Crime Of Passion (1957)

A newspaper woman (Barbara Stanwyck) from San Francisco falls in love with a policeman (Sterling Hayden) in Los Angeles. A hasty marriage occurs but it isn't long before she's bored with being a housewife and becomes dissatisfied with her husband's lack of ambition. So, she takes matters into her own hands with tragic results. Directed by Gerd Oswald (A KISS BEFORE DYING), this is a nifty little noir-ish melodrama with Stanwyck playing a contemporary Lady MacBeth. But she's not entirely unsympathetic. Stuck in 1950s suburbia amid chattering housewives raving about the cream cheese and olive dip and dissecting daytime soap operas while the husbands drink and play poker, who wouldn't go homicidal? Raymond Burr is quite good as the police inspector who sees through Stanwyck's machinations. Solid stuff with a sympathetic feminist bent. The B&W cinematography is handled by Joseph LaShelle (LAURA) and there's a suitably intense score by Paul Dunlap. With Fay Wray, Stuart Whitman, Virginia Grey, Royal Dano and Jay Adler.

Mr. Moto's Last Warning (1939)

As Europe teeters on the brink of war, a group of foreign saboteurs hatch a plot to blow up the French fleet and blame it on the British in the hopes of setting them against each other. The renowned Japanese secret agent Mr. Moto (Peter Lorre) devises his own trap to ferret out the conspirators. Based on the character created by John P. Marquand in a series of novels and directed by Norman Foster (JOURNEY INTO FEAR). This was the sixth film in the eight movie 20th Century Fox Mr. Moto franchise. The Mr. Moto series is more action oriented (Moto does jujitsu) than the similar Charlie Chan franchise which are traditional mysteries. This effort is quite enjoyable if you're partial to the series (as I am). The pacing is swift and moves along quickly so that you don't have enough time to be bored. With George Sanders, Ricardo Cortez, Robert Coote, John Carradine, Virginia Field and Margaret Irving. 

Love In The Afternoon (1957)

Set in Paris, the young daughter (Audrey Hepburn) of a private detective (Maurice Chevalier) becomes personally involved with one of his cases when a cuckolded husband (John McGiver) threatens to shoot his wife's (Lise Bourdin) lover (Gary Cooper). Based on the novel ARIANE, JEUNE FILLE RUSSE by Claude Anet and directed by Billy Wilder, this film would seem to have everything going for it. Three top stars, Wilder at the helm and the city of Paris as the backdrop. But while often charming, the lack of chemistry between the aging Cooper (one isn't sure if he looks ill or debauched) and the fresh faced Hepburn prevents the movie from accomplishing its goal. Namely, an airy and light souffle of a romantic comedy. Reputedly, Yul Brynner was Wilder's first choice (along with Cary Grant) and I don't know if the chemistry would be any better but at least he was age appropriate. It's not a bad movie by any means and for fans of the divine Audrey, there's much to appreciate but it's simply a disappointment overall. In fact, I much prefer a similar film from 1958, Stanley Donen's INDISCREET with Grant and Ingrid Bergman which gets it right.  

Present Laughter (1981)

An aging and vain actor (Donald Sinden) is planning a theatrical tour of Africa. But his plans take a backseat as his wife (Dinah Sheridan), secretary (Gwen Watford), lovers (Elizabeth Counsell, Belinda Lang), friends (Ian Gardiner, Michael Fleming), crazed fans (Julian Fellowes) and servants (Colin Spaull, Sheila Mitchell) collectively turn his life upside down. Based on the 1942 play by Noel Coward and directed by Rick Gardner and Alan Strachan. This is literally a filmed play as it was filmed before a live audience during the play's 1981 West End revival. Therefore, the acting is extremely broad as the actors play to the balcony. It's one of Coward's best plays but Sinden playing a hammy actor who overacts overacts the overacting! He's not remotely human and while his performance on the stage may well work, on film it's downright grotesque. But nothing is more grotesque than Julian Fellowes' hysterical performance as a stalking fan. It's supposed to be amusing (the audience lapped it up, giving him applause several times) but again, the camera magnifies something already exaggerated into a distortion. It's a witty play properly done, I just would love to have seen it recreated in a studio.   

