The Caddy (1953)

The son (Dean Martin) of a San Francisco fisherman (Joseph Calleia) is expected to follow in his father's footsteps but he doesn't want to be a fisherman. With the help of his best friend (Jerry Lewis), he becomes proficient enough in golf to compete in tournaments and win money. Directed by Norman Taurog (BLUE HAWAII). One of Martin and Lewis's lesser vehicles. Lewis is in top form but the movie's lame script sabotages him. It makes his character more irritating than funny. Other than Lewis's sporadic highpoints, the only other notable thing about the movie is Martin's rendition of the Oscar nominated song That's Amore which became a big hit for him. As Martin's love interest, Donna Reed is wasted and had better luck with her other movie released the same month, FROM HERE TO ETERNITY. With Barbara Bates, Fred Clark, Clinton Sundberg, Nancy Kulp and Marshall Thompson.

Eve's Bayou (1997)

Set in rural Louisiana, a wife (Lynn Whitfield) and mother of three is forced  to admit that her family is falling apart due to her philandering husband (Samuel L. Jackson). Witnessing one of her father's infidelities, the youngest daughter (Jurnee Smollett) struggles to make sense of what she's seen. Written and directed by Kasi Lemmons (HARRIET) in her directorial debut. A complex coming of age tale with supernatural trimmings. Lemmon's direction takes us back in time and on a journey of fragmented memories, the occult and parental flaws that may or may not consist of abuse. The acting is superb, notably Debi Morgan giving a multi layered performance as an aunt with psychic abilities but unable to foresee her own tragedies. Just a lovely piece of film making. With Diahann Carroll, Meagan Good, Jake Smollett, Ethel Ayler, Vondie Curtis Hall and Roger Guenveur Smith.

David Copperfield (1935)

After the death of his father, a young boy (Freddie Bartholomew) and his mother (Elizabeth Allan) become very attached to each other. But when she remarries to a cruel and manipulative man (Basil Rathbone), he makes life miserable for them both. Based on the novel by Charles Dickens and directed by George Cukor (MY FAIR LADY). In the 1930s, MGM brought to the screen several "prestigious" literary adaptations of books and plays by the likes of William Shakespeare, Charles Dickens, Leo Tolstoy, Eugene O'Neill and Rudyard Kipling to name a handful. This version of DAVID COPPERFIELD is one the better page to screen adaptations and that's due to Cukor's meticulous direction which avoids the stuffiness and stiffness of those BBC adaptations. With one exception, an excellent cast. The one exception is W.C. Fields who seems out of place (he doesn't even bother to speak with an English accent). But most of the casting is spot on, notably Edna May Oliver as Aunt Betsey, Roland Young as Uriah Heep and Lennox Pawle as Mr. Dick. With Frank Lawton, Maureen O'Sullivan, Lionel Barrymore, Elsa Lanchester, Madge Evans, Lewis Stone, Una O'Connor and Jessie Ralph.

Meet The People (1944)

Set during WWII, a welder (Dick Powell) in a shipyard falls head over heels for a Broadway musical star (Lucille Ball). He is also a playwright and when he gives her a script for a musical show, she decides to star in it. Based on the Broadway revue and directed by Charles Reisner (THE BIG STORE). The kind of musical they don't make anymore ..... thank heaven! The barely there "plot" is a thin excuse to serve up a variety of singing, dancing and novelty acts that have nothing to do with the narrative. Unfortunately, with the exception of two numbers, the songs aren't very memorable and the novelty acts are the pits. The two standout numbers are I Like To Recognize The Tune, an ensemble number performed by June Allyson, Virginia O'Brien, Vaughn Monroe, Ziggie Talent and the King Sisters and the amusing Say That We're Sweethearts Again  sung by Virginia O'Brien. With Bert Lahr, Rags Ragland, Steven Geray and Spike Jones and the City Slickers.

Sirocco (1951)

Set in 1925 Damascus, where the Syrians are fighting against the French colonialists to get their country back. A black marketeer (Humphrey Bogart) has no moral scruples and is selling guns and ammunition to the Syrian rebels and making a handsome profit off it. Based on the novel COUP DE GRACE by Joseph Kessel (BELLE DE JOUR) and directed by Curtis Bernhardt (A STOLEN LIFE). I'm surprised that this is one of those movies that received negative reviews upon its initial release because I found it quite engrossing. Bogart isn't a hero here, he's a cynic who doesn't take sides and supplies guns and ammo because there's money in it regardless that both French and Syrians will die as a result. The film's real "hero" is the French Colonel (Lee J. Cobb in a restrained performance), who sees the futility of the war situation and tries for a truce. But he's not perfect either, he's obsessed with a chilly mistress (Marta Toren), who has nothing but contempt for him. The film eschews a romanticized "happy" ending (this is no CASABLANCA) for a cautiously optimistic one. With Everett Sloane, Zero Mostel, Gerald Mohr, Harry Guardino, Nick Dennis and Jeff Corey.

Wanted: The Sundance Woman (1976)

Etta Place (Katharine Ross), former lover of the outlaw known as the Sundance Kid, lives in anonymity with a former Hole-In-The-Wall gang member (Michael Constantine) and his wife (Katherine Helmond). But she has a bounty on her head and it isn't long before a lawman (Steve Forrest) tracks her down. Directed by Lee Philips (WINDMILLS OF THE GODS). A highly fictionalized or rather a totally fabricated account of Etta Place's life after she left Bolivia after the Sundance Kid was killed. This telefilm has her get involved with the Mexican revolution and romancing Pancho Villa (Hector Elizondo). As it is, it's a conventional western, certainly no worse than BUTCH CASSIDY AND THE SUNDANCE KID (sorry, I'm not a fan) with Ross reprising her role as Etta Place. There are two supporting performances that stand out: Elizondo as Pancho Villa and Stella Stevens as an ex-prostitute now running a respectable boarding house. With Steve Forrest, Warren Berlinger and Lucille Benson.

