Rhapsody In Blue (1945)

The story of composer George Gershwin (Robert Alda) and his rise from song plugger to one of America's most popular composers, both on the stage and films and the concert hall. Directed by Irving Rapper (NOW VOYAGER). Yet another composer movie biography of the "And then I wrote" variety. MGM did this kind of stuff with the likes of Rodgers and Hart, Jerome Kern, Kalmar and Ruby and Sigmund Romberg. But MGM had performers like Judy Garland, Fred Astaire, Gene Kelly, Lena Horne, Mickey Rooney and June Allyson to do the musical bits to alleviate the tedium. This is a Warner Brothers picture and musically, they lacked the musical talents of MGM. Here the musical numbers consist of poor Joan Leslie (only an adequate singer and dancer), Oscar Levant pounding on the piano and Robert Alda miming the piano playing. The hokey story is pure fabrication including two love interests (Joan Leslie and Alexis Smith) who never existed. The whole thing feels phony. The movie runs almost three hours (no intermission but there's a 10 minute overture) and it's a slog. The only two highlights are the great Hazel Scott performing two Gershwin numbers and Anne Brown (the star of the original production of PORGY AND BESS) singing Summertime. With Charles Coburn, Al Jolson (in blackface, of course), Morris Carnovsky, Albert Bassermann, Rosemary DeCamp, Herbert Rudley, Julie Bishop and Darryl Hickman.

Sing You Sinners (1938)

Three brothers disagree about everything and could not be more different from each other. The eldest son (Bing Crosby) is a shiftless gambler looking for easy money rather than working for it. The middle son (Fred MacMurray) is the responsible son, who is supporting the family and the youngest son (Donald O'Connor) idolizes his gambling brother and wants to be just like him. When the eldest brother (Crosby) moves to California, the family follows suit. Directed by Wesley Ruggles (CIMARRON). This is a movie about family and how the family bond is so strong that they stick together through everything. But the entire family is so flawed that the sticking together angle looks more foolish than practical and the phony happy ending seems contrived. It's a musical and on that level, it's not very good. I'm not Crosby's biggest fan but the film gives him an opportunity to show his acting chops early in his career. He got a hit song out of the movie, his rendition of Small Fry stayed at the top of the charts for 13 weeks. With Ellen Drew, Elizabeth Patterson and John Gallaudet.

Devil Doll (1964)

A magician (Bryant Haliday) dazzles audiences with his mastery of hypnosis and his strange ventriloquist dummy called Hugo. Determined to find out his method of controlling the dummy, a journalist (William Sylvester) begins a covert investigation. Directed by Lindsay Shonteff (THE MILLION EYES OF SUMURU). The theme of a ventriloquist being controlled by his dummy creation has resulted in some fine to decent creations, the most notable being the Michael Redgrave sequence in DEAD OF NIGHT (1946). But there's also MAGIC (1978) with Anthony Hopkins and a TWILIGHT ZONE episode called THE DUMMY (1962) with Cliff Robertson. This one is rather unusual in that the hapless ventriloquist is not controlled by his evil dummy but rather the "dummy" is the victim while the ventriloquist is the evil one. Although often needlessly slow in its narrative (and Sylvester's dull reporter doesn't help), it holds your attention long enough to get you through the "twist" finale. Horror fans should check it out. With Yvonne Romain and Sandra Dorne.

The Last Man To Hang (1956)

A married music critic (Tom Conway) is having an affair with an attractive singer (Eunice Gayson). He is about to leave England with her when news arrives of his wife's (Elizabeth Sellars) death. He's even more stunned when the police arrest him for her murder. Based on the novel THE JURY by Gerald Bullett and directed by Terence Fisher (THE BRIDES OF DRACULA). A rather drab courtroom murder mystery, a mash up of 12 ANGRY MEN and WITNESS FOR THE PROSECUTION. Not as dull as 12 ANGRY MEN (what could be?) but so stale that even its absurd "surprise" ending doesn't lift it out of the doldrums. As the husband on trial, Tom Conway gives a performance so soporific that you don't care if he's innocent or guilty. With Freda Jackson, Anthony Newley, Joan Hickson, Victor Maddern and Gillian Lynne.