The Secret Life Of Bees (2008)

Set in 1964, a 14 year old girl (Dakota Fanning) runs away from her abusive father (Paul Bettany) accompanied by a black housekeeper (Jennifer Hudson) recently assaulted by a group of white men when she attempted to register to vote. They find refuge in the home of three sisters (Queen Latifah, Alicia Keys, Sophie Okonedo) who own a bee farm that produces honey. Based on the novel by Sue Monk Kidd and directed by Gina Prince Blythewood. There are those who find this film on the maudlin side but I found it warm and sincere. Anytime you deal with the subject of love and the messiness of its aftermath as well as its healing power, you're bound to find those who want something less lachrymose and more multifaceted. Yes, it tends to be simplistic in its message and perhaps painted in broad strokes but that doesn't make it any the less powerful. The five central performances are diverse and powerful, each character with their own distinct identity and place in the world. With Tristan Wilds and Hilarie Burton.

Firepower (1979)

After her scientist husband (Richard Roberts) is killed before he can expose a corrupt billionaire, his widow (Sophia Loren) suggests to the Justice department that they secure the services of her ex-lover, a retired bounty hunter (James Coburn) to kidnap the reclusive billionaire who lives in the Caribbean. Directed by Michael Winner (DEATH WISH), this typical 1970s action flick has a glamorous Caribbean setting (St. Lucia, Curacao, Antigua) and lots of gunfire, explosions and a noisy jazz score by Gato Barbieri (LAST TANGO IN PARIS). So you get your money's worth there but you're cheated in the script department. The mundane dialogue and stale plot often make this a rather tiresome affair. The biggest (unintentional) laugh comes when O.J. Simpson snaps at Coburn, "Hey, I don't kill people!". Loren is gorgeous but she's too good for this kind of potboiler. With Victor Mature, Eli Wallach, Anthony Franciosa, Vincent Gardenia, George Grizzard and Billy Barty.  

El Paso (1949)

An ex-Confederate captain (John Payne), who is a lawyer, travels to the Texas town of El Paso where he reunites with an old flame (Gail Russell). He debates settling down in the town and marrying his former sweetheart but the corruption of the town's sheriff (Dick Foran) and thuggish ways of  the town's landowner (Sterling Hayden) force his hand and it's not long before he turns his back on the law. Directed by Lewis R. Foster, this is a forgettable western. Despite its attractive cast, the film is all surface with neither the entertainment value of a good western nor the irony and ambiguities that a Budd Boetticher could have brought to a western like this. The film was shot in the Cinecolor process and the print I watched (although advertised as a new restoration) was pretty ragged looking which does a disservice to Ellis W. Carter's (INCREDIBLE SHRINKING MAN) New Mexico location shooting. With Gabby Hayes, Mary Beth Hughes, Henry Hull and H.B. Warner.

Red Joan (2019)

An elderly retired physicist (Judi Dench) is arrested as a spy for the Soviet Union. The film alternates between her interrogation by government authorities and her backstory which dates back to her Cambridge days in the late 1930s. Based on the novel by Jennie Rooney which was inspired by the true story of Melita Norwood, known as the "granny spy" and directed by Trevor Nunn. While not quite as bad as its reviews would lead you to believe, it's still a pretty dreary piece of movie making. It's the kind of stuff you can see on PBS (not a slam against PBS) readily. Despite her star billing, Dench gets minimal screen time and the focus is on her "spy" years where her character is played by Sophie Cookson so Dench fans might feel cheated. I was irritated by the lame justifications for her reasons for betraying her country ("I wanted a level playing field") and the film seems to be agreeing with her that that was enough and she shouldn't be judged. The real Norwood was never prosecuted because of her age. You'd think a more compelling movie could be made out of a situation like this but I had a hard time keeping my eyes open (and I wasn't even sleepy). With Tom Hughes, Tereza Srbova and Ben Miles.

