B'Twixt Now And Sunrise (aka Twixt) (2011)

A struggling supernatural fiction writer (Val Kilmer) arrives in an isolated small town as part of a book tour. It is there that he hears the local folklore of vampires and an infamous mass murder that occurred many years ago which he intends to use as inspiration for his next book. Written and directed by Francis Ford Coppola (THE GODFATHER). This slipped under the radar film may be the least seen of Coppola's output. Outside of film festivals, Coppola's film was never theatrically released in the U.S. and its reviews were negative but it did play in Europe where it received favorable reviews especially in France. Cahiers Du Cinema named it the third best film of 2012. Coppola recut the film sometime later and his "director's cut" (he cut 8 minutes out of it and gave it a different ending) is the version I saw. I give it an A for style but a C (and I'm being generous here) for the botched narrative. The plot seemed to have so much potential but Coppola couldn't find a satisfying conclusion and it's ending is a real groaner (the original ending sounded much more interesting). Also, Bruce Dern as a wacky small town sheriff who writes thrillers seems out of place in this version. I did like Mihal Malaimare's (THE MASTER) evocative cinematography during the dream sequences which are shot in a silvery blue hue with only red standing out. I'll call it an interesting failure and leave it at that. With Elle Fanning, Ben Chaplin (as Edgar Allan Poe), Alden Ehrenreich, David Paymer and Joanne Whalley (Kilmer's ex-wife) as his money grubbing wife.

A Kiss For Corliss (aka Almost A Bride) (1949)

In order to make her boyfriend (Darryl Hickman) jealous, a 17 year old teenager (Shirley Temple) fabricates a romance with a much older three time married playboy (David Niven). She writes the made up romance in her diary intending that only her boyfriend see it. However, when the diary falls into other hands, all hell breaks loose! A sequel to the 1945 film KISS AND TELL and directed by Richard Wallace (THE LITTLE MINISTER). Sitcom material blown up to feature film proportions. The most popular child star in the history of film, Temple had a difficult time transitioning to an adult actress and this was her final movie although she did continue to act on television before eventually give acting up. Societal attitudes have changed since 1949 and the idea of a romance between an underage teen girl and a 37 year old playboy is more icky than amusing. Temple may have been an adorable child but as a young woman, her "adorability" is worn out. It's a thin comedy whose only point of interest is as the last movie Temple made. With Tom Tully, Gloria Holden, Roy Roberts and Barbara Billingsley.

All That Jazz (1979)

A theatre director and choreographer (Roy Scheider) is working overtime editing his new film and staging his new Broadway musical. His excesses which include non stop smoking and sleeping around even though he has a girlfriend (Ann Reinking) is beginning to take its toll. Directed by Bob Fosse (CABARET), this surreal drama/musical fantasy loosely based on Fosse's own life won the Palme d'Or at the Cannes film festival. Specfically, the movie focuses on the period when he was editing LENNY (1974) while staging the original production of CHICAGO which opened in 1975. Fosse uses the old razzle dazzle to lift the film out of the ordinary. It's all style and when the style is this good, it covers up a multitude of sins. The movie Scheider is editing looks godawful and an inferior carbon of LENNY. The handful of musical numbers are terrific and so much better than the prosaic narrative. Two standouts are the Take Off With Us and Everything Old Is New Again numbers. The acting is good considering the thin material the actors are working with. As Death, Jessica Lange is lovely but her "character" is too wispy for her to make any impression. With John Lithgow, Ben Vereen, Leland Palmer, Cliff Gorman, Deborah Geffner, Wallace Shawn, CCH Pounder, Vicki Frederick and the magnificent Sandahl Bergman.

Anna Karenina (1935)

The wife (Greta Garbo) of a Czarist official (Basil Rathbone) falls in love with a military officer (Fredric March). This liaison ruins her marriage and her position in 19th century Russian society. Based on the classic novel by Leo Tolstoy and directed by Clarence Brown (NATIONAL VELVET). One of MGM's prestigious films (it was produced by David O. Selznick) so it's given the opulent treatment, its art direction and costume design are majestic. Garbo, who had previously played Anna in a silent film version called LOVE (1927), won the New York Film Critics best actress award for her work here gives a moving and complex performance. Of course, it isn't Tolstoy's ANNA KARENINA, how could it be? His 800 page plus novel is reduced to a 95 minute telling with several major characters and incidents eliminated. The problem with most film and TV versions (and there are over 20 at least) is an acceptable Count Vronsky. You have to believe that a woman would abandon her husband and child, her position in society out of passion for this man and it isn't March's stolid Count. For what it is, it's very well done. With Maureen O'Sullivan, May Robson, Constance Collier, Reginald Owen and Phoebe Foster.

