The Boss (1956)

Beginning in 1919, a ruthless veteran (John Payne) inherits the clout of his political kingpin brother (Roy Roberts) and climbs the ladder of corruption all the way to the top of his state. Then comes the downfall. Directed by Byron Haskin (WAR OF THE WORLDS), the crime film with noir elements may be a B movie but it's very effective. Payne is very good as the arrogant crime boss who believes his power is untouchable but his faith in those around him contribute to his downfall. Payne's crime boss comes across as a man to be pitied rather than scorned. He believes in the loyalty of his best friend and so do we but eventually the boss's corruption reaches him too. The most interesting character is the plain Jane (Gloria McGehee) that he marries in a drunken stupor but his pride refuses to let her get a divorce. He treats her abominably and the irony is that she is the only loyal person in his life and only at the end does he realize how different his life could have been but it's too late. Not a particularly original film but better than a lot of well known noirs. With Doe Avedon, William Bishop, Rhys Williams and Joe Flynn. 

The Shape Of Things To Come (1979)

Earth has been devastated by the Robot Wars and mankind has settled a colony on the moon and other planets in the galaxy. But when the power mad ruler (Jack Palance) of a distant planet attacks a lunar colony, a team of scientists launch a dangerous mission against the dictator and his rebel army. Based on the novel by H.G. Wells and directed by George McCowan (FROGS). Although credited as an adaptation of the Wells novel, other than its title and a few character's names there is nothing of Wells book here. This low budget (and it shows) Canadian sci-fi film attempts to ride the coattails of current (at the time) films like STARS WARS (including a "cute" robot) and TV shows like BATTLESTAR GALACTICA. Simplistic and often incoherent, it's not even fun in the way bad sci-fi movies can sometimes be. Special effects are crude, the acting is monotonous and Palance's overacting comes as a relief as at least something lively is going on. With Carol Lynley, John Ireland, Nicholas Campbell, Barry Morse and Anne Marie Martin, who is billed as Eddie Benton, a name she used as an actress until 1981.

The Banshees Of Inisherin (2022)

Set in 1923 Ireland as the Irish Civil War is ending, a folk musician (Brendan Gleeson) is tired of his dimwitted drinking buddy (Colin Farrell) and his mindless prattle and attempts to end their relationship. But the dimwit doesn't get it and pushes for a reconciliation that ends in dire consequences for both of them. Written and directed by Martin McDonagh (THREE BILLBOARDS OUTSIDE EBBING, MISSISSIPPI). There's much to admire in this dark tale (with comic overtones) of a friendship gone bad but there are elements so disturbing that I had a difficult time getting into it. Frankly, I totally understood why Gleeson wanted to end the friendship and my empathy was with him and not the dimwit. But it escalates into downright nastiness and ugliness that eventually I lost my sympathy for him. There are two sympathetic characters, Kerry Condon as Farrell's sister (the only character with any sense in the movie) and Berry Keoghan as the physically and sexually abused son of a policeman (Gary Lydon). A big thumbs up to the wide screen cinematography of Ben Davis (CAPTAIN MARVEL) who makes rural Ireland look like heaven and Carter Burwell's discrete score. With Sheila Flitton and David Pearse.

The Three Musketeers (1921)

Set in 1625 France, a young man (Douglas Fairbanks) from a rural province leaves for Paris in the hopes of joining the King's musketeers. He soon finds himself involved with court intrigues, duels and a romance with the Queen's seamstress (Marguerite De La Motte). Based on the classic 1844 novel by Alexandre Dumas and directed by Fred Niblo (BLOOD AND SAND). There have been over 25 film and television versions of the Dumas novel between 1903 and 2013. The most notable being the 1948 MGM film, Richard Lester's 1973/1974 tongue in cheek adaptation and this silent version. D'Artagnan is the perfect role for Fairbanks, the king of swashbucklers of the silent era (he also played Robin Hood, Zorro and the thief of Bagdad). His high energy is infectious but the film itself moves at an uneven pace and often seems padded out such as the dinner at the monastery which adds nothing to the film when it should have been tighter. And it's not even the complete novel but only half of it, ending with the recovery of the Queen's diamonds. The murder of Constance and the execution of Milady are eliminated from this version. I watched the restored 2017 transfer and I must say it's the best the film has ever looked. With Adolphe Menjou as Louis XVI, Eugene Pallette as Aramis (and unrecognizable from the portly character actor he became in the sound era), Nigel De Brulier as Richelieu, Barbara La Marr as Milady, Mary MacLaren as Queen Anne, George Siegmann as Porthos and Leon Bary as Athos.   

