Far North (1988)

Set in rural Minnesota. After her father (Charles Durning) is injured in an accident and hospitalized, his daughter (Jessica Lange) returns home from New York. Not only must she deal with her dysfunctional family but her father insists she shoot the horse that caused the accident. Written and directed by Sam Shepard (SILENT TONGUE). An all around misfire. The best I can say about it is that it's well acted for what it is. Shepard is a Pulitzer Prize winning playwright and this might have made for a good play (it's dialog driven) but as cinema, Shepard (he only directed two movies) doesn't have a filmmaker's soul and the movie's characters rail at each other at a fever pitch but all we get are cliches. The only character I had any empathy for was the poor horse! In short, this is no AUGUST OSAGE COUNTY. With Patricia Arquette, Tess Harper, Donald Moffat and Ann Wedgeworth.

Hearts Of The West (1975)

Set in the 1930s, an Iowa farmboy (Jeff Bridges) has aspirations to be a writer of western novels like his idol, Zane Grey. He heads out west only to discover the correspondence "University" he enrolled in is a scam. But as luck would have it, he ends up in the movies as a stunt man. Directed by Howard Zieff (PRIVATE BENJAMIN). A charming comedy with an impeccably burnished glow courtesy of cinematographer Mario Tosi (CARRIE). In one of his most irresistible performances, Jeff Bridges is perfectly cast as the naive babe in the woods. We're immediately protective of him and rooting for his success. Rich in atmosphere, the film moves along seamlessly thanks to Zieff's direction. The only fly in the ointment is a subplot with two scammers (Richard B. Shull, Anthony James) chasing Bridges that drags the movie down. The reviews were favorable but unfortunately, audiences stayed away. The excellent supporting cast includes Alan Arkin, Blythe Danner, Andy Griffith, Donald Pleasence, Marie Windsor, Matt Clark, Herbert Edelman and Candice Azzara.

The Glass Mountain (1949)

Wounded in WWII, a British soldier (Michael Denison) is nursed back to health by a beautiful Italian girl (Valentina Cortese). He can't forget her which causes a problem when he returns home after the war and tries to reestablish relations with his loving wife (Dulcie Gray). A composer, he writes an opera based on a legend told to him by the Italian beauty and when he returns to Italy for the opera's premiere, he renews his relationship with her. Directed by Henry Cass (LAST HOLIDAY) and Edoardo Anton. A huge hit in Great Britain, I found this piece of hokey schmaltz grating. First off, I couldn't see what the two women saw in the block of blandness named Michael Denison (though apparently Gray did, they were married in 1939). It's 94 minutes of Gray and Cortese pining for Denison to make up his mind which of them he loves. Filmed in the majestic Italian Alps, the movie would have benefited by being shot in color rather than B&W. On the plus side, there's a nice score by Nino Rota, who wrote both the underscore and the opera (sung by Tito Gobbi and Elena Rizzieri). With Sebastian Shaw (overacting) and Antonio Centa.

My Friend Irma Goes West (1950)

An aspiring singer (Dean Martin) is spotted by a movie producer (Charles Evans) on a local TV show and offers him a Hollywood contract. The singer and his friends board a train heading from Manhattan to Los Angeles but before they reach their destination, they find out the producer is actually an escapee from a mental asylum. Directed by Hal Walker (ROAD TO UTOPIA). A sequel to MY FRIEND IRMA (1949) in which Dean Martin and Jerry Lewis made their film debut. They were the breakout stars of that film so they have bigger parts here but alas, the script is a dud. It's not their finest hour and but their lot would improve when they began starring in their own movies and had more control. It's a monotonous movie with too much extraneous plot (like John Lund forced to work in a crooked casino) that drag the movie down. As the dingbat of the title, Marie Wilson manages to to provide some laughs. With Diana Lynn, Corinne Calvet, Lloyd Corrigan and Kenneth Tobey.

The Rich Are Always With Us (1932)

A wealthy woman (Ruth Chatterton) has everything money can buy. But with her heart torn between her unfaithful husband (John Miljan) and an ardent writer (George Brent), she can't have what every woman wants ..... happiness. Based on the novel by Ethel Pettit and directed by Alfred E. Green (THE JOLSON STORY). It starts off promisingly and I thought it might be an amusing look at the romantic foibles of Manhattan society but it quickly becomes tedious as Chatterton clings to her husband even after he leaves her for another woman (Adrienne Dore) while keeping the lovestruck writer who adores her dangling. Her waffling is irritating and you want to scream at her, "He's left you! Move on with your life!". The ending is sickly as Chatterton goes the noble route and we're all supposed to admire her sacrifice. The movie is stolen by the young Bette Davis in a supporting role as Chatterton's best friend who has the hots for Brent. She's snappier and so much more fun than anybody else in the movie. With John Wray and Robert Warwick.

The Picture Of Dorian Gray (1961)

A painter (Louis Hayward) is infatuated with the beauty of a young man called Dorian Gray (John Fraser) whose portrait he is painting. It is through the painter that Dorian meets the hedonistic aristocrat Sir Henry Wotton (George C. Scott) whose narcissistic pleasure seeking ways influences his future. Supernaturally, he remains eternally youthful while his portrait ages and displays his debauchery. Based on the novel by Oscar Wilde and directed by Paul Bogart (EVENING PRIMROSE). Wilde's novel has been adapted multiple times for film and television, the most famous version being the 1945 film directed by Albert Lewin. This version is unexceptional and seems rushed, sort of a Readers Digest version of the novel. The most interesting aspect is George C. Scott's atypical performance as Sir Henry played by George Sanders in the 1945 movie. One doesn't think of the gruff Scott in such an effete role but he does surprisingly well. With Susan Oliver, Carrie Nye, Margaret Phillips and Robert Walker Jr.

The Left Handed Gun (1958)

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

Holy Motors (2012)

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

Decoy (1946)

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

Possessed (1947)

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

Hand Of Death (1962)

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

The Playboy Of The Western World (1962)

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

Stop! That! Train! (2026)

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

The Golden Fleecing (1940)

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

Hobson's Choice (1954)

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

The Beasts Are On The Streets (1978)

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

The Gay Desperado (1936)

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

L'Etranger (aka The Stranger) (2025)

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

Is There Life Out There? (1994)

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

The Last Tycoon (1976)

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

La Triche (aka The Cheat) (1984)

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

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

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

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

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

Crime Against Joe (1956)

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

13 Rue Madeleine (1947)

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

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

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

Letty Lynton (1932)

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

The Keyhole (1933)

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

The Virginian (1946)

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

The Hit (1984)

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

The Sheep Detectives (2026)

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

Foreign Affairs (1993)

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

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

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

Speedway (1968)

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

Signe Arsene Lupin (1959)

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

Tish (1942)

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