Can't Stop The Music (1980)

A struggling songwriter (Steve Guttenberg) and a high fashion model (Valerie Perrine) put together a disco group consisting of a policeman (Ray Simpson), a construction worker (David Hodo), an Indian (Felipe Rose), a cowboy (Randy Jones), a leather man (Glenn Hughes) and a G.I. (Alex Briley) and call them the Village People. Directed by actress turned director Nancy Walker (MURDER BY DEATH). Perfectly dreadful! An attempt to cash in on the success of the Village People, this stinker has the morbid fascination of watching a train wreck. The Village People were a gimmick act and sucked as a singing group and posterity hasn't done anything to alleviate their awfulness. Indeed, the only thing more awful than their singing is their "acting".  They aren't the only bad actors in the film. Caitlyn Jenner (then called Bruce), Paul Sand and Altovise Davis (Mrs. Sammy Davis Jr.) are lousy too. There is some actual talent in the movie. In addition to Valerie Perrine, there's Tammy Grimes, Barbara Rush, Jack Weston, Leigh Taylor Young and June Havoc although none of them can rise above the drek. Not surprisingly, the film has a "so bad it's good" cult following.  

Psych Out (1968)

A deaf runaway (Susan Strasberg) travels to San Francisco in search of her brother (Bruce Dern). It's 1968 and the Haight Ashbury scene is in full flower children bloom as hippies and psychedelic drugs take over. Directed by Richard Rush (THE STUNT MAN), this isn't a serious exploration of the counterculture era but rather an exploitation of it. And as usual, Hollywood gets it wrong. I should know as I lived in San Francisco during the time this movie takes place. The dialogue is often unintentionally funny and the "hippies" here don't resemble any of the non conformist drop outs I knew. Today, much of it is kitsch like a pony tailed Jack Nicholson playing in an acid band or Strasberg's STP "trip" as flames chase her around the streets of San Francisco. But as an artifact, however compromised, of the era, it has its moments. The movie was produced by Dick Clark so there's a strong anti-drug message. The cinematography by Laszlo Kovacs is quite good. With Dean Stockwell, Adam Roarke, Garry Marshall, Ken Scott, Henry Jaglom and as themselves, the Strawberry Alarm Clock.  

Molly And Lawless John (1972)

An outlaw (Sam Elliott) in jail awaiting trial sees that the sheriff's (John Anderson) wife (Vera Miles) is lonely and unhappy. He takes advantage of her loneliness by sweet talking her into helping him escape and taking her with him. But she soon finds that she's traded one abusive relationship for another. Directed by Gary Nelson (THE BLACK HOLE), this western drama is a rather listless affair. While it's interesting to see Sam Elliott (and already charismatic) so early in his career, ultimately the movie is as dry as the desert landscape where much of the film takes place. I suppose one could make a (weak) case for it as a feminist western but I'd write it off as a small indie with good ideas but a mediocre execution. The underscore is by Johnny Mandel (THE AMERICANIZATION OF EMILY) and the theme song with lyrics by Alan & Marilyn Bergman received a Golden Globe nomination. With Clu Gulager and Cynthia Myers (BEYOND THE VALLEY OF THE DOLLS).

The Time Of His Life (1955)

An ex-convict (Richard Hearne) is the father of the social climbing wife (Ellen Pollock) of a knighted political figure (Frederick Leister). She's told everyone her father is dead but when he's released from prison, he's sent to live with her. She promptly locks him in an upstairs room and plots to have him sent to Australia. Directed by Leslie S. Hiscott, this British farce would seem to have opportunities galore for both humorous situations as well as satire. What we get is weak slapstick. I've nothing against slapstick, in fact, I enjoy a good piece of slapstick but the movie seems to think it's funnier than it is. You know a comedy is in trouble when you have characters in the movie laughing at the slapstick thus cuing the audience, "Hey, this is funny! Why don't you laugh too?". I'm not familiar with Richard Hearne but apparently he was a popular English comic who had played the character he plays here (Mr. Pastry) on stage and TV. I'm not a fan of English comedies in general but I don't think my attitude comes into play here. It's just not very good. With Richard Wattis and Anne Smith.   