Gold Of The Seven Saints (1961)

Two fur trappers (Clint Walker, Roger Moore) find a fortune in gold nuggets in a Utah river. But it isn't long before friends (Robert Middleton), thieves (Gene Evans) and even a doctor (Chill Wills) all want a piece of the action. Based on the novel DESERT GUNS by Steve Frazee and directed by Gordon Douglas (TONY ROME). A drab little western that ambles along leisurely in the first half before exploding in action in the second half. The best thing about the movie is the handsome B&W wide screen cinematography by Joseph Biroc (BYE BYE BIRDIE). It's not boring but western fans have seen it all before and done better. I could see its tip of the hat to TREAUSRE OF THE SIERRA MADRE coming a mile away. With Leticia Roman, Lalo Rios and Christopher Dark.

Nickelodeon (1976)

Set in 1914, a struggling lawyer (Ryan O'Neal) is coerced into being a screenwriter (and later a director) at the urging of a film producer (Brian Keith). Meanwhile, he becomes smitten with a pretty girl (Jane Hitchcock) and makes her his leading lady. However, she has eyes for the leading man (Burt Reynolds). Directed by Peter Bogdanovich (THE LAST PICTURE SHOW). Bogdanovich wanted to make a nostalgic film about the rough "guerilla" days of making movies before Hollywood became the capital of movie making in America. The film is flat as a pancake and I'm not sure where the blame lies. Bogdanovich insisted it was studio interference while the film's original producer Irwin Winkler insists that Bogdanovich took a perfectly good screenplay and rewrote it and the result is a muddle. The film doesn't work on any level and some of the actors seem miscast, notably Burt Reynolds who at 40 is playing someone in their 20s. The film's leading lady Jane Hitchcock was a model making her film debut (she only made one other film before "retiring") and her inexperience shows. Also, the film doesn't give any indication that the burgeoning film makers have any talent. With Tatum O'Neal, John Ritter, Stella Stevens, George Gaynes and Priscilla Pointer.

Disclosure Day (2026)

A cyber security specialist (Josh O'Connor) steals a piece of extraterrestrial technology and related files from a secret arm of the U.S. government and goes on the run with his girlfriend (Eve Hewson). Simultaneously, a television meteorologist girl (Emily Blunt) suddenly begins to speak in foreign languages and has psychic ability. Unaware of the other, they are both connected. Directed by Steven Spielberg (JAWS). With a few exceptions, Spielberg's output in the 2000s, hasn't interested me. I've skipped a few and those I've seen haven't impressed me much. They've ranged from good (THE POST) to mediocre (LINCOLN) to bad (INDIANA JONES AND THE CRYSTAL SKULL). The last Spielberg movie I really loved was WAR OF THE WORLDS (2005). This one is a return to top form for Spielberg. No, it's nowhere near his masterpieces (JAWS, CLOSE ENCOUNTERS OF THE THIRD KIND, E.T.) but honestly, he'll never get there again. Like Orson Welles and CITIZEN KANE or Spike Lee and DO THE RIGHT THING, he created great cinema early in his career and nothing he (or they) has come close to achieving the same result. But this one is wonderful and I won't discuss it much because the less you know about it, the better your experience will be. My only disappointment is the John Williams score which is serviceable at best. Emily Blunt is really terrific here and good enough to be considered when the year end best actress awards get handed out. With Colin Firth, Colman Domingo, Wyatt Russell (son of Goldie Hawn and Kurt Russell) and Elizabeth Marvel.

How To Lose Friends & Alienate People (2008)

Hired by the editor (Jeff Bridges) of a fashionable magazine, a young Brit (Simon Pegg) moves from his native England to New York to write celebrity profiles for the glossy monthly. He soon finds himself in the limelight for his fifteen minutes of fame. Based on the memoir by Toby Young and directed by Robert B. Weide (LENNY BRUCE: SWEAR TO TELL THE TRUTH). Weide's career began in documentaries (his Lenny Bruce documentary received an Oscar nomination) and he went on to direct TV (30 episodes of CURB YOUR ENTHUSIASM). The film is a fictionalized account of Toby Young's years at Vanity Fair magazine. I'm not familiar with Young's memoir but the movie portrays him as a totally insensitive moron but attempts to redeem him by turning the movie into a romantic comedy. But the damage has been done so well that his "redemption" comes across as contrived. It doesn't succeed at any level. It was a success in England but a critical and commercial failure in the U.S. With Kirsten Dunst, Megan Fox, Gillian Anderson, Danny Huston, Max Minghella, Miriam Margolyes, James Corden, Chris O'Dowd and Janette Scott.

Silver River (1948)

After being kicked out of the Union army during the Civil War, an ex soldier (Errol Flynn) goes rogue and confiscates gambling equipment to set up his own saloon and gambling hall and thus begins the growth of his empire. Based on the novel by Stephen Longstreet and directed by Raoul Walsh (HIGH SIERRA). While not wholly successful, I found this western above average. At this stage of his career, Errol Flynn was drinking heavily but his character here is much more complex than many of his swashbuckling hero roles. As he lusts after another man's (Bruce Bennett) wife (Ann Sheridan), the biblical story of David and Bathsheba is reenacted in a western setting. Reputedly, director Walsh was unhappy with the script for being too talky and eliminated what might possibly have been crucial events because the movie loses its way and by the end of the film, it's become just another western instead of the multifaceted western it had the potential to become. With Thomas Mitchell, Tom D'Andrea and Barton MacLane.

Charlie Chan At Treasure Island (1939)

When the renowned detective Charlie Chan (Sidney Toler) sets out to investigate the link between several suspicious deaths and a mysterious psychic, he soon finds himself mired in intrigue. Based on the character created by Earl Derr Biggers and directed by Norman Foster (JOURNEY INTO FEAR). The 19th entry in the 20th Century Fox Charlie Chan franchise is one of the better ones. There's a plethora of suspects with a red herring or two tossed in the mix until Chan emerges victorious in the end. The overly complicated plot often seems haphazard and difficult to follow but it's a fun journey especially if you're into whodunits as I am. With Cesar Romero, Victor Sen Yung, Pauline Moore, Douglas Fowley, Louis Jean Heydt and Douglass Dumbrille.