Cat's Eye (1985)

A feral cat ties three stories together: 1) a man (James Woods) signs up with an organization that helps people quit smoking but he didn't expect it to be so deadly. 2) a crime boss (Kenneth McMillan) makes a bet with his wife's lover (Robert Hays, AIRPLANE) which consists of walking on the ledge of his penthouse apartment. 3) a little girl (Drew Barrymore) is terrorized by an ugly troll who lives in the wall of her bedroom. The first two are based on short stories from NIGHT SHIFT by Stephen King and the third is an original written for the movie by King. Directed by Lewis Teague (CUJO). All three are entertaining although the first one is really too far fetched to take very seriously. None of them are long enough to wear out their welcome but no surprise, they save the best for last and the final segment is a minor treat. The acting is okay except for the cat who gives a sensational performance. The cinematography is by the great Jack Cardiff (BLACK NARCISSUS). The only irritant is an annoying synthesizer score by Alan Silvestri. With Alan King, Candy Clark, James Naughton and James Rebhorn.

Une Histoire Simple (aka A Simple Story) (1978)

Approaching 40 and in a failing relationship, a woman (Romy Schneider) decides to terminate her pregnancy. The film follows her journey until the film ends when, still unmarried, she is pregnant again but this time, she decides to keep the child. Directed by Claude Sautet (LES CHOSES DE LA VIE), this Oscar nominated movie (best foreign language film) is aptly named. There is no plot to speak of, not really. The film follows the evolution of a middle aged woman who perhaps defines herself through her relationships with men. At the film's outset, she terminates a pregnancy because her relationship isn't working but by the film's end, she realizes she doesn't need a male (she lives with a female friend) and is capable of bringing up a child by herself with the help of her friend. That's a gross simplification, there's more to her journey's end than that (an affair with her ex-husband, a friend's suicide etc.) but these are incidents that collectively mature her as a woman. Schneider won the Cesar (the French Oscar) for her performance here and she's superb. I liked the minimalist Philippe Sarde underscore. With Bruno Cremer, Claude Brasseur, Roger Pigaut, Arlette Bonnard and Eva Darian.

The Golden Head (1964)

A British police detective (Douglas Wilmer) is on holiday in Budapest, Hungary with his three children (Jess Conrad, Lorraine Power, Denis Gilmore). While he is attending an international convention of criminal investigators, his children get involved in their own adventure when two art thieves (George Sanders, Buddy Hackett) steal a priceless gold bust from a cathedral. Loosely based on the novel NEPOMUK OF THE RIVER by Roger Windle Pilkington and directed by Richard Thorpe (KNIGHTS OF THE ROUND TABLE). The last film designed to be shown in the Cinerama format, it was never released in the U.S. and only briefly in Europe. With a couple of light sexual innuendos removed, it could easily pass as one of those live action Walt Disney capers from the 1960s, it's that family friendly. It's a piffle really and slightly overblown with its roadshow trimmings (overture, intermission, entr'acte, exit music). This being Cinerama, much of the film serves as a travelogue of Hungary and we even get performances by the Hungarian Opera Ballet and the Hungarian Folk Dancers troupe. It's not until the movie's chase finale does the film take advantage of the depth of the Cinerama process. The unusual teaming of Sanders and Hackett have them channeling Abbott and Costello! Mildly entertaining and gorgeous to watch. With Cecilia Esztergalyos and Robert Coote.

100 Rifles (1969)

When an Arizona lawman (Jim Brown) crosses the border to Mexico in search of a bank robber (Burt Reynolds), he reluctantly finds himself in a local war between the Mexican military and the repressed Yaqui Indians. Based on the novel THE CALIFORNIO by Robert MacLeod and directed by Tom Gries (WILL PENNY). I enjoyed this western more than I probably should have. The acting is pretty weak (Brown is stone faced, Raquel Welch has a dreadful Spanish accent and Reynolds is about an Indian as Max Von Sydow) but it's crammed with action and moves nicely along though the ending is pretty much a fizzle. It does what it set out to do which is more than many movies can say and though its aims are low, it accomplishes them. Spain does a nice job standing in for Mexico and there's a rousing score by Jerry Goldsmith. With Fernando Lamas, Dan O'Herlihy, Eric Braeden and Soldedad Miranda.