Roman Holiday (1953)

When the young Princess (Audrey Hepburn in her Oscar winning performance) of a central European country feels stifled by her duties and constraints, she bolts off into the night. She meets a reporter (Gregory Peck) who lets her crash at his apartment but when he finds out who she is, he plots an exclusive story on her private life with the aid of his photographer (Eddie Albert). Directed by William Wyler, this is an irresistibly romantic contemporary fairy tale and awfully hard to dislike (and why would you?). This is the film that made Hepburn a Star with a capital S and she takes to the camera like a duck to water! She's well paired with Peck who displays a surprising talent for romantic comedy that he rarely indulged in and their chemistry is strong enough that I wish they had done more films together. While it might have been nice to have the film shot in Technicolor to take full advantage of the Rome locations, the B&W cinematography by Franz Planer and Henri Alekan positively sparkles! I must confess I find Eddie Albert's Oscar nomination perplexing, he's fine but nothing more. With Hartley Power and Margaret Rawlings.  

Assignment K (1968)

The head (Stephen Boyd) of an elite British spy ring uses being the head of a prestigious international toy company as his cover. But when his cover is blown and his girlfriend (Camilla Sparv) is kidnapped, he must find a way to save her yet keep valuable information away from his foes. Directed by Val Guest (DAY THE EARTH CAUGHT FIRE), this is a typical 1960s spy thriller. Overly complicated and set against a glamorous international backdrop. In this case, England, Austria and Germany. It's an inoffensive bit of spy caper that keeps it close to the bone (it runs a little over an hour and a half) and while not memorable, it doesn't insult your intelligence either. Well ..... almost. The score by Basil Kirchin is rather melodic and tuneful on its own but used inappropriately in the film. For example, after the girlfriend is kidnapped, our hero is distraught but the soundtrack plays what sounds like samba dance music! And no, it's not source music but the underscore. With Michael Redgrave, Leo McKern, Jeremy Kemp, Jane Merrow, Robert Hoffman and Werner Peters.

Wagon Tracks (1919)

Set in 1850, a desert guide (William S. Hart) leads a wagon train through the Santa Fe Trail to New Mexico. His young brother (Leo Pierson) died under mysterious circumstances and there are three travelers on the wagon train who know the truth and he intends to find out what really happened. The travelers are a young girl (Jane Novak), her brother (Robert McKim) and her fiance (Lloyd Bacon). Directed by Lambert Hillyer (DRACULA'S DAUGHTER) and starring the legendary western star of silent cinema, William S. Hart. Hart was already in his 50s when he became a star and this western epic isn't a typical western but more of a revenge drama set in the Old West. There aren't any gunfights and the Indians are a peaceable lot. I'll confess that this was my first Hart western and judging from what I've seen here, he wasn't much of an actor and his "charisma" was lost on me. As to the film itself, it's a solid effort with excellent visuals and landscapes courtesy of Joseph H. August (GUNGA DIN).    

A Streetcar Named Desire (1995)

A fragile aging Southern belle (Jessica Lange) visits her sister (Diane Lane) and her insensitive husband (Alec Baldwin) in New Orleans. As she clings desperately to some semblance of sanity, circumstances propelled by her brutish brother in law only lead her closer to the abyss. This isn't an adaptation of the Tennessee Williams classic play, it is the play. No screenplay credit is given, this is his play filmed as written. One of the great pieces of 20th century theater, Williams' achingly poetic play contains what may be the greatest role written for an actress (only Ibsen's HEDDA GABLER comes close). If HAMLET is the yardstick for which all actors test themselves then the female equivalent is Blanche DuBois. Lange had played Blanche on Broadway three years earlier and she acquits herself admirably especially in her last big scene. Alas, Marlon Brando's Stanley Kowalski is so iconic that all actors who follow in his footsteps can't help but be compared which isn't fair. That being said, Baldwin holds his own and doesn't owe anything to Brando's performance. As Stella and Mitch, Lane and John Goodman have less iconic roles so they have an easier time of it and both are excellent. Directed by Glenn Jordan. 

