Buck Privates (1941)

Two sidewalk peddlers (Bud Abbott, Lou Costello) on the run from the cops accidentally sign up to join the wartime army. Meanwhile, a rich playboy (Lee Bowman) is drafted but he expects his influential father (Douglas Wood) to get him out of the army. Directed by Arthur Lubin (FOOTSTEPS IN THE FOG). Abbott and Costello had made their film debut as supporting players in ONE NIGHT IN THE TROPICS (1940). They were such a hit that Universal made them the leads in BUCK PRIVATES which was originally intended as supporting comedic relief for them. This is one of their best vehicles and it ended up as Universal's highest grossing movie of 1941. In support are The Andrews Sisters, who perform two of their biggest hits: In Apple Blossom Time and the classic Oscar nominated Boogie Woogie Bugle Boy Of Company B. There's some wonderful dancing sequences in the film, classic jitterbug and the Lindy Hop! You don't have to be an Abbott and Costello fan to enjoy this one. Good fun although the romantic subplot drags the film down a bit. With Jane Frazee, Alan Curtis and Nat Pendleton.

Chicago Syndicate (1955)

After an informant is assassinated, an accountant (Dennis O'Keefe) is asked by a group of civic leaders to go undercover and infiltrate the crime syndicate of a mobster (Paul Stewart) to find proof that could put the mobster behind bars. Directed by Fred F. Sears (ROCK AROUND THE CLOCK). What can one say about a movie like this? It's an efficient B programmer that accomplishes what it set out to do. We're never in doubt that the mobster will be exposed and all will end happily. Our only concern is who will get hurt along the way. Certainly not essential cinema but a diverting piece of noir-ish tinged crime drama if one is in the mood for it. With Abbe Lane, Allison Hayes, Xavier Cugat and Chris Alcaide.

The Substance (2024)

An aging actress (Demi Moore) finds her career in peril as she's being replaced on her TV show by a younger woman. But she discovers a mysterious drug called The Substance which will make "her" young again if only temporarily as she and her younger self (Margaret Qualley) switch every seven days. But her younger self isn't satisfied with the arrangement and wants more time. Disaster follows. Written and directed by Coralie Fargeat (REVENGE). Although laced with satirical humor, it remains a disturbing body horror movie emphasizing societal attitudes toward aging (specifically women) and its obsession with youth. At its center is a killer performance by Demi Moore. Fargeat's direction is near perfect. The film walks a thin line between a good film and a disastrous one but Fargeat balances it like a masterful tightrope walker, pushing it to the edge but never crossing that line that could have upended the film. My only qualm is Dennis Quaid's over the top performance (the shrimp eating scene is ridiculous) which seems like it belongs in another movie. With Edward Hamilton Clark and Oscar Lesage.

Une Femme Est Une Femme (aka A Woman Is A Woman) (1961)

A performer (Anna Karina) in a striptease cabaret wants a baby from her lover (Jean Claude Brialy) but he's not interested. So she toys with the idea of having a baby with another man (Jean Paul Belmondo) even though she's not in love with him. Written and directed by Jean Luc Godard. Godard is in a playful mood here with cinematic in jokes in this homage to glossy movie romcoms. I've heard the film referred to as a musical but except for a song sung by Karina in the nightclub, there's no singing although everyone seems on the verge of breaking out into song. Hardly a musical but Michel Legrand composed a lush film score and I wouldn't have minded if Jacques Demy swept in and did turn it into a musical. It moves quickly (it runs under 90 minutes) and it's colorful and charming but there's not much substance to it. With Jeanne Moreau, Marie Dubois and Henri Attal.