Ad Astra (2019)

Set in the near future, the solar system is being bombarded with destructive power surges of unknown origin. An astronaut (Brad Pitt) is selected to go on a top secret mission whose eventual destination is Neptune where his father (Tommy Lee Jones), once believed dead, is thought to be alive and somehow responsible for the destructive surges. Directed by James Gray (THE IMMIGRANT), this is the best science fiction film since 2013's GRAVITY (not that there have been a whole lot of candidates). This is an intelligent thinking man's sci-fi that concentrates on one man's interior journey (including living without the presence of a father that is considered a hero) which is reflected in the film's austere visuals (and the score by Max Richter) rather than action and expository dialog. While not on the level of a 2001: A SPACE ODYSSEY or SOLARIS, it appeals to our intellect and those going in expecting a big payoff are bound to be disappointed. Pitt gives a terrific performance, proving once again that he is one of the best actors working in film today. Considering Pitt's other sensational 2019 performance in ONCE UPON A TIME IN HOLLYWOOD, the Academy will have a tough time deciding which performance to nominate. With Donald Sutherland, Ruth Negga, Natasha Lyonne, Loren Dean, Kimberly Elise and Liv Tyler (whose role seems to have been cut to shreds).  

Blue White And Perfect (1942)

A private detective (Lloyd Nolan) is hired by a defense plant to look out for possible sabotage. Instead, he finds himself in the middle of a theft of industrial diamonds and on a cruise liner to Hawaii with several possible suspects. Directed by Herbert I. Leeds, this was the final entry in a four movie franchise from 20th Century Fox featuring Nolan as detective Michael Shayne. The series would continue at another studio with another actor playing Shayne. It's a typical detective mystery utilizing a WWII Nazi plot. It's competent and does what it sets out to do but Nolan's Shayne doesn't have the likability of a Nick Charles or Charlie Chan. He's a rather self centered guy who exploits the girl (Mary Beth Hughes) who loves him by constantly lying to her and even bilking her out of money. As an actor, Nolan lacks the charm of a William Powell who might have made us give him a pass. But if you're a fan of detective stories or murder mysteries, you should find this moderately enjoyable. With George Reeves, Helene Reynolds (who makes for a nice femme fatale), Steven Geray, Mae Marsh and Ann Doran  

Satan Never Sleeps (1962)

Set in 1949 China during the Communist cultural revolution of chairman Mao Zedong, a Catholic priest (William Holden) is sent to replace a much older priest (Clifton Webb) at a mission. But when the Red Chinese take over the area, the mission becomes a battle zone between the priests and the appointed leader (Weaver Lee) of the Red Chinese army. Based on the novel by Pearl Buck and directed by Leo McCarey (THE AWFUL TRUTH) in his final film. This is a misguided project all around. One of McCarey's biggest hits was GOING MY WAY which featured Bing Crosby and Barry Fitzgerald as contentious priests and he tries the formula again here. This film is an awkward blend of realism (rape, torture) and folksy humor that simply doesn't work. Holden is terribly miscast and he seems to have sensed it as he seems ill at ease in the part and it shows. Only Webb (in his last film role) as the irascible older priest doesn't embarrass himself. The film also features some of the worst rear projection I've seen in a major film. The score is by Richard Rodney Bennett (MURDER ON THE ORIENT EXPRESS). With France Nuyen, Burt Kwouk, Athene Seyler and Martin Benson.  

