The Left Handed Gun (1958)

A drifter (Paul Newman) known as Billy The Kid befriends a cattle boss (Colin Keith Johnson) known as the Englishman. When he is killed by rival cattlemen, Billy takes it upon himself to avenge the Englishman's death. Based on the television play by Gore Vidal (MYRA BRECKINRIDGE) and directed by Arthur Penn (BONNIE AND CLYDE). A highly fictionalized account of the events and an attempt to deconstruct the legend of Billy The Kid by portraying him as a misunderstood youth with Newman (who originated the role on TV) going full tilt method in his performance. The movie was dismissed by both audiences and critics upon its initial release but the French loved it! I found the whole thing anachronistic and tiresome. With Hurd Hatfield, John Dehner, Lita Milan, James Best and James Congdon.

Holy Motors (2012)

A man by the name of Mr. Oscar (Denis Lavant) is chauffeured through Paris in a white luxury limousine. He is an actor of sorts who dons disguises and performs in what appear to be a series of designated appointments. He plays an old woman, a violent kidnapper, a gangster hit man, a father picking up his teenage daughter, a dying old man among others. Written and directed by Leos Carax (ANNETTE). A surreal fantasy that received glowing reviews upon its release. I was underwhelmed. It's a unique movie to be sure but is that enough? The first half hour or so was a shambles and it wasn't until the father and daughter segment that I became involved in the proceedings. I enjoy the unconventional and uncanny as much as anyone else but being bizarre and weird in and of itself doesn't take the place of a conventional narrative unless there's some sort of determined focus to unite the fantastic, surreal unconnected events. Are these real people he's interacting with or other actors? Or  maybe it's just not my cup of tea. With Edith Scob, Eva Mendes, Kylie Minogue, Michel Piccoli and Jeanne Disson.

Decoy (1946)

A doctor (Herbert Rudley) enters a young woman's (Jean Gillie) apartment and shoots her before killing himself. On her deathbed, the woman tells a police detective (Sheldon Leonard) the events that lead up to her murder.. Directed by Jack Bernhard (BLONDE ICE). A poverty row B programmer courtesy of Monogram Pictures. But it's a nifty slice of film noir whose reputation has grown in the ensuing decades. Jean Gillie's femme fatale is one of the most wicked and unredeemable dames in the noir canon. Right to the end she seems to revel in her calculated viciousness. Sadly, she died three years later at the age of 33 but this movie puts her permanently on the film noir map. Die hard noir fans already know about this movie but others should check it out, too. With Robert Armstrong, Edward Norris and Marjorie Woodworth.

Possessed (1947)

A mentally unstable woman (Joan Crawford in an Oscar nominated performance) is obsessed with an architect (Van Heflin) even though he is not in love with her. When he chooses to marry someone else, her obsession takes a darker turn. Directed by Curtis Bernhardt (A STOLEN LIFE). The FATAL ATTRACTION of its day, it's a role Crawford was born to play, not that she's particularly good in it. She's not bad but her acting had cemented into the sculpted in steel emoting that began with MILDRED PIERCE (1945) and it only got worse in the ensuing years. That aside, it's grandly entertaining in the kitschy way that some melodramas take themselves too seriously as if they were truly saying something important, in this case, mental illness. With Raymond Massey, Geraldine Brooks and Stanley Ridges.

Hand Of Death (1962)

A brilliant scientist (John Agar) develops a military nerve gas but after accidentally exposing it to himself, he is transformed into a scaly beast with the ability to destroy anything he touches. Directed by actor (OKLAHOMA!) turned director Gene Nelson. A low budget grade C horror movie that hasn't any scares but might qualify as "camp" though I didn't find anything amusing about it. It looks pretty decent for a low budget programmer thanks to the B&W CinemaScope lensing by Floyd Crosby (THE PIT AND THE PENDULUM) and the underscore by Sonny Burke gives the movie some much needed juice. But the script is plain bad (so is Agar's performance) and nothing can salvage it. With Paula Raymond, Steve Dunne, Roy Gordon, Joe Besser and Butch Patrick.