One Little Indian (1973)

On the run from the U.S. Cavalry where he faces a hangman's noose, a soldier (James Garner) is saddled with a ten year old runaway (Clay O'Brien) and an ill tempered camel named Rosie. Directed by Bernard McEveety (NAPOLEON AND SAMANTHA). This family friendly Disney movie has a little more bite than their usual live action offerings. By 1973, Disney's star in residence Fred MacMurray was getting a little too old for shenanigans like this so James Garner stepped in. One of the most likable of actors, Garner brings his boyish charm to the forefront along with his sincerity. The film touches on subjects like the massacre of Native Americans by the U.S. Cavalry so this isn't your usual Disney family movie. Still, the overuse of unnecessary comic touches only serves to detract from the more dramatic aspects of the film. The film's most touching moment is the death of a camel, not its human elements. The lackluster score is by Jerry Goldsmith. With Vera Miles, Jodie Foster, Pat Hingle, Andrew Prine, Jay Silverheels and Jim Davis.

Barfly (1987)

Set in the poorer parts of Los Angeles, an alcoholic writer (Mickey Rourke) ekes out a living by doing the occasional job but his primary vocation is drinking. He hooks up with another alcoholic (Faye Dunaway) and they spend their time getting drunk. When the posh editor (Alice Krige) of a literary magazine buys one of his stories, she also attempts to make him her lover. Written by Charles Bukowski and directed by Barbet Schroeder (REVERSAL OF FORTUNE). While the movie is well acted, I was slightly put off by the romanticism of alcoholism. While Rourke's alcoholic (based on Bukowski) considers himself a rebel and perceives his alcoholism as a badge of non conformism, I found the tawdriness of his life sad, maybe even pathetic. Rourke is good but there's a certain phoniness in his performance and his line readings often sound like he's channeling Mae West! On the other hand, Dunaway brings a nice pathos to her drunk. I felt sorry for Alice Krige because her part was so contrived that it's unplayable. With Frank Stallone, Jack Nance, Gloria Leroy and Fritz Feld.

Silver Lode (1954)

On his wedding day, a rancher (John Payne) is about to be married to the daughter (Lizabeth Scott) of one of the town's prominent citizens when a U.S. Marshal (Dan Duryea) and his deputies ride into town to arrest him for murder. Directed by Allan Dwan (SLIGHTLY SCARLET). A ripoff of HIGH NOON, this contrived western overplays its hand. At the beginning of the movie, the townspeople are Payne's friends but by the end, they've almost all turned against him! Like Gary Cooper in HIGH NOON, at the film's end Payne leaves the town in disgust. The film has its fans (like Martin Scorsese) and similarly like HIGH NOON, many see the movie's theme as anti McCarthyism. Lizabeth Scott is known for playing femme fatales but here she's wasted as the "good" girl which leaves Dolores Moran as the "bad" girl to hold our interest. It's watchable but not much more than that. With Stuart Whitman, John Hudson, Morris Ankrum and Harry Carey Jr.

The Last Best Year (1990)

After falling ill during a business trip to London, a woman (Bernadette Peters) must confront her own mortality when she's diagnosed with a terminal illness. Through her doctor (Brian Bedford), she's introduced to a psychologist (Mary Tyler Moore) who'll help her face the emotional fall out of her illness. Directed by John Erman (AN EARLY FROST). What seems like another TV "terminal illness" movie of the week surprises by its strong non sentimental screenplay until its last half hour when it becomes exactly what you feared it would be ..... a sentimental tear jerking TV "terminal illness" movie of the week! A real pity since Bernadette Peters and Mary Tyler Moore, two exceptionally talented ladies, give some nuance and shading to their characters. With Dorothy McGuire (who has one good scene as Moore's mother), Kate Reid, Carmen Mathews, Michael Hogan and Erika Alexander.

