Luxury Liner (1948)

The teenage daughter (Jane Powell) of an ocean liner's captain (George Brent) stows away on her father's ship in the hope of showcasing her singing skills to a famous opera star (Lauritz Melchior). Directed by Richard Whorf (TILL THE CLOUDS ROLL BY), this Technicolor pastry from MGM should be lighter than air but it's more like a fruitcake that's been on the shelf too long. Powell's perky teen irritates after awhile especially as she sticks her nose where it's not needed or wanted. Between Powell's trilling and Melchior's bellowing, the Latin rhythms of Xavier Cugat are a welcome relief. The most interesting character is the passenger played by Frances Gifford. Overwhelmed by a wealthy man (Richard Derr) used to getting what he wants and who refuses to accept her rejection, she's torn between giving in or standing her ground. But the movie was a success at the box office and pushed Powell into star status (she's billed below Brent here) at MGM. With Marina Koshetz, John Ridgely and Connie Gilchrist.

Glass Onion (2022)

Having a reputation as the world's greatest detective, Benoit Blanc (Daniel Craig) receives an invitation from a billionaire (Edward Norton) to his private island in Greece where he intends to have a murder mystery weekend where the billionaire will be the victim and his guests have to solve his murder. But things go awry when a real murder occurs and it's not the billionaire! Directed by Rian Johnson, this is a sequel to the 2019 hit KNIVES OUT also directed by Johnson. This is a corker of a murder mystery and even better than its predecessor. Rich in humor with a gaggle of unpleasant suspects, the film recalls Agatha Christie's TEN LITTLE INDIANS and the 1971 film THE LAST OF SHEILA. The film's elaborate whodunit puzzle is clever with a few twists and turns tossed in, it's the kind of film best seen knowing as little as possible to avoid spoilers. Returning as the eccentric Blanc, Daniel Craig is marvelous and as far away from his Bond persona as possible. The ensemble cast is perfect with exceptional performances, notably the wonderful Janelle Monae and Kate Hudson channeling mom Goldie Hawn as a ditzy ex-model. For murder mystery buffs, this is not to be missed. With Hugh Grant, Kathryn Hahn, Leslie Odom Jr., Dave Bautista, Serena Williams and in their final film roles, Angela Lansbury and Stephen Sondheim.

Moonage Daydream (2022)

A documentary on David Bowie which incorporate musical performance with archival interviews and rare footage from his personal archives. Directed by Brett Morgen, the film explores the enigma that was David Bowie as a performer but not artist as he tries different personas but sheds them as he grows more confident as an artist. One of the most original pop/rock performers of the latter 20th century, he pioneered androgynous "glam rock" as he eventually moved toward the mainstream amongst cries of selling out. In his own words, Bowie discusses his attitude toward his art and what he is trying to accomplish, dropping personas like Ziggy Stardust as he becomes more comfortable performing as himself without the glam make-up. Morgen crams the film with Bowie's performing whether on stage or music video. Unlike most documentaries, there are no interviews with those who knew him, there's only Bowie to speak for himself and his music. If you're a Bowie fan, this is a must but if you're not musically disposed toward him, you may find it on the pretentious side. 

Love On The Dole (1941)

Set in England in 1930 at the height of the great depression, a family struggles to survive as they lose their jobs and can't find work. Based on the novel by Walter Greenwood and directed by John Baxter (CROOK'S TOUR). This bleak and unflinching look at working class poverty has lost none of its power since its debut in 1941 (the book came out in 1933). How does one hold onto their dignity and their moral structure when they can't put food on the table and being evicted from their home? Yes, there are structures put in place to help like unemployment but there's a time limit on unemployment and somehow if you're unable to find work, it's deemed your fault. You're not trying hard enough but the work just isn't there! Can we judge a young girl (Deborah Kerr) from a good family for becoming the mistress of an oily bookie (Frank Cellier) to escape poverty and help her family? Are we to judge an old woman living on a meagre pension for evicting a penniless man (Geoffrey Hibbert), his wife (Joyce Howard) and their newborn baby because they can't pay the rent? A film version was planned soon after the book was published but the subject was considered "too sordid" so it took eight years to get a movie made. Despite a "hopeful" epilogue at the very end, this is a pretty grim and unsentimental movie. With Clifford Evans, George Carney, Mary Merrall and Marjorie Rhodes.