The Gypsy Moths (1969)

During the 4th of July weekend, a sky diving team known as The Gypsy Moths arrive in a small Kansas town to put on a show. It's the hometown of one (Scott Wilson) of the skydivers and they stay with his Aunt (Deborah Kerr) and Uncle (William Windom). Sexual tension is apparent between the Aunt and another of the skydivers (Burt Lancaster). Based on the novel by James Drought and directed by John Frankenheimer (MANCHURIAN CANDIDATE). Frankenheimer complained that MGM didn't give his movie much of a chance and cut three minutes out of the movie (including Kerr's topless scene) so that it was more family friendly and could play Radio City Music Hall. It bombed and MGM restored the three minutes and Kerr's nude scene but the damage was done and the movie didn't do well. Actually, Kerr is miscast as a smalltown Kansas housewife and sticks out like a fish out of water. The rest of the cast fare better but its spectacular aerial stunts aside, it's a dreary movie. If you want to see a better movie about barnstorming skydivers, stick with Sirk's TARNISHED ANGELS. With Gene Hackman, Bonnie Bedelia, William Windom and Sheree North.

Uranium Boom (1956)

Deep in the badlands of Colorado, two prospectors stumble across a large deposit of uranium. When one (Dennis Morgan) of them goes into town to file their claim, the other (William Talman) remains at the mine to guard it. While in town, he falls in love with a woman (Patricia Medina) not realizing his partner is also in love with her. Directed by William Castle (STRAIT JACKET), this familiar retread was already tired by the time it was made . If it had been done at MGM in the 1930s, it would have starred Clark Gable and Spencer Tracy (BOOM TOWN comes to mind) or at Warners, with James Cagney and Pat O'Brien, maybe with Ann Sheridan as the girl. By 1956, it wasn't even worthy for a bigger budget with an A list cast. It's a quickie programmer, the kind that would play the bottom half of a double feature. Still, I have to admit I was entertained by it even as it tread familiar territory. With Philip Van Zandt providing comic relief as an Indian, Tina Carver and Henry Rowland.

I Take This Woman (1940)

A doctor (Spencer Tracy) who works in a small East Side clinic devoted to helping neighborhood patients with limited income falls in love with a well bred fashion model (Hedy Lamarr). In order to keep her in the style she's accustomed to, he takes an unfulfilling position in a high end clinic devoted to servicing Manhattan's elite. Based on the short story A NEW YORK CINDERELLA by Charles MacArthur and directed by W.S. Van Dyke. This movie had a troubled history. It was begun by Josef von Sternberg who was replaced by Frank Borzage and then the film was shelved until W.S. Van Dyke was brought in to complete it. The film is riddled with problems. One minute Tracy is working in a clinic in a poor neighborhood then all of a sudden, he's working in a posh high society private hosptial. What happened in between? Spencer Tracy is a good actor, one of the best but his pairing with Katharine Hepburn aside, he's not a romantic leading man and he has no chemistry with Hedy Lamarr. They made three films together but this was their only romantic pairing. A misguided effort which does the talent involved a disservice. With Laraine Day, Louis Calhern, Verree Teasdale, Kent Taylor, Marjorie Main, Frances Drake, Willie Best, Reed Hadley and Jack Carson, who despite major billing is in the movie for less than a minute. 

Arch Of Triumph (1984)

Set in 1939 Paris as war clouds hover over Europe. A brilliant German surgeon (Anthony Hopkins) has fled to Paris to escape the ever growing power of the Nazis. He meets a down on her luck cabaret singer (Lesley Anne Down) and embarks on a passionate love affair but an act of vengeance will sabotage their romance. Based on the novel by Erich Maria Remarque (ALL QUIET ON THE WESTERN FRONT) and directed by Waris Hussein (POSSESSION OF JOEL DELANEY). Remarque's novel had previously been filmed in 1948 with Charles Boyer and Ingrid Bergman. The 1948 film seemed excessively long at two hours plus. This version at 93 minutes has the benefit of a streamlined narrative and a solid performance by Hopkins. Still, I haven't found the material particularly appealing in either version, there's something lacking in the lead character. It was lacking with Boyer too so I assume it's a result of the source material which I've not read. I'm partial to doomed romances but while I appeciate the effort, I was underwhelmed. The score is by Georges Delerue. With Donald Pleasence, Frank Finlay, Alexander Davion and Joyce Blair.