Along Came Jones (1945)

A mild mannered cowpoke (Gary Cooper) and his companion (William Demarest) are mistaken for a notorious gunman (Dan Duryea) and his uncle. The gunman's girl (Loretta Young) comes to his rescue and helps him escape but the posse still pursues him under the impression he is the gunman. Based on the novel USELESS COWBOY by Alan Le May (THE SEARCHERS) and directed by Stuart Heisler (THE GLASS KEY). Cooper produced the film which satirizes his cowboy image. Cooper's Melody Jones can't shoot to save his life and he's not the brightest bulb in the West. In fact, it's the feisty Loretta Young (at her most appealing) who can sharpshoot and has the smarts and is forever saving Cooper from the bad guys, the law and himself. For most of the film's 90 minute running time, this enough to amuse but Cooper eventually overplays the doltish aspect and his stupidity becomes annoying. But comedy westerns were still pretty rare in the 1940s so I give it a pass. With Frank Sully and Ray Teal.

Sweet Bird Of Youth (1962)

A handsome but aging gigolo (Paul Newman) returns to his hometown in the company of an older fading film star (Geraldine Page), who is both an alcoholic and drug user. It is his intention to blackmail the actress into signing both him and the girl (Shirley Knight) he loves to a film contract. Based on the play by Tennesse Williams and directed by Richard Brooks (CAT ON A HOT TIN ROOF). It's not one of Williams' essential plays but unfortunately, the movie dilutes much of what power the play had by cleaning up the material. Thus the girl's contracting an STD and having a hysterectomy is now an abortion and the hero's castration is now a brutal beating. Thankfully, the film makers were smart enough to let Page recreate her stage role for the film version. Her bravura performance is a master class in acting in itself. Her scene on the telephone with a columnist is the kind of stuff that make performances legendary. With Ed Begley (who won an Oscar for his work here), Rip Torn, Madeleine Sherwood, Mildred Dunnock and Roy Glenn.

Die Monster Die! (1965)

An American (Nick Adams) travels to England to visit his fiancee (Suzan Farmer) at her family estate. But when he arrives at the small village, the townspeople turn their backs to him when he mentions the family name and refuse him transportation to the secluded family mansion. Loosely based on THE COLOR OUT OF SPACE by H.P. Lovecraft and directed by art director turned director Daniel Haller (THE DUNWICH HORROR). This silly nonsense has all the trappings of an American International Poe adaptation but is really a cheesy bit of science fiction hokum. The house itself is a Gothic wonder, no complaints there but its actors talk and walk continuously and tediously around and through the house without any sense of purpose except for when the occasional scream in the night stimulates them into activity. Top billed Boris Karloff lends his gravitas and his screen presence but this is the kind of stuff he could do in his sleep. With Freda Jackson, Patrick Magee and Terence De Marney. 

Frenchie (aka Revolver Lady) (1950)

A woman (Shelley Winters) from New Orleans returns to the western town where her father was murdered. She's seeking revenge for her father's death. Although she knows one of the killers (Paul Kelly), she wants to know who his secret partner is. A very loose remake of the 1939 film DESTRY RIDES AGAIN and directed by Louis King. The emphasis this time is not on the "Destry" character (here played by Joel McCrea) but on the woman and her backstory. As a western, it's quite entertaining and handsomely shot in Technicolor by Maury Gertsman (TO HELL AND BACK). The most pleasant surprise is Shelley Winters in the title role! The shrillness and neuroticism which mars some of her later work is absent here and she's sexy and appealing. With Elsa Lanchester, Marie Windsor (who participates in DESTRY'S famous catfight with Winters), John Emery and John Russell.

Secret Mission (1942)

During WWII, four British Intelligence agents (James Mason, Michael Wilding, Hugh Williams, Roland Culver) go behind enemy lines in occupied France to gather information on German fortifications. Directed by Harold French (THE MAN WHO WATCHED TRAINS GO BY), this slice of WWII British propaganda isn't half bad. Director French marches it along at an energetic tempo though the romantic subplot between Williams and Carla Lehmann clutters it up a bit. Still, the movie manages to give us a smidgen of what it was like for the French folk living under Nazi occupation. As cinema, it may be run of the mill fare but it hasn't forgotten the entertainment value amidst the stoicism and fortitude. With Stewart Granger, Herbert Lom and Nancy Price.