Rendezvous (1935)

Set during WWI, a decoding expert (William Powell) is assigned to office work instead of the combat role he longed to play. But far from a dull desk job, he finds himself involved with German spies, betrayal, murder, suicide and a ditzy socialite (Rosalind Russell). Based on the novel THE BLONDE COUNTESS by Herbert O. Yardley and directed by William K. Howard (FIRE OVER ENGLAND). This is an odd mixture of romantic comedy and spy thriller that doesn't consistently match up. The rapid switch between a suicide or a cold blooded murder and bantering lovers tossing quips doesn't always transition smoothly. Fortunately, there's the star power of William Powell and Rosalind Russell to hold the movie together. MGM didn't always do right by Rosalind Russell. They were always giving the juicy roles to Norma Shearer, Joan Crawford, Jean Harlow or Myrna Loy (who Russell replaced here) with Russell frequently cast in secondary roles. Here, she gets to exhibit some of the comic elan that would come to fruition with THE WOMEN and HIS GIRL FRIDAY. It's just an okay film, not one of better examples of the MGM style. With Binnie Barnes, Cesar Romero, Lionel Atwill, Henry Stephenson and Margaret Dumont. 

Le Orme (aka Footprints) (1975)

A young woman (Florinda Bolkan) wakes up one morning and discovers that three days have elapsed that she can't account for. Her only clues are an unmailed postcard from a city she's never been to and a dream about a dying astronaut. Based on the novel LAS HUELLAS by Mario Fenelli and directed by Luigi Bazzoni (THE FIFTH CORD). This Italian mystery thriller teases us for most of the film as its heroine tries to unravel those missing days but the final payoff is unsatisfactory to say the least. Still, if the destination is disappointing at least the journey is enjoyable. The central performance by the wonderful Florinda Bolkan is intense and the cinematography courtesy of the great Vittorio Storaro (THE CONFORMIST) is efficacious. I watched the Italian cut which is about three minutes longer than the U.S. cut. With Lila Kedrova, Peter McEnery, Klaus Kinski and Evelyn Stewart.

I The Jury (1953)

After an old war buddy (Robert Swanger) is shot in the stomach and left to die, a detective (Biff Elliot) vows to find his killer and make them die the same way. A guest list from a recent party of the murdered man provides a roster of suspects. Based on the 1947 novel by Mickey Spillane and directed by screenwriter Harry Essex (CREATURE FROM THE BLACK LAGOON). In 1953, Spillane's detective Mike Hammer was at the height of his popularity and this was the first Hammer novel adapted for the screen. Ironically, the same month (August 1953) that I THE JURY opened so did the musical THE BAND WAGON which contained a perfect parody of the Spillane books. Watching it today, I THE JURY seems like a spoof on the genre itself rather than the real thing. Elliot's Hammer is a brute who as soon kick your face in as shake your hand (unless you're female). The stone faced Elliot with his tough talking monotone voice comes off as a caricature. Much better are two of the film's ladies: Peggie Castle as a femme fatale psychiatrist and Margaret Sheridan as Hammer's wry secretary. For fans of film noir, this should temporarily satisfy their craving but two years later, the best Hammer film Robert Aldrich's KISS ME DEADLY showed how Hammer should be done. Originally released in 3D, John Alton's (AN AMERICAN IN PARIS) B&W cinematography is perfect, however. With Preston Foster, Mary Anderson, Alan Reed and Elisha Cook Jr.

Age Of Consent (1969)

An Australian artist (James Mason) lives in Manhattan where he has a successful career but he feels the need to go back to his roots and get inspired to create again. He goes back to Australia and rents a shack on a secluded island on the Great Barrier Reef. Into his life comes a young girl (Helen Mirren) who brings back his desire to create. Based on the semi autobiographical novel by Norman Lindsay and directed by Michael Powell (BLACK NARCISSUS). The film was a huge success in Australia, both critically and at the box office but fared less well with the rest of the world where it was cut in many countries (Mirren's nude scenes). Personally, I wouldn't count the film as one of Powell's best but there's a certain charm and the cinematography of Hannes Staudinger is stunning, making the Great Barrier Reef look like a paradise. Mason, no surprise, is excellent and in one of her earliest movie roles, Mirren is delightful. I could have done without the annoying scheming leech played by Jack MacGowran, who serves no real purpose in the story other than provide comedy relief (I didn't laugh). With Peggy Cass, Frank Thring and Clarissa Kaye, who would marry James Mason two years later.