The Awakening (2011)

Set in post WWI Great Britain. When the death of a child at a boarding school is blamed on a ghost, a hoax exposer (Rebecca Hall) is certain that science and reason can explain it. But the truth she discovers is more terrifying than she could ever imagine and soon the ghost hunter becomes the hunted. Directed by Nick Murphy (BLOOD), this elegant ghost story is reminiscent of Henry James' TURN OF THE SCREW (filmed as THE INNOCENTS in 1961), THE HAUNTING (1963) and THE OTHERS (2001). I suppose it's a horror movie but scares are not the main function of the film. There's no blood or gore or jump out of your seat moments (though there a couple of minor scares). I'd call it more of a psychological supernatural film. The film's somewhat ambiguous ending may prove unsatisfying to some but I liked it. Murphy whips up an effective atmosphere and a strong central performance by Hall overcomes its often derivative nature. With Imelda Staunton, Dominic West and Isaac Hempstead Wright.

Terms Of Endearment (1983)

The film follows the often rocky but loving relationship between a mother (Shirley MacLaine) and daughter (Debra Winger) over a 30 year period. Based on the novel by Larry McMurtry (THE LAST PICTURE SHOW) and adapted for the screen and directed by James L. Brooks (BROADCAST NEWS). A critical and commercial hit, this comedy (or should I say dramedy?) smoothly transitions to tearjerker without any awkward moments. I find its best picture Oscar win dubious but there's no denying the acting is first rate and what holds the movie together. MacLaine (in an Oscar winning performance), Winger and Jack Nicholson as a debauched ex-astronaut (also earning an Oscar) show why they are among the most admired actors of their respective generations and their cumulative chemistry is off the charts. They're so good, you don't mind that you're being manipulated. You laugh, you cry, what's not to like. A sequel would arrive some 13 years later. With Jeff Daniels, John Lithgow, Danny DeVito and Lisa Hart Carroll.

The Comedian (1957)

A popular TV comic (Mickey Rooney) is a nasty piece of goods. A megalomaniac who enjoys humiliating those who work with and for him. In particular, his weak willed younger brother (Mel Torme) who is the butt of his TV jokes. Based on the novella by Ernest Lehman (SWEET SMELL OF SUCCESS) and adapted by Rod Serling and directed by John Frankenheimer (THE MANCHURIAN CANDIDATE). Originally shown live on the omnibus TV series PLAYHOUSE 90, this is still a potent piece of drama from the aptly named "Golden Age" of television. One waits for this pint sized bully to get his comeuppance and when he doesn't, it's a kick in the gut. Rooney is sensational here, dripping with malice and spite and no concession toward likability. As the soft brother, Mel Torme gets our pity. We keep hoping he'll get a backbone but he's a born doormat. He'll attempt to fight back but he knows he'll never escape the position life has given him. With Kim Hunter, Edmond O'Brien, Constance Ford, King Donovan and Whit Bissell.

Hello Down There (1969)

When an inventor (Tony Randall) needs human guinea pigs to test his experimental undersea dream home 90 feet beneath the sea's surface, he packs up his wife (Janet Leigh), his kids and their rock band and takes the plunge. Directed by Jack Arnold (CREATURE FROM THE BLACK LAGOON) and Ricou Browning (the underwater sequences). This rather lame family comedy is reminiscent of those live action Disney family comedies, only with Randall and Leigh substituting for Fred MacMurray and Vera Miles. This being an Ivan Tors production, there are a lot of "cute" dolphins and seals and their antics which comes as a relief from the inane antics of the human characters. The less said about the "rock" songs sung by the kids' band, the better. The movie is flat as a pancake but not as tasty. With Richard Dreyfuss (who you'd never know had talent based on his appearance here), Roddy McDowall, Ken Berry, Merv Griffin, Jim Backus, Charlotte Rae, Kay Cole and Arnold Stang.