Lawrence Of Arabia (1962)

The story of the enigmatic T.E. Lawrence (Peter O'Toole) and his experiences during WWI and his participation in liberating Arabic tribes from Turkish domination among other things. Based on the non fiction book SEVEN PILLARS OF WISDOM by T.E. Lawrence and directed by David Lean (THE BRIDGE OVER THE RIVER KWAI). Widely regarded as one of the greatest films ever made and winner of seven Oscars including best picture and director. Once every decade or so, I revisit Lean's 1962 epic in an attempt to grasp its greatness but I continue to be dismayed. Visually, Freddie A. Young's cinematography (shot in 70 millimeter) is awesome and on that level, it's a masterpiece, one of the most stunning films ever made and worthy of its praise. But on the whole, I find it a chore to sit through its often tedious and repetitive narrative. Peter O'Toole in his star making role is superb and the acting is generally excellent (well, maybe not Jose Ferrer's lecherous Turk). The film's historical accuracy and its portrayal of Lawrence is open to debate but Robert Bolt's screenplay is literate and doesn't insult our intelligence. I also found Maurice Jarre's score rather tacky. With Alec Guinness, Anthony Quinn, Jack Hawkins, Claude Rains, Omar Sharif, Anthony Quayle, Arthur Kennedy, Donald Wolfit, Michel Ray and I.S. Johar.

The Life And Adventures Of Nicholas Nickleby (1947)

After his father dies, a young man (Derek Bond) turns to his rich but cold hearted Uncle (Cedric Hardwicke) for assistance in supporting his sister (Sally Ann Howes) and mother (Mary Merrall). The uncle agrees to aid the women but arranges for a position as a tutor at a school for his nephew. But the school turns out to be nothing more than a brutal prison like atmosphere where the boys are abused. Based on the massive classic novel by Charles Dickens (previously filmed in 1903 and 1912 and again in 2002) and directed by Alberto Cavalcanti (DEAD OF NIGHT). Dickens' novel is almost a thousand pages long and the movie is only one hour and 48 minutes so much of the book has been jettisoned or rearranged. While Dickens purists may be upset, I found it a decent telling of the book although somewhat lacking in atmosphere and over exaggerated in its more dramatic moments. Unfortunately because of the editing of the novel, many characters aren't fleshed out. With Stanley Holloway, Bernard Miles, Sybil Thorndike, Athene Seyler, Fay Compton, Alfred Drayton and Cathleen Nesbitt.

Mystery House (1938)

After a banker's (Eric Stanley) death is ruled a suicide, his daughter (Anne Nagel) hires a private detective (Dick Purcell) to investigate as she believes he was murdered. To this end, the daughter invites all the possible suspects for a weekend at a hunting lodge. Based on the novel THE MYSTERY OF HUNTING'S END by Mignon G. Eberhart and directed by Noel M. Smith (TOOTSIES AND TAMALES). Moderately (very moderately) enjoyable B murder mystery movie. At barely an hour long, it moves along quickly leaving very little time to worry about plot holes and the weak writing. As written, Purcell's detective isn't the brightest bulb on the marquee and how he comes to solve the case seems contrived. With Ann Sheridan, William Hopper, Elspeth Dudgeon, Trevor Bardette and Sheila Bromley.

Monkey Business (1952)

An absent minded research chemist (Cary Grant) is working on a formula that will make people younger but he's not having any luck. One day a chimpanzee being used for research breaks free and accidentally completes the youth formula. Chaos ensues! Directed by Howard Hawks (RED RIVER). Hawks directed three of the greatest screwball comedies ever made, BRINGING UP BABY, HIS GIRL FRIDAY and BALL OF FIRE. Alas by 1952, he seemed to have lost his touch. He would go on to make only two more comedies: GENTLEMEN PREFER BLONDES (a success but it was a musical comedy, not a screwball) and MAN'S FAVORITE SPORT (a pale imitation of his best work but better than MONKEY BUSINESS). To be fair, this movie has its fans but I'm not one of them. I've never been a fan of movies about adults retrogressing into childhood (like Tom Hanks in BIG among others). Watching Grant and Ginger Rogers (as his wife) acting like bratty 7 year olds isn't funny, it's embarrassing! I only laughed once when Rogers thinks her husband has regressed into an infant but that was only for a few minutes. A wearisome effort. With Marilyn Monroe (the movie's only bright spot), Charles Coburn, Hugh Marlowe, Harry Keating and Olive Carey.