Get Out (2017)

A black photographer (Daniel Kaluuya) and his white girlfriend (Allison Williams) drive out to the country home of her wealthy parents (Catherine Keener, Bradley Whitford). However, it isn't long before he gets the feeling that something is terribly wrong ..... and he's right! Written and directed by the comedy actor and writer Jordan Peele, this is a cleverly constructed horror film with generous doses of comedy (most of it provided by Lil Rel Howery). It's not particularly original, it's essentially THE STEPFORD WIVES with black people but Peele taps into the black paranoia (usually justified) that white people are out to get them. Peele keeps the viewer off kilter for most of the film and if the film's finale can't sustain the superb inventiveness leading up to it, it's not a deal breaker and he's wise enough not to give us the downbeat ending that it teases us with. The British Kaluuya is excellent in the lead role, he has the difficult job of anchoring the film as the insanity starts whirling around him. As much as I greatly enjoyed it though, I wish I weren't always one step ahead of it right through the end. With Caleb Landry Jones, Betty Gabriel and Marcus Henderson. 

La Notte Di San Lorenzo (aka Night Of The Shooting Stars) (1982)

Set in a small town in WWII Italy, the Germans are retreating as American forces approach. But when the Germans order the town's inhabitants to gather all together in the church, half of the citizens decide to sneak off during the night and seek out the approaching Americans. Directed by Paolo and Vittorio Taviani, this is a lovely memory piece. In its own way, it's not unlike HOPE AND GLORY which would come 4 years later. Both films look at war through a child's eyes. The story of STARS is recalled by a woman who was a child at the time and the whole thing is seen by her as a great adventure rather than a dangerous undertaking. When the horrors of the war become too much even for her, she fantasizes them as epic battles on the plains of Troy. Whether her memory is reliable is irrelevant, the Taviani brothers have given a magical yet surprisingly unsentimental look at the often absurdities of war as when old friends from opposing sides greet each other warmly before killing each other. And what faces! The enchanting score is by Nicola Piovani. It's must see cinema! With Omero Antonutti, Margarita Lozano, Claudio Bigagli and Mario Spallino.  

On The Waterfront (1954)

A has been boxer (Marlon Brando) works on the New York waterfront docks because his brother (Rod Steiger) is the right hand man of the mobster connected union boss (Lee J. Cobb). But when he's used to finger a friend (Ben Wagner) who is testifying before a crime commission, he slowly begins to get a conscience. Directed by Elia Kazan, this is one of the seminal films of the 1950s. Based on a story by Budd Schulberg (who also did the screenplay) which in turn is based on a series of newspaper articles by Malcolm Johnson. It's about as close to a flawless film as has been made. From Boris Kaufman's stark B&W lensing to Leonard Bernstein's stunning underscore, the film brings an intricate narrative to life with some of the best ensemble acting ever put on screen. Five of its actors got Oscar nominations. The scene in the cab between Steiger and Brando remains one of the most powerful justifications of method acting (not that we needed any) ever done.  If this all sounds like hyperbole, I can't help it. I love this movie! One of the great American films with one of the best performances by an actor (Brando) to reach the screen. With Eva Marie Saint (in an Oscar winning performance), Karl Malden, Leif Erickson, James Westerfield, Fred Gwynne, Pat Hingle, Nehemiah Persoff and Martin Balsam.  

Little Women (1933)

Set in Massachusetts during the Civil War, a mother (Spring Byington) and her four daughters (Katharine Hepburn, Joan Bennett, Frances Dee, Jean Parker) struggle to hold their family together while their father (Samuel S. Hinds) is off at war. Based on popular novel by Louisa May Alcott that has spawned 4 other film versions as well as several TV adaptations. While I have a personal preference for the 1949 MGM film and the 1994 film is probably the best film version, this George Cukor version is a lovely film. It's main strength is Hepburn's feisty Jo, a character she seems born to play. Joan Bennett is adorable as the vain Amy, Edna May Oliver a perfect Aunt March and Paul Lukas brings a gentle charm to the Professor but other performances are rather stiff. Douglass Montgomery as Laurie is thoroughly charmless and Jean Parker's Beth is a little too wan. I guess what keeps me from fully embracing it is the Victorian quaintness seems overdone. With Henry Stephenson, John Davis Lodge and Nydia Westman.