The Slugger's Wife (1985)

A womanizing baseball player (the colorless Michael O'Keefe) falls head over heels with a rock singer (Rebecca De Mornay) and decides to settle down. But their marriage hits a wall when he expects her to put her career second and be a baseball wife. Written by Neil Simon and directed by Hal Ashy (SHAMPOO). Atrocious about sums it up! Simon hits rock bottom. Could this drek come from the pen of the man who wrote BAREFOOT IN THE PARK, THE GOODBYE GIRL or THE OUT OF TOWNERS? Apparently and the film doesn't cover Hal Ashby in glory either. O'Keefe's character is a prick and we're supposed to accept his psychotic behavior as love for his wife. Maybe if any of this were funny, it would override some of the nonsense on display here but it's a dud. To Simon's credit, he doesn't give us a happy ending with everything wrapped up in a neat little ribbon but that doesn't excuse the crappy writing preceding it. A well deserved critical and commercial flop. With Martin Ritt (yes, the director), Randy Quaid, Cleavant Derricks, Lisa Langlois, Lynn Whitfield and Georgann Johnson.

Walk Like A Dragon (1960)

A cowboy (Jack Lord) saves a Chinese girl (Nobu McCarthy) from a life of prostitution in 1870's San Francisco. When he takes her home to be his housekeeper, he draws the ire of a local Chinese man (James Shigeta) who wants the woman for himself. Co-written and directed by James Clavell (author of SHOGUN). The most unique aspect of this western is that two of its three protagonists are Asian and the interracial romance between the three as well as dealing with racism of that era. Other than that, it's a pretty conventional western. Interestingly, the film opts for a "stick with your own kind" ending rather than an interracial marriage that would challenge the status quo racism. With Mel Torme, Josephine Hutchinson, Lilyan Chauvin, Michael Pate, Benson Fong and Natalie Trundy.

Her Cardboard Lover (1942)

A love struck woman (Norma Shearer) can't trust herself around her dashing lover (George Sanders), who treats her badly. She always goes crawling back to him. So she hires a young man (Robert Taylor) to pose as her lover and to step in whenever she weakens and tries to go back to him. There's a small problem however. The young man is as crazy about her as she is with her narcissistic lover. Based on the play DANS SA CANDEUR NAIVE by Jacques Deval and directed by George Cukor (GASLIGHT). This was Shearer's final film at MGM where she was its reigning queen for many years and it's a sad swan song. There are so many problems with the movie, where does one start? Robert Taylor is miscast. Along with Tyrone Power, he was one of the handsomest stars of their era, women threw themselves at them. Here, he's all wrong as the tongue tied, shy and awkward man with a crush. It doesn't help that Taylor is ill suited to comedy. All three of the main characters are sick! Sanders is a womanizer who won't stay faithful to Shearer, she's a doormat with no pride and Taylor is a stalker who won't take no for an answer. Reputedly, Shearer turned down MRS. MINIVER to do this? With Elizabeth Patterson, Chill Wills and Frank McHugh.

Joy Of Living (1938)

A famous actress (Irene Dunne) is the meal ticket for her relatives who sap her of her money and time. But her world changes when she meets a carefree millionaire (Douglas Fairbanks Jr.) who stalks her and thinks her family are leeches. Directed by Tay Garnett (THE POSTMAN ALWAYS RINGS TWICE). Irene Dunne in a screwball comedy is normally cause for celebration. But this one is a dud! It's a semi musical with songs by Jerome Kern and Dorothy Fields (SWING TIME) but with such a lackluster script that I couldn't help feel sorry for Dunne and Fairbanks Jr. trying their damnedest to no avail. There's a briefly amusing roller skating sequence that might have been even funnier if Dunne and Fairbanks Jr.'s stunt doubles weren't so blatantly obvious. Then there's the problem of Fairbanks Jr.'s persistent lothario who comes across as a creepy stalker by 21st century standards. With Lucille Ball, Alice Brady, Guy Kibbee, Eric Blore, Jean Dixon, Franklin Pangborn and Warren Hymer.

The Last Outpost (aka Cavalry Charge) (1951)

Set in the West during the Civil War, two brothers are on opposite sides of the war. One (Ronald Reagan) is in the Confederate army while his brother (Bruce Bennett) is in the Union army. Directed by Lewis R. Foster (THE BOLD AND THE BRAVE). A B movie programmer that makes the Confederate army the heroes. The Union army is portrayed as incompetent, the Indians are portrayed as savages but the Confederate army saves the day! It's not even a good B western, just a hash of western movie tropes with a tired romantic subplot (Rhonda Fleming as the girl Reagan ditched when he joined the Confederate army). Surprisingly, the movie was a success and turned a healthy profit. With Bill Williams, Hugh Beaumont and Lloyd Corrigan.

Dracula (1974)

Set in 1897, a British solicitor (Murray Brown) arrives in Transylvania to meet with the Count Dracula (Jack Palance), who is interested in renting a property in England. When the Count sees a photograph of a young woman (Fiona Lewis) in the solicitor's room, he is determined to travel to England to meet the young girl. Based on the novel by Bram Stoker and directed by Dan Curtis (DARK SHADOWS). According to the Guinness World Records, Dracula is the most filmed literary character in history. How does this telefilm (released theatrically in Europe) stand up to the many adaptations? It's merely okay. It's a nondescript telling of the Stoker tale without any imagination, style or atmosphere. The most interesting thing about it is how relatively restrained Jack Palance's performance as Dracula is. He's not an actor known for his subtlety. There are some talented people behind the camera including cinematographer Oswald Morris (THE MAN WHO WOULD BE KING) and costume designer Ruth Myers (L.A. CONFIDENTIAL). With Nigel Davenport, Simon Ward, Pamela Brown and Penelope Horner.

