". On the plus side, there's a terrific score by Joe Hisaishi which is very different from his scores for Hayao Miyazaki. With Omar Epps, Masaya Kato, James Shigeta and Tetsuya Watari.

Flight To Tangier (1953)

Set in Northwestern Morocco, five people at an airport are waiting for the same plane to arrive: a pilot (Jack Palance), an American woman (Joan Fontaine), a French woman (Corinne Calvet), a foreign agent (Robert Douglas) and an army colonel (Jeff Morrow). But when the plane arrives, it crashes and burst into flames. But there are no signs of any crew or passengers being on the plane! Directed by Charles Marquis Warren (SPRINGFIELD RIFLE). Originally shot in 3D but mostly released in a "flat" version due to the fading popularity of 3D movies. Though set in Morocco, interiors were filmed on the Paramount soundstages and exteriors shot in rural Southern California locations (and looks it). As a thriller, it's nondescript but serviceable if you go in with low (very low) expectations. Part of the narrative seems contrived but if you hang on till the very end, it's all explained satisfactorily. The kind of potboiler that serves to pass the time. With Murray Matheson and John Pickard.

The Cardboard Lover (1928)

A young American tourist (Marion Davies) visiting Monte Carlo befriends an international tennis champion (Nils Asther), who is trying to break off a relationship with an unfaithful mistress (Jetta Goudal). She offers to help him break off the toxic relationship by pretending to be his fiancee. Based on the play DANS SA CANDEUR NAIVE by Jacques Deval (and its American incarnation by Valerie Wyngate) and directed by Robert Z. Leonard (ZIEGFELD GIRL). 1928 was a banner year for Davies with three hits: SHOW PEOPLE, THE PATSY and this one. Not as well known as the first two, I found this romcom effort on the tedious side. Davies is supposed to be wacky and adorable but I just found her character irritating. We all know she's eventually going to end up with Asther (after all, she's the star of the picture) but she's such an obnoxious pest that you wonder why Asther bothers. The transfer I saw had one of those annoying organ scores so that didn't help matters either. The genders are switched from the play where it's a besotted man who attempts to free a woman from the clutches of her cruel lover. This reversed back to the play's intentions when MGM remade it in 1942. With De Segurola and Tenen Holtz.

The Phoenician Scheme (2025)

Set in 1950. During the final stages of a vast, decades-long, career defining business project, a ruthless and unscrupulous millionaire (Benicio Del Toro) survives a sixth assassination attempt and must appoint a successor: his long estranged daughter (Mia Threapleton) ..... a nun. Written and directed by Wes Anderson (MOONRISE KINGDOM). If you didn't know this was a Wes Anderson movie, you'd know it by the first frame of the film. Visually, the film is fantastic! Narratively, it's often confusing (I'm still not sure I understood what the Phoenician scheme is). If you're a fan of Anderson's work, you should find this a delight. Others may not be so charitable but I found its standard Anderson absurd quirkiness charming. Del Toro is excellent as are Threapleton (Kate Winslet's daughter) and Michael Cera as a Norwegian entomologist. The massive cast includes Tom Hanks, Scarlett Johansson, Bill Murray, Benedict Cumberbatch, Willem Dafoe, Bryan Cranston, Jeffrey Wright, Riz Ahmed, F. Murray Abraham, Mathieu Amalric, Hope Davis and Charlotte Gainsbourg.

Lost Highway (1997)

A musician (Bill Pullman) is arrested and convicted for the murder of his wife (Patricia Arquette). While in prison, he mysteriously disappears and is replaced by a young man (Balthazar Getty) leading a different life. Directed by David Lynch (MULHOLLAND DRIVE). Perhaps the most underrated of Lynch's movies, it received mixed reviews and dismissed by most critics as incoherent (understandable). It has since been reevaluated and appreciated. The movie has been influenced by a variety of other films and is a surrealistic voyage but what does it all mean? Is it a horror movie? Film noir? A psychological thriller? I don't think it means anything other than an exercise in style and atmosphere so I didn't feel the need to try and connect the dots. Robert Blake's role as the "mystery man" seems even creepier now when several years later, he was arrested for the murder of his wife. While it may seem that Lynch is treading over familiar ground, the film's ominous atmosphere is beautifully constructed. With Robert Loggia, Natasha Gregson Wagner, Gary Busey and in his last film role, Richard Pryor.

Rififi (aka Du Rififi Chez Les Hommes) (1955)

Recently released from prison after serving five years in prison for a jewel heist, a criminal (Jean Servais) joins forces with three other men (Carl Mohner, Robert Manuel, Jules Dassin) in robbing an exclusive jewelry shop in Paris. Based on the novel by Auguste Le Breton and directed by Jules Dassin (TOPKAPI), who received the best director award at the Cannes film festival. Perhaps the granddaddy of heist movies, every heist movie that followed owes a bit to RIFIFI. The film is notable for its nearly thirty minute detailed heist sequence with no dialogue and no music score. Of course, as with all classic film noir, what seems like the perfect crime soon messily unravels. No stranger to noir in Hollywood (THE NAKED CITY, BRUTE FORCE) or London (NIGHT AND THE CITY), it seems fit that he would direct the ultimate French noir although he's an American. Gritty, stylish and atmospheric, a genuine classic of the genre. With Magali Noel, Marie Sabouret, Claude Sylvain and Robert Hossein.

