Miami Blues (1990)

A criminal psychopath (Alec Baldwin) just out of prison arrives in Florida. He's barely off the plane before he begins his crime spree including murder. But when he robs a police detective (Fred Ward) of his gun and badge, he uses it to pose as a police officer which makes things easier for him. Based on the novel by Charles Willeford, it is one of several novels featuring the detective Hoke Moseley played here by Ward. As directed by George Armitage (who also wrote the screenplay), this black comedy of a crime thriller is unique. You're never quite sure where it's going so your interest is piqued right from the beginning. But Armitage's script allows for detailed characterizations and the three leads (Jennifer Jason Leigh is the third) step up to the plate giving expert performances. If the film belongs to anyone, it's Jason Leigh who gives a sensational performance as a not too bright hooker. What's especially satisfying is how she doesn't condescend to her character for a minute (like say, Karen Black in FIVE EASY PIECES), she just inhabits her truthfully. Tak Fujimoto's colorful lensing is rich with Miami atmosphere. With Obba Babatunde, Paul Gleason, Nora Dunn, Shirley Stoler, Charles Napier, Bobo Lewis and Martine Beswick. 

South Pacific (1958)

During WWII on an unnamed South Pacific island, a young American nurse (Mitzi Gaynor) from Arkansas falls in love with a transplanted Frenchman (Rossano Brazzi). Also, a young marine lieutenant (John Kerr) falls in love with a native girl (France Nuyen). But both Americans must come to terms with their racial prejudices. I've never been a big fan of Rodgers and Hammerstein's SOUTH PACIFIC. It's probably my least favorite of their hit musicals. The majority of the songs are wonderful, of course but so much of the dialog is awkward and the film's message, while noble, is presented with a heavy hand. The whole thing seems rather ponderous. This isn't restricted to the film, I've similar feelings about it as a stage work. The film is further damaged by director Joshua Logan's use of colored filters through out the film which he intended to show slight changes but end up being irritating instead. Gaynor is a terrific dancer, one of the best, but she doesn't get to strut her stuff here and as an actress and singer, she's merely okay. I watched the original Roadshow presentation which was cut by about 20 to 30 minutes for the general release and while I normally prefer my films uncut, in this case I can understand the need for shears. With Ray Walston, Juanita Hall, Russ Brown and Tom Laughlin.

Dragonwyck (1946)

In mid 18th century Connecticut, a young farm girl (Gene Tierney) is summoned by her wealthy distant cousin (Vincent Price) to act as governess to his small daughter (Connie Marshall) in upstate New York. At first, she is thrilled but as time passes, the atmosphere turns dark and oppressive. Based on the novel by Anya Seton and directed by Joseph L. Mankiewicz, this gothic romance has the superficial feel of a Bronte novel but it lacks any perceptive insight though its lack of a romantic hero is rather noteworthy. Price at first suggests the brooding romanticism of a Heathcliff or Rochester but it becomes clear early on that he will be a villain. It's still Price's movie all the way and though Tierney frets nicely, her character is too uncomplicated to be of much interest. The film's resolution is unmemorable. The art and set direction (Russell Spencer, Lyle Wheeler, Thomas Little) is superb and there's a wonderfully ominous score by Alfred Newman. With Walter Huston, Jessica Tandy, Anne Revere, Spring Byington, Harry Morgan, Vivienne Osborne and the innocuous Glenn Langan. 

Deadlier Than The Male (1967)

When some top oil executives are murdered by a pair of beautiful assassins (Elke Sommer, Sylva Koscina) who make the killings look like accidents, an insurance underwriter (Richard Johnson, THE HAUNTING) isn't buying it. It isn't long before he becomes the hunted. The success of the James Bond films in the 1960s caused several imitators (like the Matt Helm or Flint movies) hoping to start their own franchise. This British film usurps H.C. McNeile's Bulldog Drummond detective character although it's not based on any of his books. There was even a sequel, SOME GIRLS DO which did a quick fade. But MALE is an enjoyable potboiler notable for its use of sexy women who get their thrills torturing and killing men. There are several "nice" girls in the movie but the wicked "bad" girls are so much more fun! The icy Sommer and the warm Koscina (who practically apologizes while torturing her male victims) make for an amusing pair. Add the gorgeous Northern Italian coastal location and it's a pleasant diversion. Directed by Ralph Thomas. With Nigel Green, Suzanna Leigh, Steve Carlson, Laurence Naismith, Leonard Rossiter and Lee Montague.