The Case Of The Murdered Madam (1987)

A public relations woman (Ann Jillian) invites four clients to a luncheon at her country house where the men will discuss a plan that will make all of them rich. What they don't know is that she's secretly taping the conversation for her own scheme. When she is later found murdered and the tapes missing, her husband (Vincent Baggetta) becomes the prime suspect. Enter Perry Mason (Raymond Burr) to defend him. Based on the character created by Erle Stanley Garner and directed by Ron Satlof (PERRY MASON RETURNS). The sixth Perry Mason movie (there were a total of 30) based on the Perry Mason series with Raymond Burr which ran from 1957 to 1966. This entry is middling and the mystery isn't particularly compelling. The most interesting character is the ex-brothel keeper now turned respectable public relations woman played by Ann Jillian but she's bumped off early in the film and is sorely missed. With Barbara Hale, William Katt, Bill Macy, John Rhys Davies, David Ogden Stiers, Daphne Ashbrook and James Noble.

Affeksjonsverdi (aka Sentimental Value) (2025)

After the death of their mother, two sisters (Renate Reinsve, Inga Ibsdotter Lilleaas) must contend with the return home to Norway of their estranged father (Stellan Skarsgard). With his oldest daughter (Reinsve) who is an actress, he hopes to reconnect with her by casting her in his new film. Directed by Joachim Trier (THE WORST PERSON IN THE WORLD). Winner of the Grand Prix at last year's Cannes film festival and the Best International Feature at this year's Oscars. It's a stunning film that deals with the open wounds that a fractured family dynamic leave behind in their wake. It also addresses the connection between Art and what personal baggage (a crude way of putting it) artists bring to their art to humanize it. The four central performances (the fourth character is Elle Fanning as an American actress the father casts in his movie) are flawless, not a false note among them. They all received Oscar nominations. The film's emotional charge slowly and subtly creeps up on you, finally grabbing you in its hold by the film's end. With Anders Danielson Lie and Oyvind Hesjedal Loven.

The Egg And I (1947)

A newlywed wife (Claudette Colbert) follows her husband (Fred MacMurray) to the countryside where his dream is to become a chicken farmer. A city girl, she finds it difficult to adjust to the rural farm life. Based on the memoir by Betty MacDonald and directed by Chester Erskine (ANDROCLES AND THE LION). A charming if typical "fish out of water" tale that coasts along nicely until its last 15 minutes when it slogs to its sluggish end. Colbert and MacMurray had a nice chemistry through the seven movies (this one was the sixth) they made together. The film was a huge success at the box office and was an inspiration for the TV series, GREEN ACRES. The movie is stolen by Marjorie Main (in an Oscar nominated performance) as the slovenly neighbor with a shiftless husband (Percy Kilbride). Their teaming was so successful that they went on to make nine more movies playing their characters of Ma and Pa Kettle. With Richard Long, Louise Allbritton and Elisabeth Risdon.

Hillbillys In A Haunted House (1967)

Two country and western singers (Ferlin Husky, Joi Lansing) and their manager (Don Bowman) are en route to Nashville but become tired and stop to rest in an old abandoned mansion. Little do they know, but the basement of the old house is headquarters for the evil Madame Wong (Linda Ho) and her entourage of spies. Directed by Jean Yarbrough (SHE WOLF OF LONDON). I'm a sucker for haunted house comedies like THE CAT AND THE CANARY and GHOST BREAKERS. But this one is lame! For one thing it's a haunted house country & western musical comedy. But the songs aren't organic, the movie just stops dead in its tracks and someone sings a C&W song. The film ends with a 15 minute C&W jamboree. The whole thing comes off as amateur night. Somehow some movie veterans like Basil Rathbone, John Carradine and Lon Chaney Jr. were roped into this. With Merle Haggard, Molly Bee and Richard Webb.

Scener Ur Ett Aktenskap (aka Scenes From A Marriage) (1974)

During the tenth year of their marriage, a divorce attorney (Liv Ullmann) and a psychology reader (Erland Josephson) find their marriage at the crossroads. The marriage begins to disintegrate with the husband eventually leaving his wife for another woman. Written and directed by Ingmar Bergman (CRIES AND WHISPERS). Originally conceived as a five hour mini series for Swedish television in 1973, Bergman edited it down to three hours for a theatrical cut when released in the United States. I've seen the five hour cut and heresy I know but I think the three hour cut works just as well and frankly the thought of spending two more hours (the TV version can be seen in episodes) with the battling couple wasn't inviting. I found both protagonists unpleasant. Josephson's husband is an unfeeling brute (his beating of his wife was difficult to watch) and Ullmann's wife was a needy clinging vine suffocating her husband. By the film's end, she's liberated and he's weak and now married to others, they become adulterers resuming their "marriage". What holds the movie together for me is the acting which is superb. With Bibi Andersson (just one one scene but she kicks it out of the ballpark), Jan Malmsjo and Gunnel Lindblom.

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.