The Bride! (2026)

Set in 1936 Chicago, the Frankenstein "monster" (Christian Bale) visits a groundbreaking scientist (Annette Bening) to create a companion for him. They dig up the body of a recently deceased prostitute (Jessie Buckley) and create a "bride" for the lonely monster. What ensues is murder, possession, a wild and radical cultural movement and romance. Inspired by the classic novel by Mary Shelley and directed by actress turned director Maggie Gyllenhaal. I wasn't a big fan of Gyllenhaal's previous film, THE LOST DAUGHTER (2021) which received great reviews. This film opened to weak reviews but I absolutely loved it! An insane rollercoaster ride, a mixture of BRIDE OF FRANKENSTEIN meets BONNIE AND CLYDE with a dash of Mel Brooks. An outrageous feminist horror movie with musical numbers and even some laughs. Yes, it's messy but intentionally messy. It's everything that JOKER: FOLIE A DEUX tried to be but couldn't. Clearly, the naysayer critics needed a laxative. With Jake Gyllenhaal, Penelope Cruz, Peter Sarsgaard, Jeannie Berlin, Julianne Hough and John Magaro.

Across To Singapore (1928)

Set in 1857, the youngest son (Ramon Novarro) of a shipping family and a neighbor girl (Joan Crawford) fall in love. But when the girl's father (Edward Connelly) betroths her to the boy's older seafaring brother (Ernest Torrence), it causes a rift in the brothers' relationship. Based on the novel ALL THE BROTHERS WERE VALIANT by Ben Ames Williams (LEAVE HER TO HEAVEN) and directed by William Nigh (MR. WONG DETECTIVE). Boy, does this one creak! Granted, the transfer I saw is in need of a major restoration but I seriously doubt a more pristine print would make it a better movie, just more watchable. The film's first half hour is a bit of a slog with Novarro playing a mischievous brat but when Crawford's betrothal to the brother is announced, he suddenly grows into a grown up man at the snap of a finger! Only 90 minutes long but I swear it seemed like two hours. Remade (and better) in 1953. With Anna May Wong and Frank Currier.

Paint Your Wagon (1969)

Set during the California gold rush, a prospector (Lee Marvin) finds an unconscious man (Clint Eastwood) who has survived his wagon crashing down a ravine. They become partners in gold prospecting but when a woman (Jean Seberg) arrives in town, it causes complications when they both want her. Based on the Broadway musical with music and lyrics by Frederick Loewe and Alan Jay Lerner and directed by Joshua Logan (PICNIC). The movie jettisons almost all of the plot of the 1951 musical as well as almost half of the stage musical's songs (as well as Agnes DeMille's choreography) and replaces them with a few new songs with Andre Previn composing the music (although still living, Loewe had nothing to do with the movie) to Lerner's lyrics. Musically, the film is weak. Lerner & Loewe wrote MY FAIR LADY, GIGI, BRIGADOON and CAMELOT, all wonderful scores but outside of the haunting They Call The Wind Maria, the songs are aren't particularly memorable (my favorite song from the show, How Can I Wait was cut). The screenplay is a hot mess! Ghastly about describes it. As for the actors: Lee Marvin overacts abominably, Eastwood is wooden and only the lovely Jean Seberg is able to provide anything resembling an actual human being. The film actually did well at the box office (in London, it played for over a year in one theatre) but its massive budget precluded it turning a profit. With Harve Presnell and Ray Walston.

An Ideal Husband (1999)

Set in 1895, a highly respected politician (Jeremy Northam) is the pride of his wife (Cate Blanchett) and adoring sister (Minnie Driver). But when an old acquaintance (Julianne Moore) threatens to reveal a dark secret from his past, his political career and marriage are threatened. Based on the play by Oscar Wilde and directed by Oliver Parker (THE GREAT ESCAPER). A few unnecessary plot removals aside, this is an elegant and well acted adaptation of Wilde's witty play. The film's last 20 minutes or so are rather flat but frankly I don't know if that's Wilde's writing or the playing of it by the director and cast. Production values (especially Caroline Harris's costumes) are first rate. Still, I confess a preference for the 1947 British version though this one is above average. With Rupert Everett (who gets all the best lines), John Wood, Peter Vaughan and Lindsay Duncan.

Daughter Of The Jungle (1949)

An airplane carrying a pair of police officers (James Cardwell, Jim Bannon) escorting gangsters (Sheldon Leonard, James Nolan) to prison crash lands in the African jungle. They are rescued from a native attack by a woman (Lois Hall) who appears out of nowhere. Directed by George Blair (THE HYPNOTIC EYE). A tacky B jungle adventure whose only novelty is the female Tarzan played by Lois Hall. She swings from jungle vines, gives out with a Tarzan bellow call and even wrestles rubber alligators. Although set in Africa, the "natives" aren't black but look to be Caucasians resembling Indian or Polynesian natives and the African "landscapes" look suspiciously like Southern California. Of course, there's the usual man in a gorilla suit not fooling anyone. Not fun enough to be camp but tedious enough to dismiss as just another bad movie. With William Wright.

修羅雪姫 怨み恋歌 (aka Lady Snowblood: Love Song Of Vengeance) (1974)

Set in 1906 Japan, the head of the secret police (Shin Kishida) saves the notorious outlaw known as Lady Snowblood (Meiko Kaji) from the executioner and allows her to go free if she will obtain a secret document from a known anarchist (Juzo Itami). Based on the manga series of the same name and directed by Toshiya Fujita (LADY SNOWBLOOD). This is a sequel to the 1973 LADY SNOWBLOOD and frankly, it's just not as good. Its interesting narrative gets lost in the gratuitous violence where the camera lovingly lingers over every mutilation, wounds and plague ridden flesh. In this movie, the Lady Snowblood character seems supporting rather than a lead character. With Kazuko Yoshiyuki and Yoshio Harada.