El Vampiro Negro (aka The Black Vampire) (1953)

A serial killer (Nathan Pinzon) has been murdering little girls without leaving any clues. A nightclub singer (Olga Zubarry) witnesses a man in the shadows dumping what appears to be a child's body into a sewer drain but when questioned by the police, not wanting to get notoriety, she denies having seen anything. Directed by Roman Vinoly Barreto (THE BEAST MUST DIE), this little known Argentine film is the second remake of Fritz Lang's M following the 1951 Joseph Losey film. It's an unofficial remake as the Lang film is not credited and often referred to as "inspired" by the 1931 Lang movie. On its own, it's an often intense thriller though one finds the police unsavory as they arrest people they know are innocent and often brutalize them. The government prosecutor (Roberto Escalada) in particular is a hypocrite judging the morality of the singer (who's a working single mother) while forcing himself on her. Which leaves Zubarry's nightclub singer to place our empathy with. As the pedophile, Pinzon lacks the strength of Peter's Lorre's performance in M. With Nelly Panizza, Pascual Pelliciota and Gloria Castilla as the prosecutor's wheelchair bound wife, the most sympathetic character in the film.

Ground Control (1998)

A former air traffic controller (Kiefer Sutherland) was one of the best in the business until one plane crash wipes out his professional and personal fortunes. Five years after the crash, a fierce storm cripples Phoenix and suddenly he's hurled back into the world he thought he'd left behind forever. Directed by Richard Howard, whose only film credit this is, possibly it's a pseudonym. As long as it keeps to the minutiae of the air traffic control room and the handling of planes, it's often intense and interesting. But as soon as it dwells on its characters, the dialogue is cliched which renders the controllers uninteresting as people. We also could do without the banality of the scenes with the anonymous passengers on the plane. Somehow, Sutherland manages to rise above the vapid screenplay and create a semblance of a human being. Some might call this a disaster film because of the planes in peril situation but I wouldn't since the emphasis is on the air traffic controllers and not the passengers on the plane. The score by Randy Miller is effective. With Henry Winkler, Kelly McGillis, Margaret Cho, Robert Sean Leonard, Bruce McGill, Kristy Swanson and Charles Fleischer. 

The Barretts Of Wimpole Street (1934)

The young poetess Elizabeth Barrett (Norma Shearer) is an invalid confined to her room and under the thumb of her domineering father (Charles Laughton). But when the young poet Robert Browning (Fredric March) comes into her life she thrives and falls in love. But is she strong enough to break away from her father's hold? Based on the 1930 play by Rudolf Besier and directed by Sidney Franklin (THE GOOD EARTH). An example of the prestige films churned out by MGM under Irving Thalberg's reign and Norma Shearer (Mrs. Thalberg) in one of her first lady of MGM  roles. She's insufferable but Laughton warming up for his Captain Bligh in MUTINY ON THE BOUNTY the following year brings a strong sense of malevolence as the sadistic father. Much of the incestuous suggestion present in the stage play has been removed but Laughton's performance subtly puts it back in. Sidney Franklin directed a remake in 1957 which is practically a scene by scene duplicate. Enough drama to hold our interest but oh that Shearer!  With Maureen O'Sullivan, Una O'Connor, Leo G. Carroll, Ian Wolfe and Marion Clayton.

The Square Jungle (1955)

A grocery clerk (Tony Curtis) is in danger of losing his father (Jim Backus) to alcoholism and his girl (Pat Crowley) through lack of career prospects. So he decides to become a professional boxer. Directed by Jerry Hopper (SECRET OF THE INCAS), this is a routine boxing drama with no surprises. We've seen it all before! Tony Curtis was on the verge of proving he could be a formidable actor in such films as TRAPEZE (1956) and SWEET SMELL OF SUCCESS (1957) but here, he's nothing more than a good looking contract player struggling with a cliched part in a mediocre boxing movie. In general, boxing movies don't interest me but even I know there are any number of superior boxing films than this. With Ernest Borgnine, David Janssen, Paul Kelly, Leigh Snowden, John Marley and Carmen McRae.