The Playboy Of The Western World (1962)

Set on the coast of Northern Ireland, a young stranger (Gary Raymond) appears at a remote tavern and announces he's on the run because he murdered his father (Niall MacGinnis). The innkeeper's daughter (Siobhan McKenna) takes a shine to him. Based on the 1907 play by John Millington Synge and directed by Brian Desmond Hurst (SCROOGE). Synge's comedy caused riots in 1907 Dublin because of its supposed "immorality" and an "insult" to the Irish people. Although the majority of the action takes place in the tavern, it's beautifully shot in Eastmancolor by Geoffrey Unsworth (2001: A SPACE ODYSSEY) who makes the most of the Dingle Bay exteriors in Ireland's County Kerry. As for the movie itself, I moderately enjoyed it even though I found its Irishness a bit much but at least it was real and not that phony Irish twee that infected John Ford's films. Many of the cast members were members of the famed Abbey Players. As the "playboy" of the title, Gary Raymond is quite good but it's Siobhan McKenna's performance that dominates the film. It may not be cinematic but it's a solid adaptation of the Synge play. With Elspeth March and Liam Redmond.

Stop! That! Train! (2026)

Two train stewardesses (Ginger Minj, Jujubee) trade their dreary shifts on the Skank Rail for the glitzy Glamazonian Express! When a catastrophic "stormaganza" threatens to derail the high speed train, the duo join forces to save the day along with U.S. President Judy Gagwell (RuPaul Charles). Directed by Adam Shankman (HAIRSPRAY). The kind of silly comedy that's not really funny that eventually grows on you. Some parts are really bad but the dedication of the drag queen cast (all alumni of RUPAUL'S DRAG RACE) wins you over. Although the film received good notices, it tanked at the box office. There might be an audience for heterosexual actors playing drag queens like THANKS FOR EVERYTHING, LOVE JULIE NEWMAR (Swayze, Snipes, Leguizamo) but apparently not for real drag queens (or male actresses if you prefer). But they're not playing drag queens, they're playing women much like Divine did in John Waters' films. The film itself is a spawn of AIRPLANE! (1980) that satirized the disaster movie genre but AIRPLANE was over 45 years ago and moviegoers seem to have moved on. As cinema, it's vastly superior to THE BIG BUS (1976), another film that attempted to satirize the disaster movie. Other drag performers include Brooke Lynn Hytes, Marty Lauter (known professionally as Marcia Marcia Marcia), Michelle Visage, Monet X Change, Symone and Latrice Royale. The film is crammed with cameos including Sarah Michelle Gellar, Jesse Tyler Ferguson, Joel McHale, Charo, Nicole Richie, Lisa Rinna, Chris Parnell, Jerry O'Connell and Raven Symone.

The Golden Fleecing (1940)

A $50,000 life insurance sale puts a mild mannered salesman (Lew Ayres) on the fast track at the Ajax Insurance Company. Unfortunately, it seems the sale was made to a racketeer (Lloyd Nolan) with an army of gun toting rivals! So his boss (Thurston Hall) gives him an order: keep the gangster alive! Directed by Leslie Fenton (THE REDHEAD AND THE COWBOY). A sweet natured comedy that plods along amiably and amusingly. Certainly not memorable but it's so ingratiating that the trip is pleasantly inoffensive. Lew Ayres' milquetoast act is near perfect and he gets good support from Nolan's thug and Virginia Grey as Nolan's moll. You could do worse! With Rita Johnson, Nat Pendleton, Marc Lawrence and Leon Errol.

Hobson's Choice (1954)

When his haughty and independent daughter (Brenda De Banzie) decides to forge her own path, the owner (Charles Laughton) of a boot shop must deal not only with her independence but marrying his prize bootsmith (John Mills). Based on the play by Harold Brighouse and directed by David Lean (SUMMERTIME). What a delight! David Lean is perhaps best remembered today for his wide screen epics (LAWRENCE OF ARABIA, DOCTOR ZHIVAGO) and his screen adaptations of Dickens (GREAT EXPECTATIONS, OLIVER TWIST) but his occasional foray into comedy like BLITHE SPIRIT and this charmer are undervalued. Laughton as the boozing tyrant gives one of his very best performances but he's not the whole show. John Mills as the backward, servile bootmaker remade into a new man by his forceful bride is perfect and Brenda De Banzie seems born to play this role, she's that good. A real treat. With Daphne Anderson, Prunella Scales, Richard Wattis, Helen Haye and Derek Blomfield.