Tales From The Crypt (1972)

Five strangers find themselves visiting some ancient catacombs where the crypt keeper (Ralph Richardson) reveals the background stories that brought them there. The group consist of a murderous wife (Joan Collins), a man (Ian Hendry) who abandons his wife and child, a snob (Robin Phillips), a bankrupt businessman (Richard Greene) and a miserly manager (Nigel Patrick) for a home for the blind. Directed by cinematographer turned director Freddie Francis and based on stories featured in EC comics TALES FROM THE CRYPT and VAULT OF HORROR. A fine example of the horror anthology film, the stories are all well done with only the final segment about the home for the blind that goes on for much longer than it should. I'm still not sure why Greene's businessman is in the group since he was a victim and not a malevolent presence compared to the others who range from cold blooded killing to selfishly cruel. But horror fans should find this near irresistible fodder. With Peter Cushing, Patrick Magee and Barbara Murray.

Hired Wife (1940)

A devoted secretary (Rosalind Russell) is in love with her boss (Brian Aherne). So when a hostile takeover from a rival company is impending, the only way to save his company is to marry and put his money in his wife's name. The secretary is happy to oblige but her boss's girlfriend (Virginia Bruce) is not amused. Directed by William A. Seiter (YOU WERE NEVER LOVLIER), there's a sense of deja vu about the project. I had the feeling I'd seen this before (I hadn't) but it's a typical 1940s screwball romcom, the kind where the secretary has a great apartment and a fabulous wardrobe on a secretary's pay. If it sounds like I'm dissing it, I'm not. I had a good time with it, it's just not the most original movie, plot wise. Russell is wonderful, of course, this is the kind of roles she excelled in and it helps that she's so magnetic because her character is really manipulative and devious when you come right down to it. For a refreshing change, the other woman as played by Bruce is quite likable and decent so you can't hate her. Russell and Aherne work well together so the end result is never in question but the film doesn't leave Bruce high and dry. With Robert Benchley and John Carroll doing the Latin lover bit.

One Million Years B.C. (1966)

In the prehistoric era, a young man (John Richardson) is banished from his people when he challenges his father (Robert Brown). After traveling for quite awhile, he discovers another tribe of people who are more civilized and enlightened than his own barbaric tribe. He finds himself attracted to a comely beauty (Raquel Welch) of the tribe and she seems to return the attraction. Directed by Don Chaffey and with special visual effects by the legendary Ray Harryhausen. It's a remake of the 1940 film ONE MILLION B.C. (no "years" in the title). Its story line is simplistic but no one watches a movie like this for its plot. The attributes of the spectacular Welch aside, the "stars" of the film are the wonderful creations of Harryhausen. Though the film uses real reptiles that are enlarged for the camera (like JOURNEY TO THE CENTER OF THE EARTH) for some scenes, it's Harryhausen's wizardry that antes up the fantasy quality of the film. Perhaps Harryhausen's most notable creation for the film is his Allosaurus and his fight with Richardson is probably the highlight of the movie. Special mention must be made of the other worldly stark Canary Islands location handsomely shot by Wilkie Cooper and the effectively eerie underscore by Mario Nascimbene. With Martine Beswick and Percy Herbert. 

Mister Kingstreet's War (1971)

In 1939 Central Africa, the clouds of an impending war imposes itself on a wildlife reserve run by an American (John Saxon) and his wife (Tippi Hedren). An Italian Major (Rossano Brazzi) attempts to persuade them to allow the Italians the water rights on their property while the British attempt to have him spy for them on the Italians. How long can he remain neutral? Directed by Percival Rubens, the film has good intentions but it wears them on its sleeve. The film has an agenda (which is fine), namely protecting the environment, wildlife as well as being anti-war. But its story line could have been better thought out. Too much time is wasted on a tangled subplot with the conservationist's brother (Brian O'Shaughnessy) that feels like padding. It's clearly a low budget production and the film makers are doing the best with what they've got but a stronger screenplay would have gone a long way in credibility. The film's downbeat ending seems rushed even though I saw it coming. With Kerry Jordan and Joseph Sekatski.