La Fleur Du Mal (aka The Flower Of Evil) (2003)

The matriarch (Nathalie Baye) of an outwardly perfect family upper class family decides to run for mayor. But in the midst of her campaign, a leaflet is distributed accusing her family of collaboration with the Nazis, adultery, profiteering and more. Skeletons begin to emerge sowing discord and distrust as the family begins to unravel. Directed by Claude Chabrol (LES BICHES), this minor entry in Chabrol's filmography takes awhile to get its rhythm going. The movie starts with a camera pan that eventually ends on a dead body before we go into flashback mode. Chabrol's fascination with the moral rot of the upper class bourgeoisie continues but by the time he gets to the core, our interest has begun to wane. With the exception of the old Aunt (Suzanne Flon giving a lovely performance), I found the characters too shallow to invest much interest in. I don't mean to sound too harsh because I liked it well enough. It's just disappointing. With Benoit Magimel, Bernard Le Coq, Melanie Doutey, Henri Attal and Thomas Chabrol (the director's son).

The Male Animal (1942)

An English professor (Henry Fonda) at a football crazy midwestern college finds himself pushed at both his personal and professional life. When his wife's (Olivia De Havilland) ex-boyfriend (Jack Carson) returns to town, he senses she's still in in love with him. Meanwhile, the college trustees' "red" paranoia threaten to fire him if he reads a letter from anarchist Bartolomeo Vanzetti during a class lecture. Based on the hit Broadway play by James Thurber and Elliott Nugent and directed by Elliott Nugent. I've not read or seen the play (it's rarely if ever revived) of THE MALE ANIMAL but I assume since it's directed by one of the co-authors that it sticks close to the play. Nugent doesn't bother to hide the play's theatrical origins despite some wan attempts at opening up the play for the screen. The most interesting aspect of the film is the political attempt to squash the professor's speech which resonates today since in certain parts of the country, there is an attempt to interfere with ideas and thoughts expressed in schools that don't adhere to the beliefs of those in political power. Unfortunately, the domestic affairs in the professsor's household are given more attention than they deserve and are the weakest segments of the movie. There's a boring drunk scene between Fonda and Herbert Anderson as a student that goes on way too long. With Joan Leslie, Don DeFore, Eugene Pallette and Hattie McDaniel.

Deported (1950)

After serving five years in prison for a $100,000 theft, an Italian born immigrant (Jeff Chandler) is deported back to his native country. He has a plan to "import" the $100,000 he stole into Italy but when he meets a beautiful young Contessa (Marta Toren), he waivers. Directed by Robert Siodmak (THE SPIRAL STAIRCASE), this crime thriller is probably the least seen of Siodmak's noir output. Universal decided to film this on location in Italy rather than their backlot and the Naples, Tuscany and Siena locations lend an authenticity to the proceedings. Other than Chandler (whose character is loosely based on Lucky Luciano) and Toren (an appealing Swedish import under contract to Universal at the time) who were brought in from Hollywood, the rest of the cast are Italian and French actors. As to the movie itself, it falls apart in the film's last 15 minutes but what precedes it is pretty good. Noir fans might feel there's not enough noir to suit them but Siodmak fans should definitely check this one out. With Claude Dauphin, Marina Berti and Silvio Mindotti. 

Puss In Boots: The Last Wish (2022)

The swashbuckling ginger cat Puss In Boots (Antonio Banderas) has burned through eight of his nine lives. To get those lives back, he along with his former girlfriend Kitty Softpaws (Salma Hayek) and an orphan dog (Harvey Guillen) enter the dangerous Black Forest  to find the mythical Wishing Star to grant his wish. But he's not the only one seeking the Wishing Star. Directed by Joel Crawford (THE CROODS: A NEW AGE), this sequel to PUSS IN BOOTS (2011) hasn't lost any of its charm and holds its own with the original and may be slightly better. Banderas and Hayek return but some new fairy tale characters are added like Goldilocks (Florence Pugh) and Jack Horner (John Mulaney). The animation is marvelous, vivid and bright and the journey Puss goes on is interested in more than laughs (though they are plenty) with a serious "message" at the end of the trek without being saccharine. If you liked the first one, you'll definitely enjoy this one. Good fun although parts of the movie may be too intense for some youngsters. With Olivia Colman, Ray Winstone, Samson Kayo, Wagner Moura and Da'Vine Joy Randolph.