The Beasts Are On The Streets (1978)

A careening tanker truck rips through the fence of a wild animal park, unleashing an untamed force of nature on an unsuspecting community. Directed by Peter Hunt (ON HER MAJESTY'S SECRET SERVICE). Just awful pretty much sums it up. A live action offering from Hanna Barbera productions (known primarily for animated fare like THE FLINTSTONES), the humans in this telefilm are either dull or moronic so even if you're not an animal lover, your interest is focused on the animals. The film wisely opens with a title card acknowledging the assistance of the American Humane Society and that no animals were harmed in the making of the movie since the animals (lions, tigers, elephants, ostriches etc.) are placed in dangerous situations. With Carol Lynley (deserving better than this), Billy Green Bush, Philip Michael Thomas, Anna Lee and Casey Biggs.

The Gay Desperado (1936)

Set in Mexico, an opera singer (Nino Martini) is kidnapped by a gang of bandits and forced to become a member of the gang. When an American girl (Ida Lupino) and her rich fiance (James Blakeley) are kidnapped by the bandits, the singer finds himself falling in love with the girl. Directed by Rouben Mamoulian (BLOOD AND SAND). Mamoulian is no stranger to musicals having directed such movie gems as LOVE ME TONIGHT and SILK STOCKINGS as well as the original Broadway productions of OKLAHOMA! and PORGY AND BESS. This musical comedy, however, is a curiosity. Widely admired on its original release, Mamoulian even won the New York Film Critics best director award for his work here. While it still retains some of its offbeat charm, posterity has not been kind to the film. Its bandido stereotypes doesn't sit well with 21st century sensibilities. That being said, the movie is stolen by Leo Carrillo's soft hearted bandit leader murdering the English language. Hollywood made several opera singers into movie stars in the 1930s, 40s and 50s such as Mario Lanza and Grace Moore. Martini was a leading Metropolitan opera tenor occascionally dipping his toes into films but I found his breaking into arias about as appealing as Kathryn Grayson doing the same in an MGM musicals. With Mischa Auer and Harold Huber.

L'Etranger (aka The Stranger) (2025)

Set in French Algeria, an office clerk (Benjamin Voisin) is detached from his surroundings and the people who inhabit it. He is indifferent to the suffering of others. A neighbor (Denis Lavant) beats their dog, another neighbor (Pierre Lottin) beats his mistress (Hajar Bouzaouit) and he is apathetic. When he is arrested for killing an Arab boy, he has no explanation or defense for his act. Based on the acclaimed novel by Albert Camus and directed by Francois Ozon (8 FEMMES). Camus' existential novel is one of those classic pieces of literature that is oft deemed unfilmable. Ozon's excellent film is probably as close to a cinematic equivalent as we're going to get. Shot in stunning B&W by Manu Dacosse (PETER VON KANT), it's an impeccably formulated adaptation. Ozon takes some liberties such as making the female roles more prominent and fleshed out but still holding the film firm to Camus' intentions. Previously filmed in 1967 by Luchiino Visconti, I haven't seen that version since (the film has long been out of circulation in the U.S.) and my memories are too vague to make a fair comparison. With Rebecca Marder and Swann Arlaud.

Is There Life Out There? (1994)

A housewife (Reba McEntire), who's married to a carpenter (Keith Carradine) works part time as a waitress to make ends meet. She sacrificed her college education to get married and have a family. But both she and her husband agree that the time is right to go back to school and pursue her dream. Based on the song Is There Life Out There? written by McEntire and directed by David Jones (84 CHARING CROSS ROAD). Typical "inspirational" 1990s TV movie fare but well done for what it is. While it's message is positive, it's a little too obvious and some subtlety would have been appreciated. Fortunately for the movie, Reba McEntire brings some real authenticity to the project while avoiding the actress-y performance that another actress might have brought to it (think Ellen Burstyn in ALICE DOESN'T LIVE HERE ANYMORE) and the screenplay doesn't condescend to its characters. With Donald Moffat and Mitchell Anderson.

