Dentist In The Chair (1960)

Two dental students (Bob Monkhouse, Ronnie Stevens) purchase dental equipment from a man (Kenneth Connor) purporting to be a salesman. It turns out, he is a thief who stole the instruments. Once they realize they've purchased stolen property, the race is on to restore the instruments to the proper place before the police arrest them. Based on the book by Matthew Finch and directed by Don Chaffey (JASON AND THE ARGONAUTS). I've never been much of a fan of British comedy especially British low comedy and this unfunny offering is a perfect example of why. However, the Brits lapped it up and the film was popular enough to spawn a sequel, DENTIST ON THE JOB the following year. The cast goes into overdrive flapping their wings in an attempt to convince us that it's fuuny but only Kenneth Connor seems to have comedic timing in his veins. Coincidentally, the same year as this laborious effort, there was a film which had some amusing dentist sequences, Corman's LITTLE SHOP OF HORRORS. With Peggy Cummins (GUN CRAZY), Eric Barker and Eleanor Summerfield.

To Live And Die In L.A. (1985)

After his partner (Michael Greene) of seven years is brutally murdered by a counterfeiter (Willem Dafoe), a Secret Service agent (William Petersen) will go to any lengths to avenge him even if it means breaking the law. But this path to vengeance turns into a journey into hell. Based on the novel by Gerald Petievich and directed by William Friedkin (THE EXORCIST), who co-wrote the screenplay along with Petievich, a former Secret Service agent. This intense kinetic action thriller is an astounding rollercoaster ride. It's sort of Friedkin's L.A. take on his previous THE FRENCH CONNECTION including a breathtaking car chase through the streets and freeways. To his credit, Friedkin keeps the film's dark descent right to the very end with each and every character either morally bankrupt or at least complicit. With the exception of John Pankow, very weak and never quite believable, as Petersen's new partner, the acting is excellent right down the line. Robby Muller's (BREAKING THE WAVES) cinematography is simply awesome. The underscore is by Wang Chung. With Dean Stockwell, John Turturro, Debra Feuer and Darlanne Fluegel.  

Having Wonderful Crime (1945)

When a lawyer (Pat O'Brien) accompanies his newlywed friends (George Murphy, Carole Landis) on their honeymoon to a mountain resort, they find themselves thrust into the roles of sleuths when a dead body turns up in a trunk in their hotel room. Based on the novel by Craig Rice and directed by A. Edward Sutherland. I'm a huge fan of murder mysteries and comedic murder mysteries are a welcome bonus. Unfortunately, this blend of screwball comedy and whodunit is muddled and its humor juvenile. The three leading players are game and act as if they are playing in a riotous comedy but one can't help but notice the air of desperation as if they knew they were floundering. It's not unwatchable by any means but it's pretty disposable. Mercifully at a running time of one hour and ten minutes, it's over quickly. With George Zucco, Lenore Aubert and Anje Berens.  

The Master Builder (1988)

A successful architect (Leo McKern) in a small Norwegian town is visited by a young woman (Miranda Richardson) who he had met ten years previously as a teenage girl. They had had a momentary dalliance and he romantically promised her he would give her a kingdom and now, she is here to claim it. Based on the 1892 play by Henrik Ibsen and directed by Michael Darlow. This complex and multi layered work is challenging to the intellect and if done poorly, a challenge to get through. I've seen several productions (including the Jonathan Demme 2014 modernized film version) and this production is the best I've seen. This is due in no small part to the three superb central performances (the third is Jane Lapotaire as the wife) who seem to understand their characters only too well and delve deeply into them which provides an intense experience. If you've never seen THE MASTER BUILDER, this is the production to go with. The subdued underscore is by Francis Shaw. With David Markham, Sebastian Shaw and Natalie Ogle.