White Savage (1943)

A shark hunter (Jon Hall) falls in love with the princess (Maria Montez) of Temple Island but a hidden treasure on the island's sacred pool brings greedy scoundrels to the island. Written by Richard Brooks (ELMER GANTRY) of all people and directed by Arthur Lubin (BUCK PRIVATES). More South Seas nonsense with Maria Montez and the usual suspects (Hall, Sabu, Turhan Bey) but this one isn't much fun. It's rather dumb and dull and except for a campy "native" dance number and an earthquake finale, not very lively. But the film was a huge hit anyway! Hey, WWII was raging on and these exotic escapist movies provided some relief from wartime anxieties on the home front. It's no coincidence that Montez's post WWII career did a quick fade. When the film was rereleased in 1946, it added WOMAN to the title. With Thomas Gomez and Sidney Toler (not Chan this time but still playing Chinese).

胭脂扣 (aka Rouge) (1987)

Set in 1934, a humble courtesan (Anita Mui) and the son (Leslie Cheung) of a wealthy family embrace a suicide pact after his family rejects her as a possible wife. Jump some 50 years later and the courtesan's ghost comes looking for her lover. Based on the novel by Lilian Lee and directed by Stanley Kwan (CENTER STAGE). Despite its gorgeous imagery courtesy of cinematographer Bill Wong, I just couldn't get into this supernatural ghostly romance. I've never found double suicides particularly romantic (no, not even in ROMEO AND JULIET) and Kwan's tale of a beautiful ghost searching the streets of contemporary Hong Kong for her long ago lover didn't resonate with me. The mundane contemporary couple (Alex Man, Emily Chu) that assist the courtesan in finding her lover are offered as a more practical romantic liaison but pale against the exoticism of the doomed lovers from the past. With Irene Wan and Sin Hung Tam.

The Good Nurse (2022)

A single mother and nurse (Jessica Chastain) works in the intensive care unit. When a new experienced nurse (Eddie Redmayne) is assigned to work the night shift with her, they bond instantly. What she doesn't know is that he is a serial killer who has taken it into his own hands to to terminate the lives of his patients. Based on the true crime book by Charles Graeber and directed by the Danish director Tobias Lindholm (A WAR). This true crime drama is bolstered by the performances of the two leads, Chastain and Redmayne. The film itself is a quite decent (and sometimes more than that) crime drama and focuses on the book's last third which is devoted to Chastain's character. The first 2/3 gave background on Redmayne's character but the screenplay (by Krysty Wilson Cairns) renders his background almost superfluous. We never know exactly why he committed the killings even after the movie ends. What's more important is the outrage one feels at how the (medical) system which could have reported Charles Cullen (Redmayne's character) to the authorities and thus prevent future killings (which might have been as high as 400!) and instead chose to cover their asses! Of its kind, compelling stuff. With Noah Emmerich, Kim Dickens, Nnamdi Asomugha and Maria Dizzia. 

The Kennel Murder Case (1933)

A wealthy dog fancier (Robert Barrat) is found dead in his bedroom which is locked from the inside, a bullet hole in his head and a gun in his hand. It would appear to be a suicide. But the private detective Philo Vance (William Powell) suspects foul play and this is confirmed by the coroner Etienne Girardot) who says the man was already dead when he was shot. Based on the novel by S.S. Van Dine and directed by Michael Curtiz (WHITE CHRISTMAS). Powell returns as Philo Vance for the fourth and final time. The next year he would play detective Nick Charles in THE THIN MAN, a role he would play on and off until 1947. As for his final foray as Philo Vance, this is a perplexing murder mystery with a plethora of suspects, all of who had reasons to kill the victim. My head was spinning trying to keep abreast of who was where at the time of the murder and what their particular motive was. Eventually, I stopped trying to guess and let Powell's Vance do the work. This might be the best of the Philo Vance mysteries (certainly Powell made the part his own) and murder mystery buffs should have fun with it. Remade in 1940 as CALLING PHILO VANCE. With Mary Astor, Eugene Pallette, Helen Vinson, Jack La Rue, Ralph Morgan and Paul Cavanagh.