In Which We Serve (1942)

Set during WWII, the surviving crew of the destroyer HMS Torrin desperately cling to life after being attacked by German bombers during the battle of Crete. As the men await their rescue, they reflect on their lives prior to the attack. Written, produced and co-directed (with David Lean, who directed the actions scenes while Coward focused on the actors) by Noel Coward, who also plays the film's lead and composed the film's score. WWII propaganda films were prolific during the war years (1941-1945). I can understand the necessity of such movies during the trying time of a world conflict, hoping to keep the morale up while so many lives were being destroyed. But posterity has not been kind to most of them because, well ..... they weren't very good. Most of the Hollywood product were jingoistic but some of the films showed the hardships and bravery of the men in battle and of the homefront where (especially in England with the blitz) civilians were touched by the war. In that respect, IN WHICH WE SERVE holds up very well in spite of the distance of 80 plus years. With Celia Johnson, John Mills, Richard Attenborough, Kay Walsh, Bernard Miles, Michael Wilding, Joyce Carey, James Donald, Daniel Massey and Juliet Mills.

Making Of A Male Model (1983)

A young ranch hand (Jon Erik Hexum) in Nevada is discovered by a seductive modeling agent (Joan Collins), who owns her own chic Manhattan modeling agency. She persuades him to leave his quiet life and begin a modeling career in New York. Directed by Irving J. Moore (DYNASTY: THE REUNION). This should have been a trashy fun piece of "camp" but it takes itself so seriously as if it were a hard hitting look into the decadence of Manhattan's modeling scene that it's just ludicrous. Every cliche is on display and you just know where it's going. It's the kind of obvious movie that when Jeff Conaway as a fading male model gives a big speech about how his career is going down the drain, you immediately know he's going to die (either by suicide or an overdose) before the final credits appear. Trash like this makes Jacqueline Susann look like Carson McCullers! With Kevin McCarthy, Robert Walker Jr., Jennifer Edwards, Roxie Roker, Rosemarie Bowe Stack, Michael Anderson Jr. and Arte Johnson.

On The Avenue (1937)

A wealthy New York socialite (Madeleine Carroll) is furious when a Broadway musical ridicules her. With dubious intentions, she makes a date with the show's star and producer (Dick Powell) but they end up falling in love. This doesn't sit well with the show's female star (Alice Faye) who plots to destroy the budding romance. Directed by Roy Del Ruth (BROADWAY MELODY OF 1936). 20th Century Fox wasn't known for their musicals and most of them aren't very good but this movie is one of their rare good ones. It's nothing special in the creative sense, it doesn't come near the RKO Astaire and Rogers films or the great MGM musicals from the Freed unit but it's undeniably charming and it has a solid Irving Berlin score. The standouts are the Ritz Brothers, who had me cracking up a few times and for me, a little Alice Faye goes a long way but she's in a supporting role here so I enjoyed her work here. With  Cora Witherspoon, Alan Mowbray, Joan Davis and George Barbier.

Lady Of Vengeance (1957)

When his petty young ward (Eileen Elton) throws herself in front of a London bound train, an arrogant international publishing magnate (Dennis O'Keefe) sets out to discover exactly what - or who - drove the young woman to kill herself. Directed by Burt Balaban (STRANGER FROM VENUS). I'm somewhat taken aback at the negative reviews this low budget B movie received when first released. Certainly not a major film or a particularly good one but I still found it fairly compelling and its surprise "twist" at the end did take me by surprise. However, this being a 1957 film, fifties morality didn't allow its act of revenge to come to fruition and instead lets "fate" take its course. With Anton Diffring, Ann Sears, Patrick Barr and Vernon Greeves.

The Crawling Hand (1963)

A science student (Rod Lauren) and his girlfriend (Sirry Steffen) discover a severed arm on the beach. The arm is all that remains from an astronaut who crash landed to earth. However, the hand has the ability to control people and urge them to kill. Directed by Herbert L. Strock (I WAS A TEENAGE FRANKENSTEIN). Silly slice of cheesy B science fiction horror, ineptly written and badly acted. You can always tell when a character is possessed by the crawling hand by the amount of eye shadow around their eyes. I'm just curious how the producers were able to rope in so many well known second string actors into this project. For connoisseurs of bad movies only. With Peter Breck, Allison Hayes, Kent Taylor, Alan Hale, Richard Arlen, Ross Elliott and Arline Judge.

ハウルの動く城 (aka Howl's Moving Castle) (2004)

Set in a fictional kingdom that is at war with another kingdom. A young milliner (Emily Mortimer) is turned into an elderly woman (Jean Simmons) by a witch (Lauren Bacall) who enters her shop and places a curse on her. Based on the novel by Diana Wynne Jones and directed by Hayao Miyazaki (THE BOY AND THE HERON). Yet another gorgeous piece of animation by the great Miyazaki and it well may be my favorite. This one is pretty heavy duty as it addresses issues such as war, old age and empathy. The narrative is geared more toward adults than young children and its often complex themes will likely go right over their heads. Miyazaki (who's a pacifist) emphasizes a prominent anti war aspect that is not in the original novel. Normally, I prefer to watch Miyazaki's films in the original Japanese langauage but HOWL'S is based on an English novel, its characters are not Japanese and the story is not set in Japan so the excellent English dub was preferred. It received an Oscar nomination for best animated film. With the voice talents of Christian Bale, Billy Crystal, Blythe Danner, Josh Hutcherson and Jena Malone.