The Last Tycoon (1976)

Set in the 1930s, the young production chief (Robert De Niro) of a major Hollywood studio runs the studio with an iron fist much to the chagrin of another studio producer (Robert Mitchum). A widower, the young studio head becomes obsessed with a young girl (Ingrid Boulting), who resembles his dead wife. Based on the (unfinished) novel by F. Scott Fitzgerald and directed by Elia Kazan (ON THE WATERFRONT) in his final film. A stiff of a movie! With an illustrious cast, produced by Sam Spiegel (LAWRENCE OF ARABIA) and Harold Pinter adapting Fitzgerald's novel for the screen, Kazan can't breath life into a deadly laborious elephant of a film that never gets off the ground. A major portion of the film is devoted to De Niro's fascination with Ingrid Boulting but she's not much of an actress and while pretty, she just doesn't justify the mogul's obsession with her. The movie briefly comes alive toward the end when a union organizer (Jack Nicholson in the film's best performance) enters the movie. Nicholson brings a much need vitality to the proceedings but alas, he's gone as quickly as he came in. The impressive cast includes Jeanne Moreau, Tony Curtis, Anjelica Huston, Ray Milland, Dana Andrews, Theresa Russell, Donald Pleasence, John Carradine, Peter Strauss, Jeff Corey, Rutanya Alda and Betsy Jones Moreland.

La Triche (aka The Cheat) (1984)

Set in Bordeaux, France. Investigating the murder of the owner (Michel Galabru) of a gay nightclub, the police commissioner (Victor Lanoux), who is a closeted bisexual, begins an affair with a musician (Xavier Deluc) who works at the nightclub. His involvement strains his marriage and blurs the boundaries between his professional and personal life. Written and directed by Yannick Bellon (LA FEMME DE JEAN). An interesting but not altogether successful crime thriller with its focus on the relationship of a bisexual man in a position of power and respect in society and his attachment to a homosexual which compromises him, socially and morally. How far will the protagonist go to protect his social status? He's a hypocrite, of course, even if his feelings for the gay boy is sincere. You can't really like any of the movie's characters, so I watched from a distant perspective, observing rather than getting involved. Definitely worth a watch but ultimately, too non committal to be effective. With Anny Duperey, Valerie Mairesse and Roland Blanche.

Stateline Motel (aka L'Ultima Chance) (1973)

Set in Quebec, Canada. After a deadly jewel heist, two robbers (Eli Wallach, Fabio Testi) split up to evade the police. Tasked with getting the stolen jewels across the border to the U.S., Testi holes up in a small border town motel. It's there he meets the sexy wife (Ursula Andress) of the motel owner (Massimo Girotti) and the trouble begins. Based on the novel by Franco Enna and directed by Maurizio Lucidi (THE DESIGNATED VICTIM). Although filmed in Canada, this is an Italian film and not a bad one at that. It's a nifty cat and mouse game with Ursula Andress especially good as the movie's ambiguous femme fatale. The film has slight echoes of THE POSTMAN ALWAS RINGS TWICE with Testi's drifter on the run drawn into a deadly web by the sexy wife of Girotti's kind hearted motel owner. There's a little twist at the end of the movie that I saw coming but unless you're a suspicious mystery addict, it might get past you. With Barbara Bach, Celine Lomez and Howard Ross.

Era Notte A Roma (aka Escape By Night) (1960)

Set in Nazi occupied Rome, a beautiful black marketeer (Giovanna Ralli) gives sanctuary to three escaped POWs: an American pilot (Peter Baldwin), a Russian sergeant (Sergei Bondarchuk, who would go on to direct the 1966 WAR AND PEACE) and a British major (Leo Genn). By taking them in, she jeopardizes the safety of her communist lover (Renato Salvatori). Directed by Roberto Rossellini (OPEN CITY). Since its debut at the Cannes film festival, Rossellini's film has seen several versions of various length: 157 minutes, 145 minutes, 114 minutes. The transfer I saw was 135 minutes. Slightly overlong, it's a riveting glimpse of Roman life during the waning days of Rome under the Germans before it was liberated by the allies. Rossellini captures the chaos and intense pressure that ordinary citizens lived under while keeping the suspense quotient high. Surprisingly, it was not successful either artistically or commercially at the time of its original release. I found it held my interest in both departments. With Sergio Fantoni, Enrico Maria Salerno, Paolo Stoppa, Laura Betti and Rosalba Neri.