Showdown (1963)

A cowboy (Audie Murphy) and his best pal (Charles Drake) drift into a small town. When the friend gets drunk and attacks the sheriff, both men are put in iron collars and chained to a notorious gang headed by a killer (Harold J. Stone). But when the gang escapes, the two cowpokes are forced to go with them. Directed by R.G. Springsteen, this minor western surprises by offering up more than just the usual shoot 'em up action of B westerns. Notably in its characterizations and the moral choices they have made and must make. Murphy is decent enough but the two most interesting characters are Drake's weak willed gambler and drunk who's only half a man without his partner and Kathleen Crowley as a bruised and bitter hard hearted saloon girl. For a Universal western from the 1960s, the movie doesn't have that Universal back lot feel. The exteriors were shot in Lone Pine, California and  Ellis W. Carter's (THE DEADLY MANTIS) B&W lensing does him proud. With Skip Homeier, Strother Martin, Dabbs Greer and L.Q. Jones.

L'Avventura (1960)

A group of upper class Romans are on a leisurely cruise on the Mediterranean when one of them, a young girl (Lea Massari), goes missing on a barren island. Her fiance (Gabriele Ferzetti) and her best friend (Monica Vitti) look for her. At first, in earnest then half heartedly as they give in to their mutual attraction to each other. Directed by Michelangelo Antonioni, this is one of the greatest as well as influential films in cinema. Its examination of contemporary alienation is subtle and devastating. The missing girl becomes irrelevant as the spiritually bankrupt group of people randomly reach out to each other in the hope of some emotional contact, usually in the form of sex, but finding only more emptiness. There had been nothing like it before and unfortunately, its spawn of imitators never equaled its artistry. Visually, the film is a feast and Aldo Scavarda's B&W images and compositions are stunning. Indeed, the film's final shot may be my favorite last shot ever! It's an often difficult and challenging film. I've had friends I've recommended the film to complain that nothing's happening. Of course, a lot is happening when you look beyond the surface. One of the genuine masterpieces of 20th century cinema.

Dr. Jekyll And Mr. Hyde (1941)

Dr. Jekyll (Spencer Tracy) is doing research and experimentation on the duality of man's nature, his good and his evil inhabiting the same soul. To this end, he invents a serum to facilitate this change. He names his evil side Mr. Hyde. But soon his experiment goes out of control and he no longer can contain it. Based on the book by Robert Louis Stevenson and directed by Victor Fleming (GONE WITH THE WIND). There have been countless versions of Stevenson's novella on stage, film and TV. I like this version best. MGM during its "golden age" wasn't much on horror films (that was Universal's domain). This has the usual lush MGM trappings but it remains an intense descent into horror. Unlike Fredric March in 1932 version, Tracy doesn't overdo the make up and depends on his acting to transition into Mr. Hyde and shows us what a sadistic brute can be. But the acting honors go to Ingrid Bergman who is superb as the cockney barmaid who has the misfortune to encounter Mr. Hyde and becomes his abused (both psychologically and physically) mistress. Your heart breaks for her, trapped and unable to escape his clutches. There's a wonderful score by Franz Waxman. With Lana Turner as Jekyll's peaches and cream fiancee, Donald Crisp, Ian Hunter, C. Aubrey Smith, Sara Allgood, Barton MacLane and Frances Robinson.

Skyscraper (2018)

An ex-FBI agent (Dwayne Johnson) is in Hong Kong with his wife (Neve Campbell) and kids (McKenna Roberts, Noah Cottrell) where he works as a security expert for the world's tallest skyscraper over 225 stories high. When a group of terrorists invade the building and proceed to wreak havoc, he risks everything to save his wife and children. Directed by Rawson Marshall Thurber (WE'RE THE MILLERS), this mixture of DIE HARD and TOWERING INFERNO is a mindless movie that even the film makers don't take seriously. Forget logic, the abundant loopholes and preposterous action pieces. Even Johnson before he does one of his absurd stunts quips, "This is stupid!". The film makes Johnson's character an amputee with one leg but that doesn't stop him from climbing a massive crane above the skyscraper's fire line, running down the crane and make a flying leap into the air and onto the skyscraper! Neve Campbell as his wife is equally plucky. When she has to walk a thin catwalk high above a burning inferno, she does it in high heels! As the chief villain, ex-con turned actor Roland Moller's Danish accent is so think it renders his dialog unintelligible. I got my $8 worth of entertainment and I wasn't bored but it's not something I'd care to sit through again. With Chin Han, Noah Taylor and Pablo Schreiber.    