The Wild Angels (1966)

When a bike is stolen from the Hells Angels, an epic chase to retrieve the bike ensues as the bikers terrorize and spread fear wherever they ride. Directed by Roger Corman (MASQUE OF THE RED DEATH). American International had built a reputation (and made money) on a series of Edgar Allan Poe adaptations and the BEACH PARTY movies. But as counterculture slowly seeped into the 1960s, Roger Corman saw a chance to exploit the notorious biker group and this was the first of several biker movies to follow from AIP. The film doesn't hide the Hells Angels racism, their Nazi regalia, the way they treat women or their contempt for the law. Yet it seems to want to portray them as some sort of repressed minority group, rebels against a restrictive society. As cinema, its handsomely shot by Richard Moore (MYRA BRECKINRIDGE) in Panavision but that's about it. It's a pretty lousy movie. As an artifact of the 1960s exploitation cinema, it has its place but it has all the depth of a BEACH PARTY movie but nowhere near as fun. Did the Hells Angels really dance The Monkey in a rural church during a funeral? With Peter Fonda, Nancy Sinatra, Bruce Dern, Diane Ladd, Michael J. Pollard, Gayle Hunnicutt, Joan Shawlee and Norman Alden.

The Rocket Man (1954)

When an orphan (George Winslow) receives a genuine ray gun that compels anyone caught in its beam to tell the truth, he uses it to prevent his orphange from being shut down and to help a young couple (Anne Francis, John Agar) fall in love. Co-written by Lenny Bruce (yes, that Lenny Bruce) and directed by Oscar Rudolph (TWIST AROUND THE CLOCK). A family comedy with science fiction trimmings, the movie feels more like a 1960s live action Disney film than a 20th Century Fox release. It's innocuous to the nth degree without any of Lenny Bruce's razor wit. About the best I can say about it is that the cast doesn't embarass themselves (well, maybe not John Agar but he seems to embarass himself in just about every movie I've seen him in). With Charles Coburn, Spring Byington, Beverly Garland and Stanley Clements.

Sirat (2025)

A father (Sergi Lopez) in search of his missing daugther arrives at a rave with his young son (Bruno Nunez Arjona) in the mountains of Morocco. Surrounded by electronic music and an unforgiving landscape, they join a group of ravers heading to one last rave in the hope that his daughter will be there. Directed by Oliver Laxe (FIRE WILL COME). A stunning film with echoes of Clouzot's WAGES OF FEAR and Antonioni's L'AVVENTURA, an existential "road" movie where a seemingly simple journey becomes a crisis that confronts its travelers with their mortality and purpose. The intense and harrowing trucks through the mountains and deserts mirrors WAGES OF FEAR while the movie's initial search for the missing daughter soon becomes irrelevant reflects L'AVVENTURA. Nominated for two Academy Awards, one for its sound design and one for best international feature. With Jade Oukid, Richard Bellamy, Joshua Liam Henderson, Stefania Gadda and Tonin Janvier.

Sea Of Love (1989)

A workaholic New York cop (Al Pacino) living on the edge partners with another detective (John Goodman) to track down a serial killer. When he encounters an attractive suspect (Ellen Barkin), he enters a passionate affair with her despite evidence linking her to the killings. Based on the novel LADIES MAN by Richard Price (who adapted his book for the screen) and directed by Harold Becker (THE ONION FIELD). What should have been a straightforward thriller is loaded down with some over the top sex scenes between Pacino and Barkin which I suspect were supposed to be erotic but I found rather silly. Pacino's character is a bit of a sleazebag (in fact, the film's portrayal of New York cops are pretty sleazy) so one can't drum up much sympathy for him and Barkin's smart and tough cookie seems too savvy to fall for Pacino's games. It's not boring, I'll give you that but it's not very good either. With Richard Jenkins, Michael Rooker, William Hickey, Patricia Barry, Samuel L. Jackson, Barbara Baxley and Jacqueline Brookes.

Once Upon A Honeymoon (1942)

An ex-stripper (Ginger Rogers) longs to be a baroness and gets her wish when she marries an Austrian Baron (Walter Slezak). Meanwhile, a journalist (Cary Grant) tries to alert her that her new husband is a Nazi working under Hitler's direct orders. Directed by Leo McCarey (THE AWFUL TRUTH). I've never warmed to comedies about Nazis. I'm not a fan of THE GREAT DICTATOR or TO BE OR NOT TO BE (the 1942 film, not the remake) and this movie mixing romantic comedy and anti Nazi rhetoric is particularly egregious. It's hard to be not to be offended watching Grant woo Rogers in a Jewish internment camp! The movie's nadir has Rogers and Albert Dekker as an American working undercover as a Nazi spy reciting the pledge of alligeance together! It's not the fault of the actors, Grant and Rogers are fine but that shambles of a script! With Albert Basserman and Natasha Lytess (more famous as Marilyn Monroe's notorious acting coach than for her acting).

Brian's Song (1971)

The true story of two professional football players, Brian Piccolo (James Caan) and Gale Sayers (Billy Dee Williams), for the Chicago Bears and their remarkable bond when they become the first interracial roommates in the history of the National Football League and how Sayers stood by Piccolo when he was diagnosed with cancer. Based on the non fiction book I AM THIRD by Gale Sayers and Al Silverman and directed by Buzz Kulik (VILLA RIDES). When this movie premiered on television in 1971, it received excellent notices from the critics and at its time was the most watched TV movie ever and even received a theatrical release after its TV debut. My lack of interest in football aside, I found it okay at best and overtly sentimental at worst. There's a fine performance by Billy Dee Williams as Sayers that anchors the film but other than that, there's not much I can say for it. The score is by Michel Legrand. With Jack Warden, Shelley Fabares, Judy Pace, Bernie Casey and David Huddleston.

The Benny Goodman Story (1956)

The story of Benny Goodman (Steve Allen), the clarinetist and band leader who became known as the king of swing and his rise from childhood to performing at Carnegie Hall. Directed by screenwriter Valentine Davies (BRIDGES AT TOKO RI) in his only film as a director. Universal had a huge success in 1954 with THE GLENN MILLER STORY so it was only natural they would want to follow up with another movie about a popular band leader and this Benny Goodman biography was it. It was nowhere near as successful as the Glenn Miller movie. As to this movie, it's a series of all the by the numbers cliches you've seen in Hollywood's mediocre movie biographies. As Goodman, Steve Allen was obviously chosen for the lead because of his resemblance to the bandleader, it certainly wasn't for his acting abilities or box office appeal. Aside from Goodman's music, the most impressive thing in the movie is Bill Thomas's stylish wardrobe for Donna Reed. With Harry James, Gene Krupa, Lionel Hampton, Martha Tilton, Robert Clarke, Herbert Anderson and Diane Jergens.

