8番出口 (aka Exit 8) (2025)

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

Ginger & Rosa (2012)

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

Storm Warning (1951)

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

The Case Of The Avenging Ace (1988)

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

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

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

Wabash Avenue (1950)

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

Cover Up (1949)

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

Hold That Blonde! (1945)

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

Two Arabian Knights (1927)

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

The Private Files Of J. Edgar Hoover (1977)

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

The Drama (2026)

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

Othello (1965)

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

Tall Man Riding (1955)

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

The Man Who Haunted Himself (1970)

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

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

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

The Thief Of Bagdad (1940)

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

Secret Agent Of Japan (1942)

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

Mississippi (1935)

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

South By Southwest (1997)

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

ブラザー (aka Brother) (2001)

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

Flight To Tangier (1953)

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

The Cardboard Lover (1928)

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

The Phoenician Scheme (2025)

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

Lost Highway (1997)

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

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

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

Promises To Keep (1985)

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

Alex & The Gypsy (1976)

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

Last Summer (1969)

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

The Man With Two Faces (1934)

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

Haunted Summer (1988)

Set in the summer of 1816, the poet Lord Byron (Philip Anglim) invites fellow poet Percy Shelley (Eric Stoltz), his lover Mary (Alice Krige) and her stepsister Claire (Laura Dern) to spend the summer with him at his villa in Switzerland. Based on the novel By Anne Edwards and directed Ivan Passer (BORN TO WIN). The previous year (1987), Ken Russell had taken the same story under the title of GOTHIC and being Russell, he made an over the top hallucinatory film. It wasn't a good movie at all but it was still superior to this pretentious effort. The two American actors (Dern, Stoltz) have British accents so inadequate that it took quite awhile until I figured out that they were even attempting accents! But the screenplay by Lewis John Carlino (RESURRECTION) is so inept that I can't blame any of the actors for coming across as nitwits or their inferior performances. Lousy as Russell's movie was, at least it was never dull. With Alex Winter.

Step Lively (1944)

A Broadway producer (George Murphy) has a potential hit in the works, especially since he latched onto a playwright (Frank Sinatra) whose real talent is singing. Now, all he has to do is put his musical revue on the stage before the rubber check underwriting it bounces. Based on the play ROOM SERVICE (previously filmed in 1938) by Allen Boretz and John Murray and directed by Tim Whelan (THE THIEF OF BAGDAD). In order to work, a sense of madness needs to be rampant in a farce like this. The 1938 film version had the Marx Brothers so that madness was guaranteed. The stolid George Muprhy and the fledgling Sinatra (in his first leading role) don't have it so what we get is a lot of hysterical actors flapping their arms and shouting in an attempt to convince the audience that they're funny. It's a musical version of ROOM SERVICE with songs by Jule Styne and Sammy Cahn, wonderful songwriters but not here. With Gloria DeHaven, Adolphe Menjou, Walter Slezak, Anne Jeffreys, Eugene Pallette, Wally Brown and Dorothy Malone.

The House On Telegraph Hill (1951)

Shortly after WWII, a Polish immigrant (Valentina Cortese) emigrates to San Francisco. She marries a wealthy businessman (Richard Basehart) and lives in a mansion overlooking San Francisco Bay. But she is not who she seems. She has taken on the identity of a woman (Natasha Lytess) who died in a German concentration camp. Based on the novel THE FRIGHTENED CHILD by Dana Lyon and directed by Robert Wise (THE SAND PEBBLES). An excellent thriller with film noir atmosphere. Although the movie is referred to as film noir, I found it to be more of a damsel in distress thriller. The movie benefits from its San Francisco location shooting and the stylish B&W cinematography of Lucien Ballard (THE WILD BUNCH). As the beleaguered heroine, Cortese is attractively sympathetic and quite believable going from the happy emigrant wife to the distressed spouse fearing for her life. With William Lundigan, Fay Baker (in a nice ambiguous performance) and Steven Geray.

Obsession (2026)

After breaking the mysterious "One Wish Willow" to win the love of the girl (Inde Navarette) he loves, a hopeless romantic (Michael Johnston) finds himself getting exactly what he wished for but soon discovers that some desires come at a sinister price. Written and directed by Curry Parker. A phenomenon of sorts because it cost only $800,000 to make but has grossed $460 million globally and received critical acclaim. To put it mildly, I found it a major disappointment. I found the the movie more silly than scary and after awhile, I just couldn't wait for it to end. Johnston's nerd is a cipher as a character and after his dream girl goes batshit crazy, he's a milquetoast when most anybody else would freak out and get out of the situation immediately rather than enabling it. I admired Navarette's performance, she was able to show flashes of depth amid all the ranting and raving but not enough to salvage the foolishness of the project. With Andy Richter, Cooper Tomlinson and Megan Lawless.

Flying Tigers (1942)

Set in China prior to the Japanese attack on Pearl Harbor, a small band of American mercenaries led by an ace pilot (John Wayne) battle against the Japanese in defense of China's freedom. Directed by David Miller (LONELY ARE THE BRAVE). Although the film is fictional, there was a unit known as the American Volunteer Group that fought the Japanese in China during WWII. However, the movie has them fighting the Japanese prior to WWII when, in fact, they did not see action until after Pearl Harbor. It's a hackneyed war propaganda film (and not one of the better ones) that proliferated in U.S. cinemas during WWII. The aerial sequences are fine but the pedestrian narrative is hokey and predictable. Ironically (or maybe not), the film is set in China but the main cast are all Caucasian with the Chinese characters reduced to bit parts or background atmosphere on the periphery of the action. Unintentionally, it comes across as one of those "white savior" movies where Caucasians save people of color because they are unable to do so themselves. The film received three Oscar nominations including one for Victor Young's score. With Anna Lee, John Carroll, Paul Kelly, Mae Clarke and Richard Loo.