Sandokan, La Tigre Di Mompracem (aka Sandokan The Great) (1963)

When British forces murder his family in British ruled Malaya, a surviving son (Steve Reeves) turns revolutionary in an attempt to overthrow the cruel British oppressors. Directed by Umberto Lenzi (CANNIBAL FEROX), this is a change of pace for Steve Reeves. It's not a peplum movie and Reeves trades in his loin cloth and sandals for silk and brocade. It's a decent piece of Italian made hokum but it lacks the kitsch factor of his more entertaining sword and sandal epics. It's just not as fun. Filmed in Ceylon (now Sri Lanka) in Techniscope, it looks nice and features an underscore by Giovanni Fusco (L'AVVENTURA). It probably plays best to young boys (and big boys) for whom the film's earnestness overcomes any lack of intelligence in the narrative. With Genevieve Grad as the movie's romantic interest, Andrea Bosic, Rik Battaglia and Leo Anchoriz.  

Thunder Bay (1953)

Set in 1946 Louisiana, an engineer (James Stewart) and his partner (Dan Duryea) have come up with a plan for off shore drilling for oil that could make them very rich. However the local fishermen who make a living from the shrimp in the gulf are distrustful of the oil men. Directed by Anthony Mann (WINCHESTER 73), this film plays out differently than it probably did in 1953. The off shore oil drillers are the heroes of the film while the villagers are portrayed as ignorant and distrustful and impeding progress. Today, I doubt there would be much sympathy for big oil. That aside, it's a rather trite action film overall with the standard fist fights and romance. The film is notable in that it was Universal's first wide screen film and first stereo film. The fourth of the eight films James Stewart and Anthony Mann made together and I'd say their least interesting collaboration if it weren't for THE GLENN MILLER STORY. There's a nice hurricane sequence in the middle of the movie. With Joanne Dru, Gilbert Roland, Marcia Henderson, Jay C. Flippen and Fortunio Bonanova. 

Topaze (1933)

A corrupt and powerful but wealthy businessman (Reginald Mason) hires a meek and naive academic (John Barrymore) to front his latest product ... a supposed health tonic which is nothing but water. Based on the play by Marcel Pagnol and directed by D'Abbadie D'Arrast. John Barrymore has a reputation as a great stage actor, one of the greatest of his generation. But his film performances often tend to be generous slices of ham. In TOPAZE, his acting is quite understated and we can see why he earned his reputation as a great actor. The screenplay by Ben Hecht and Charles MacArthur (THE FRONT PAGE) is intelligent and effective and as one of the last films of the pre-code era, it's quite adult. The relationship between the married Mason and his mistress (Myrna Loy) isn't just suggested, it's out in the open. There's a lot of charm and bite here as the film examines morality facing an uphill climb in a corrupt society. With Jackie Searl and Jobyna Howland.  

40 Carats (1973)

When her car breaks down while vacationing in Greece, a middle aged woman (Liv Ullmann) spends the night on a beach with a much younger man (Edward Albert). When back in Manhattan, she is shocked when her teenage daughter (Deborah Raffin) is picked up by a date ... who turns out to be the young man she spent the night with on the beach! Based on the Broadway play by Jay Presson Allen and directed by Milton Katselas (BUTTERFLIES ARE FREE). The film version changes the play's less positive ending (which I'm glad about). It's not a particularly good play and the film version is hampered by Liv Ullmann in the central role. Ullmann is one of the world's great actresses but a comedienne she's not and the majority of the film is a light comedy. Ullmann has problems delivering a quip that Doris Day would have slam dunked! She's much more comfortable in the film's final moments which are more dramatic and it's clear she's on familiar territory. With Gene Kelly, Binnie Barnes, Nancy Walker, Natalie Schafer, Rosemary Murphy (in the film's best performance), Don Porter and Billy Green Bush.