Sommarnattens Leende (aka Smiles Of A Summer Night) (1955)

In turn of the (20th) century Sweden, a lawyer (Gunnar Bjornstrand) still hasn't consummated his marriage to his virginal bride (Ulla Jacobsson). But when he pays a visit to his ex-mistress, an actress (Eva Dahlbeck), it sets forth in motion a series of events that ends with a weekend at the actress's mother's (Naima Wifstrand) country estate where all the characters' romantic problems will be sorted out. One of the greatest sex comedies ever made, it is one of Ingmar Bergman's rare forays into romantic comedy. When I use the term "sex" comedy or "romantic" comedy, don't confuse it with a leering piece of wholesome family smut like Wilder's IRMA LA DOUCE or a Meg Ryan date movie. Bergman's elegant film is full of wit and insight into the romantic foibles of mortals floundering in the labyrinth that is "love". Absolutely flawless! Bergman's film served as the basis of the Stephen Sondheim musical A LITTLE NIGHT MUSIC. Impeccably acted by an ensemble cast that also includes Harriet Andersson, Margit Carlqvist, Jarl Kulle, Bjorn Bjelfvenstam, Ake Fridell and Bibi Andersson.

Soapdish (1991)

An aging soap opera diva (Sally Field) must contend with the backstabbing by her show's producer (Robert Downey Jr.) and her conniving co-stars (Cathy Moriarty, Teri Hatcher) and to make matters worse, her lover has left her to go back to his wife. Just when she thinks things couldn't get any worse ..... they do! An over the top spoof of daytime soap operas, this colorful comedy is quite amusing. It's like a MAD magazine parody and the script by Robert Harling (STEEL MAGNOLIAS) and Andrew Bergman (BLAZING SADDLES) takes no prisoners in its outrageous attempt to skewer soap operas, their crazy plot lines and their dedicated fans. The acting is pitched at a near hysterical level which is perfect for the characters, notably Field's self absorbed neurotic diva. Ueli Steiger's lush color cinematography and Nolan Miller's eye popping costumes evoke those 1950s' wide screen comedies like DESIGNING WOMAN. However, times change and what was funny in 1991 sometimes doesn't work anymore. When a transgender character is the butt of a joke, it just seems cruel. We're more enlightened today. Directed by Michael Hoffman. With Kevin Kline, Whoopi Goldberg, Elisabeth Shue, Carrie Fisher, Garry Marshall, Kathy Najimy and Finola Hughes.

Sail A Crooked Ship (1961)

A young man (Robert Wagner) wants to save a broken down ship from being destroyed so he hires a company to restore the ship so it can be used for cargo. But the man (Ernie Kovacs in his last film) he hires to to do the work is really the head of a gang of bumbling thieves that plan to use the ship as a getaway in a bank robbery. The script isn't half bad, some of the situations and lines are quite funny and the cast all seems game. So why doesn't it work? I'll chalk it up to lousy direction. The director is Irving Brecher who's a screenwriter, he was nominated for an Oscar for his screenplay to MEET ME IN ST. LOUIS. He's only directed two other films. The actors aren't directed very well, they seem to be overcompensating as if pushing too hard for the laughs. I kept thinking how much better Blake Edwards could do with this kind of material. Perhaps the funniest moment is unintentional: Dolores Hart takes off her bra and gives it to Wagner to use as a sling shot but after she removes her bra, it can be clearly seen that she's wearing a bra under her sweater! There's a hurricane sequence that very well done. With Carolyn Jones, Frankie Avalon, Frank Gorshin, Jesse White and Harvey Lembeck. 

Smash Up: The Story Of A Woman (1947)

A nightclub singer (Susan Hayward) with a promising career sets it aside to marry a struggling singer/songwriter (Lee Bowman). But soon, his career skyrockets and although the money starts rolling in, she feels neglected and suspicious of his relationship with another woman (Marsha Hunt). So she turns to alcohol. After the critical and commercial success of THE LOST WEEKEND, it was perhaps inevitable that a distaff version would follow in its tracks. Susan Hayward had been acting in films since 1938 (she even tested for Scarlett O'Hara), usually as the second female lead (as in I MARRIED A WITCH and REAP THE WILD WIND) without that one role that would push her to the A list. This overheated melodrama did the trick, even though it lost money, and she got her first Oscar nomination and started carrying movies on her own. But it's not very good and though she tries hard, she's not a strong enough actress (yet) to overcome the screenplay's soap opera weaknesses. It doesn't help that she has the dull Lee Bowman as a leading man but Marsha Hunt and Eddie Albert give strong support. Directed by Stuart Heisler. With Carl Esmond and Carleton Young.