The Great Garrick (1937)

Set in 1750, the great British actor David Garrick (Brian Aherne) travels to Paris to appear with the Comedie Francaise. But infuriated by a perceived insult, the head of the Comedie Francaise (Melville Cooper) concocts a plan to teach the great actor a lesson by having his acting trouple pose as the innkeeper and servants at his lodgings. Based on the play LADIES AND GENTLEMEN by Ernest Vajda and directed by James Whale (BRIDE OF FRANKENSTEIN). An atypical comedic farce from director Whale but actually quite amusing. Aherne is in fine form (channeling John Barrymore) as Garrick but the rest of the cast seem to relish their parts equally. Olivia De Havilland provides the love interest. With Lana Turner (not yet a blonde), Marie Wilson, Albert Dekker, Edward Everett Horton and Lionel Atwill.

I Mongoli (aka The Mongols) (1961)

Set in the 13th century, Poland sends an emissary (Franco Silva) to Genghis Khan (Roldano Lupi) to negotiate for peace. But Khan's bloodthirsty son (Jack Palance overacting terribly) is against any peace in his ambitious plan for world conquest. Directed by Andre De Toth (HOUSE OF WAX). De Toth was another European emigre to Hollywood where he worked from 1942 to 1960 before returning to Europe. THE MONGOLS was the second movie he made upon his return to Europe. It's an overlong wannabe epic balancing two storylines, Silva's emissary which includes a romance with a peasant girl (Antonella Lualdi) and Palance's psychotic warmonger and his voluptuous companion (Anita Ekberg) in death and destruction. The entire movie drags except for the scenes involving Anita Ekberg as the wicked consort of Palance. With Gianni Garko and Gabriele Antonini.

Cold Storage (2026)

In 1979, Skylab breaks apart during its reentry to Earth but because of its size (77 tons), it did not burn up completely and it scatters debris over the Indian Ocean and sparsely populated areas of Western Australia. But it brings back a deadly parasitic fungus. Based on the novel by David Koepp (who adapted his book for the screen) and directed by Jonny Campbell (ALIEN AUTOPSY). A splendid homage to 1950s B movie science fiction that balances laughs with genuine thrills. It doesn't take itself seriously and neither should you. With the exception of the first victim (Sosie Bacon, daughter of Kevin), the people who die are morons so you can enjoy their gory deaths. Is there anything better than scares and laughs in the same movie? Some of the cast are overqualified for stuff like this including Vanessa Redgrave (looking frail but wonderful to see her back on the screen), Liam Neeson and Lesley Manville but they seem to be having a great time. With Georgina Campbell, Joe Keery, Ellora Torchia and Gavin Spokes.

Obsession (aka The Hidden Room) (1949)

Tired of his beautiful wife's (Sally Gray) infidelities, a psychiatrist (Robert Newton) vows to kill her latest lover (Phil Brown). He concocts the perfect murder plan ..... but will he get away with it? Based on the novel A MAN ABOUT A DOG by Alec Coppel (VERTIGO) (who also did the screenplay) and directed by Edward Dmytryk (THE CARPETBAGGERS). Dmytryk had a critical and commercial success with the film CROSSFIRE in 1947. But he was named as one of the Hollywood Ten by the House Un-American Activities Committee so he wasn't able to capitalize on that film's success and he fled to England and this was his first film there. I found it to be a marvelous thriller in the Hitchcock style (with a wee touch of Agatha Christie) and the cat and mouse game between Newton's obsessed husband and Scotland Yard builds in suspense. The acting is quite good, notably Phil Brown as the American lover but the film is stolen by a terrier called Monty, who has an important role in the narrative. The score is by Nino Rota. With Naunton Wayne as the Scotland Yard inspector on the case and James Harcourt.

L'Innocent (aka The Innocent) (2022)

When his mother (Anouk Grinberg) marries an ex-convict (Roschdy Zem), her adult son (Louis Garrel) disapproves. But it isn't long before he's seduced by his stepfather's criminal life. Directed by Louis Garrel. Showered by 11 Cesar (the French Oscar) nominations and winning two, the movie didn't work for me. Every character is a loser and save one, I didn't give a damn what happened to any of them. The contrivances overflowing on the screen only served to distance me from its machinations. The only character I had any empathy for was Grinberg's desperately lonely mother and by the film's end, I did feel sorry for her but as far as I was concerned, everyone else deserved what they got except Noemie Merlant, who was so annoying that I was hoping she would get bumped off. Did I mention the film is supposed to be a comedy? With Yanisse Kebbab and Jean Claude Pautot.

Les Aventures d'Arsene Lupin (aka The Adventures Of Arsene Lupin) (1957)

Set in Paris at the end of the 19th century, a gentleman thief by the name of Arsene Lupin (Robert Lamoureux) is the bane of the Paris police as his cunning mocks the gendarmes as he cleverly escapes their clutches and his identity remains a mystery to them. Loosely based on the novel ARSENE LUPIN, GENTLEMAN BURGLAR by Maurice Leblanc and directed by Jacques Becker (CASQUE D'OR). Stylish and elegant and moderately entertaining. What else can one say? There's no real plot to speak of, it's just a series of moments as Lupin engages in daring thefts and romances the pretty ladies. With Liselotte Pulver, Sandra Milo, O.E. Hasse and Daniel Ceccaldi.