Crime Against Joe (1956)

Set in Arizona, an innocent man (John Bromfield) with a drinking problem is accused of murdering a cabaret singer (Alika Louis). A girl (Julie London) secretly in love with him provides a false alibi to keep him out of jail, if only temporarily. He uses the time to investigate and find the real killer. Based on a story by Decla Dunning and directed by Lee Sholem (TARZAN AND THE SLAVE GIRL). Bromfield's protagonist is rather unlikable and his problems are due to his excessive drinking. It's really hard to drum up much sympathy for him. He's aggressive and rude and seems to be asking for trouble. It doesn't help that Bromfield's performance is terrible, especially his "drunk" scenes. More interesting is a subplot involving an overprotective, repressive father (Joel Ashley) who suffocates his daughter (Patricia Blair) so much that she needs to escape him. With Henry Calvin, Joyce Jameson and Frances Morris.

13 Rue Madeleine (1947)

Set during WWII, a commanding officer (James Cagney) is in charge of training a small band of operatives as spies in the leadup of the invasion of Europe but one of the trainees is actually a Nazi spy! Directed by Henry Hathaway (TRUE GRIT). Although filmed after WWII, this still comes across as a WWII propaganda movie. While the film's producer Louis De Rochemont has a reputation for realism with films like THE HOUSE ON 92ND STREET and BOOMERANG, this one starts out in a semi documentary approach before going full tilt Hollywood in the movie's final third. James Cagney is parachuted into Vichy France and passes himself off as a Frenchman but he still sounds like James Cagney while others around him are either French or using French accents. If you can buy that then perhaps you'll find the movie more tolerable than I did. With Richard Conte, Karl Malden, E.G. Marshall, Annabella, Frank Latimore, Sam Jaffe, Melville Cooper and Ann Codee.

Io Semiramide (aka Slave Queen Of Babylon) (1963)

Set during the Neo-Assyrian Empire, its Queen (Yvonne Furneaux) gives an order to build a great city that she will call Babylon. Her political ambitions are hampered by her love for a prince (John Ericson), defeated in war and now a slave. Written and directed by Primo Zeglio (MORGAN THE PIRATE). A rather tired sword and sandal epic out of Italy. Shot in CinemaScope, this slice of peplum looks lavish but its storyline although using real historical characters is hackneyed. Yvonne Furneaux makes for a formidable heroine but John Ericson doesn't impress as the rebellious prince turned slave. If you're partial to the genre, you're probably immune to the triteness of the recycled plot. With Germano Longo and Renzo Ricci.

Letty Lynton (1932)

Living in South America, a woman (Joan Crawford) is seeking to escape from her toxic lover (Nils Asther). Fleeing to New York aboard a luxury liner, she falls in love with a passenger (Robert Montgomery) and sees a new beginning for her. Alas, when the ship docks, her obsessive lover is waiting to meet her. Based on the novel by Marie Belloc Lowndes (THE LODGER) and directed by Clarence Brown (NATIONAL VELVET). Out of circulation since 1936 due to a court decision that the screenplay plagiarized the play DISHONORED LADY. The play's copyright expired in 2025 and after years of unavailability, the film has been restored and made available. Its reputation has grown because of its being out of circulation for decades. The movie is far from a great movie but it still holds up as a pulpy pre code movie romance and being a pre code film, the heroine is able to get away with murder and live happily ever after. The young Joan Crawford is really marvelous here (and a knockout in her Adrian frocks), vibrant and sexy and not yet the iron maiden she would become over at Warner Brothers. With May Robson, Lewis Stone and Louise Closser Hale.

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.