Clash Of The Titans (1981)

After she has given birth to the son of Zeus (Laurence Olivier), a vengeful father (Donald Houston) casts his daughter (Vida Taylor) and her infant son out to sea to restore his family "honor". Against the wishes of his wife Hera (Claire Bloom), Zeus saves the girl and his son. But when he grows to manhood, the boy (Harry Hamlin) must seek out his destiny. This was the last feature film of the legendary Ray Harryhausen. While it lacks the imagination and execution of his best work like 7TH VOYAGE OF SINBAD or JASON AND THE ARGONAUTS, there's still much to like. The Medusa sequence ranks with some of the best of his work although I could have done without the annoying Bubo, the mechanical owl. Of course, for those of us who love classic Greek mythology, the film has a special place in our movie hearts. Directed by Desmond Davis (GIRL WITH GREEN EYES). For a film where the acting doesn't matter much, the cast is filled with heavyweights. In addition to Olivier and Bloom, there's Maggie Smith, Burgess Meredith, Ursula Andress, Flora Robson and Sian Phillips. With Judi Bowker and Tim Piggott Smith.

An American Tragedy (1931)

Raised in poverty, an ambitious young man (Phillips Holmes) takes a job at a factory owned by his wealthy uncle (Frederick Burton). He romances a girl (Sylvia Sidney) who also works at the factory but when he meets a wealthy heiress (Frances Dee), he sees an opportunity to move up in society. But fate has other ideas. Based on the novel by Theodore Dreiser, this original film version isn't as well known as the second film version re-titled A PLACE IN THE SUN (1951). I've never been a fan of the 1951 George Stevens film, it's too romanticized and it makes its protagonist's (played by Montgomery Clift) motivations too ambiguous. Josef Von Sternberg's film isn't nearly as sympathetic towards the young man. He's lean and hungry and clearly willing to do what it takes to get to the top and more obviously a moral coward. Unfortunately, the film's lengthy trial sequence is poorly done and poorly acted and the film's implication that it was poverty that was responsible, not the boy, leaves a bad taste in my mouth. Holmes never rises above adequate but both Dee and especially Sidney are very strong. With Irving Pichel and Lucille La Verne.

Ricki And The Flash (2015)

An aging rocker (Meryl Streep) who heads a cover band that plays small dives in L.A. (her day job is a grocery clerk) is summoned back to Indiana by her ex-husband (Kevin Kline) to deal with her daughter's (Mamie Gummer) breakdown. This may well be Streep's worst film since THE IRON LADY but that film was (partially) redeemed by a superb Streep performance, one of her very best. She's good here but it's not among her best work. The film starts off promisingly and then keels over and dies right in the middle and try as she might, Streep can't bring it back to life. Diablo Cody's screenplay has some nice touches like making Streep's Ricki a Bush voting, anti-Obama Republican but there are no real surprises here as the cliches pop up on a regular basis. Nice performances by Gummer (clearly inheriting her mother's talent) and Audra McDonald in the first half.  Routinely directed by Jonathan Demme. With Rick Springfield, Sebastian Stan, Ben Platt and Charlotte Rae.

Byzantium (2013)

A 200 year old vampire (Gemma Arterton) and her daughter (Saoirse Ronan) move from town to town as they are pursued by members of a vampire brotherhood. They find solace at a rundown hotel no longer in business. But that solace is only temporary because the daughter reveals the truth about themselves to a young boy (Caleb Landry Jones) but she doesn't take into account the consequences of her action which has a disastrous domino effect. Based on a play VAMPIRE STORY by Moira Buffini (who also did the screenplay), director Neil Jordan returns to the vampire genre that he had previously visited with INTERVIEW WITH THE VAMPIRE. Only this time, the protagonists are female rather than male. Like INTERVIEW, Jordan isn't interested in a typical horror film but rather the incredible loneliness of "immortals" whose way of life (not always by their choice) eventually becomes a living hell. The two lead actresses are very good though Ronan's character though physically 16 shows a slightly unbelievable naivete for someone who is actually 200 years old. Arterton on the other hand displays a survivor's street smart instinct doing what she has to do to stay safe. Good stuff. With Daniel Mays, Jonny Lee Miller and Sam Riley.