Promises To Keep (1985)

Diagnosed with a life threatening illness, a Wyoming ranch foreman (Robert Mitchum) makes the trek to California for treatment. On the way, he decides to visit the family he deserted 30 years earlier, his wife (Claire Bloom) and son (Christopher Mitchum, Robert's son). Directed by Noel Black (PRETTY POISON). While you know exactly where a melodrama like this is going and in spite of the cliches involved, for most of its running time it's not bad at all. This is mostly due to Black's sensitive direction and strong performances by the iconic Mitchum and Claire Bloom who brings a depth of unstated emotions not in the writing. The film's last twenty minutes or so sink into a morass of banality that undermine the good that came before. There's a third Mitchum in the cast. Robert's grandson and Christopher's son Bentley Mitchum, who's pretty bad and doesn't appear to have inherited any of the Mitchum talent. The score by Michel Legrand helps things along. With Tess Harper and Paul Mantee.

Alex & The Gypsy (1976)

An aging bail bondsman (Jack Lemmon) stands bail for a gypsy (Genevieve Bujold) when she is accused of stabbing her husband. Even though they had an affair several years ago, he suspects she will skip out on him. Based on the novel THE BAILBONDSMAN by Stanley Elkin and directed by John Korty (THE AUTOBIOGRAPHY OF MISS JANE PITTMAN). Something happened to Jack Lemmon's acting in the 1970s and it continued through the rest of his career. He began intensely overacting. This often worked in his comedic roles like THE OUT OF TOWNERS and PRISONER OF SECOND AVENUE but it was a mess in most of his dramatic roles and that included his Oscar winning turn in SAVE THE TIGER. When he was reined in, he could still be wonderful (CHINA SYNDROME, MISSING) but he's just awful here. I've not read the Elkin source material but it seems the film doesn't resemble it much nor the racist and misogynistic protagonist of that book. Bujold's character which is a major character in the film is an invention of the screenwriter, she's not in Elkin's book. The film is a mess and I've seen it described as a comedy ... you could have fooled me. A misguided misfire! With James Woods, Robert Emhardt and Eddra Gale.

Last Summer (1969)

Set during a languid summer on Fire Island, three privileged bored white teenagers (Barbara Hershey, Bruce Davison, Richard Thomas) form a close knit bond. When an awkward teenage girl (Catherine Burns in an Oscar nominated performance) attempts to join in the group, it intensifies their cruel streak. Based on the novel by Evan Hunter and directed by Frank Perry (MOMMIE DEAREST). When a film drops out of the public eye for whatever reason (a rights problem, original negatives lost, poor quality of surviving prints, etc.), it often receives an aura of "missing masterpiece" that enhances its reputation. For over 30 years, LAST SUMMER was known as a lost film until a 16 millimeter print was found in 2001 and eventually a 35 millimeter print was discovered last year and now the film has been restored to its original sheen. So was it a lost "masterpiece"? No but it's still a very good film. It's an unpleasant film, intentionally so. Aimless, bored privileged white kids with a streak of superiority that manifests itself in cruelty. Richard Thomas's character appears to have a moral backbone but it's made of rubber as he gives in to the demands of Hershey's bitch and Davison's mindless narcissist. All of them are excellent but the film's moral center is Catherine Burns' outsider. She has one acclaimed scene, a monologue on her mother's death and while she aces it, I wish it weren't so obviously incorporated for our sympathy. Then again, Frank Perry was never known for his subtlety. With Conrad Bain and Ernesto Gonzalez.

The Man With Two Faces (1934)

When his sister (Mary Astor) falls under the spell of her Svengali like, sadistic husband (Louis Calhern), an acclaimed stage actor (Edward G. Robinson) decides he'll do whatever it takes to save her ..... even if it takes murder. Based on the play THE DARK TOWER by George S. Kaufman and Alexander Woollcott and directed by Archie Mayo (THE PETRIFIED FOREST). Despite its illustrious theatrical roots, this is a rather static and stage bound effort for a film made some seven years after the first talking movie. Fortunately, at its center, there's a marvelous turn by the great Edward G. Robinson playing two roles. Alas, it's not a pre code film or perhaps the ending would have allowed the murderer to get away. The victim is a despicable prick and everybody in the film hates him but the ending is still ambiguous enough to encourage the idea that although the murderer is caught perhaps a jury would be on his side. With Ricardo Cortez, Mae Clarke and Margaret Dale.