Home Fries (1998)

At the behest of their psycho mother (Catherine O'Hara), two brothers (Luke Wilson, Jake Busey) kill their stepfather (Chris Ellis). But when they discover their stepfather's pregnant mistress (Drew Barrymore) might have overheard the killing, she becomes a "loose end" that must be dealt with. There's a problem however, when one (Wilson) of the brothers falls in love with her! Directed by Dean Parisot (GALAXY QUEST). This quirky black comedy is ridiculous at times and over the top but still remains wildly amusing for the most part. Yes, it's a shallow movie, often going for cheap laughs but it gets the job done. The cast is up for it. Barrymore is adorable but the scene stealer is Catherine O'Hara as the batsh*t crazy mother from hell. Pity it's not better written, there's a classic black comedy in there somewhere. With Shelley Duvall, Lanny Flaherty and Daryl Mitchell.

Move (1970)

A struggling writer (Elliott Gould) in New York City writes pornography and walks dogs for the rich in order to make a living. When he and his wife (Paula Prentiss) decide to move to a new apartment, things go from bad to worse as the real world and his fantasy world clash. Based on the novel by Joel Lieber and directed by Stuart Rosenberg (COOL HAND LUKE). A mess of a movie! Taking advantage of the screen's new freedom, Rosenberg tosses in as much gratuitous nudity as possible (if you ever wanted to see Elliott Gould's butt, this movie is for you) but this film about a paranoid failed writer walking through a surrealistic Manhattan just isn't funny. This was director Rosenberg's only comedy and one can see why. The man just doesn't have a comedic sensibility. There's a slightly (very slight) amusing sequence when Gould has a sexual encounter with a ditzy Brit (Genevieve Waite channeling Marilyn Monroe) but not enough to lift the movie out of the quicksand it's in. With Ron O'Neal, John Larch, Mae Questel and Jeannie Berlin.

Kampf Um Rom (aka The Last Roman) (1968)

Set in the 6th century A.D., the Roman Empire is a shadow of its former self as the Ostrogoths rule over it. When the Ostrogoth king dies, his two daughters (Harriet Andersson, Honor Blackman) fight over who will be Queen. The devious leader (Laurence Harvey) of what remains of Rome takes advantage of this by playing both sides while the Emperor (Orson Welles) of the Byzantine empire also has designs on Rome. Based on the novel THE STRUGGLE FOR ROME by Felix Dahn and directed by Robert Siodmak (THE SPIRAL STAIRCASE) in his swan song as a film director. From 1943 to 1952, Siodmak made a series of excellent films in the U.S. but after THE CRIMSON PIRATE, he returned to Europe to make movies. Siodmak wasn't content with the script but proceeded anyway. As an epic (its 3 hours long), it's visually impressive and structurally incoherent. Unless you're a Roman history buff, you may well be confused about the Roman, Goth and Byzantine triptych's power battle. With Sylva Koscina, Michael Dunn, Robert Hoffman, Ingrid Boulting, Lang Jeffries and Florin Piersic.

A Prize Of Gold (1955)

Set in post war Berlin, an Air Force Master Sergeant (Richard Widmark) falls in love with a German woman (Mai Zetterling) who is the caretaker for a bunch of German war orphans. She is trying to get the children away from Germany and to Brazil where they can start life anew. He attempts to help her by conceiving a daring heist of gold bullion. Based on the novel by Max Catto (THE DEVIL AT FOUR O'CLOCK) and directed by Mark Robson (VALLEY OF THE DOLLS). A decent enough heist movie and, of course, everything doesn't go as planned. If it did, there wouldn't be much suspense. The group of thieves are all amateurs and it's easy to spot the loose cannon (Nigel Patrick) that is going to muck everything up and I couldn't help but wonder why the others couldn't see it too. As the "girl" providing some romantic interest, Mai Zetterling is wasted. With George Cole, Donald Wolfit, Andrew Ray and  Karel Stepanek.

Annabel Takes A Tour (1938)

While on tour promoting her latest movie, an actress (Lucille Ball) conjures up a fictitious romance with a famous romance novelist (Ralph Forbes) as a publicity stunt. Directed by Lew Landers (DAVY CROCKETT, INDIAN SCOUT). An unnecessary sequel to THE AFFAIRS OF ANNABEL (1938). Unnecessary because it's just more of the same. In the first movie, I found Jack Oakie (as Ball's publicist) irritating and he's just as irritating here and again, considering how he screws up every time, why does Ball continue to listen to his crazy publicity stunts. If it were actually funny, such complaints wouldn't matter but it isn't amusing in the least. Lucille Ball tries but it's like putting make up on a corpse ... it's still dead. With Ruth Donnelly, Bradley Page and Frances Mercer.

Junior Miss (1945)

A young teenage girl (Peggy Ann Garner) meddles in her family's lives which leads to a series of misunderstandings that causes problems for everyone. Based on the hit Broadway play by Jerome Chodorov and Joseph Fields (by way of the short stories by Sally Benson) and directed by George Seaton (MIRACLE ON 34TH STREET). The kind of sitcom material in the pre television days that proved popular on Broadway. JUNIOR MISS was performed by community theatres and high school productions for decades. Today, it's a relic of another era. Fresh off the success of A TREE GROWS IN BROOKLYN (1945), Peggy Ann Garner is sweet and charming which goes a long way in overcoming the tediousness of the contrived plot though to be fair, it's not altogether unpleasant. With Mona Freeman, Allyn Joslyn, Faye Marlowe, Barbara Whiting, Mel Torme and Stephan Dunne.

The Case Of The Sinister Spirit (1987)

A publisher (Robert Stack) is accused of murdering his top client (Matthew Faison) during a visit to the author's Denver estate. But he wasn't the only invited guest and they all had motives to do the writer in. Enter Perry Mason (Raymond Burr) to defend him. Directed by Richard Lang (BLOOD BLACK AND WHITE). The fifth entry in the thirty movie Perry Mason franchise done after the series ended in 1966. This is one of the better entries with a very clever finale. While it's fairly easy to guess the murderer, it's the murderer's motive that's the big surprise. With Leigh Taylor Young, Barbara Hale, William Katt, David Ogden Stiers, Kim Delaney, Percy Rodrigues and Dwight Scultz.