A Kid For Two Farthings (1955)

Joe (Jonathan Ashmore) is a young boy who lives in a poor section of London. He becomes convinced that through the mythical powers of a unicorn, he can grant the wishes of his mother (Celia Johnson) and his friends. He searches endlessly until he finds his unicorn ... which turns out to be a goat with one misshapen horn. Based on the novel by Wolf Mankowitz and directed by Carol Reed (THE THIRD MAN). Reed has proven that he has a knack working with child actors in movies like THE FALLEN IDOL and the Oscar winning OLIVER! and that's on display here, too. While not entirely successful (its initial reviews were mixed), posterity has been kind to this charming fantasy. I felt the portrayal of the child protagonist made him too innocent, too naive. Raised in a working class section of London, one would think he would be more street savvy. But I'm nitpicking. There's a genuine mystical quality about the film. With Diana Dors (surprisingly good), Brenda De Banzie, Lou Jacobi, David Kossoff, Joe Robinson and Sid James.

Teseo Contro Il Minotauro (aka The Minotaur) (1960)

The island of Crete lives in fear of the Minotaur, a dreadful beast trapped inside a labyrinth below the royal palace. Crete's evil princess (Rosanna Schiaffino) discovers she has a twin sister (Rosanna Schiaffino) separated from her at birth. She makes it her mission to find the sister and have her killed so she won't be a threat to her power. Directed by Silvio Amadio (ASSASSINATION IN ROME). Based on the Greek myth of Theseus and his slaying of the Minotaur. As far as sword and sandal peplums go, this one is slightly above average with nice production values and an engaging narrative. As Theseus, Olympic decathlon champion turned "actor" Bob Mathias is bland and physically, he's no Steve Reeves. Luckily, Rosanna Schiaffino seems to be having fun playing the "I'm nice" and "I'm evil" twin sisters. The film's confrontation finale between Theseus and the Minotaur is a letdown, mainly because the Minotaur looks so cheesy. Still, if you're a fan of peplum, this should more than satisfy you. With Rik Battaglia and Alberto Lupo.

The Salt Path (2025)

After being forcibly removed from their home, a husband (Jason Isaacs) and wife (Gillian Anderson) become homeless. They make the desperate decision to walk a 630 mile trek along the beautiful but rugged Cornish, Devon and Dorset coastline in the hope that in nature, they will find solace and a sense of acceptance. Based on the best selling memoir by Raynor Winn and directed by the four time Tony award winning director Marianne Elliott in her directorial film debut. It's a film defined by its two lead performances (Anderson and Isaacs look like they've actually suffered hardships) and the stunning cinematography (shot in two ratios, 1.85 and 2.35) of Helene Louvart (Wim Wenders' PINA). The screenplay itself is rather simplistic and issues aren't addressed that would have shed clarity on certain issues. After the film opened, reports questioned the accuracy of the circumstances which lead to their homelessness as well as the medical diagnosis of Isaacs' character. With Hermione Norris and James Grant.

Trois Couleurs: Rouge (aka Three Colors: Red) (1994)

A student (Irene Jacob) in Switzerland works as a part time model. One evening, she hits a dog with her car and tracks down the dog's owner (Jean Louis Trintignant) who seems indifferent to the situation. But their chance meeting will prove remarkable. Directed by Krzysztof Kieslowski, this was the final installment of his TROIS COULEURS trilogy which was preceded by BLEU and BLANC and also his final film as a director since he would die two years later. Among other things, ROUGE is principally a film about fate and chaste intimacy. An elaborate and expertly perceptive depiction of linked souls, Kieslowski's cinematic journey takes its time to get to its core but it's a journey well worth taking. The recipient of three Oscar nominations (director, screenplay, cinematography), it's considered by many as the best of the trilogy. With Jean Pierre Lorit, Frederique Feder and from the two previous films: Juliette Binoche, Julie Delpy, Benoit Regent and Zbigniew Zamachowski.

Negatives (1968)

When a young couple (Glenda Jackson, Peter McEnery) grow bored with their kinky games (they dress up as an Edwardian murderer and his mistress), they invite an uninhibited German photographer (Diane Cilento) to join them. Based on the novel by Peter Everett and directed by Peter Medak (THE RULING CLASS) in his feature film directorial debut. The film is a psychological muddle enhanced by the playing of its three principles who give strong performances. It's the kind of vague artsy film (one might even call it cryptic) that had a run of popularity in the 1960s (think LAST YEAR AT MARIENBAD or BLOW UP). The game playing of the couple is pushed toward a disastrous confrontation by the enigmatic and mysterious German, who simply walks away after the calamitous finale saying, "There's nothing more for me here". Intriguing but it paints itself into a corner that it can't get out of, leaving us with more questions than answers. With Maurice Denham and Billy Russell.

La Faille (aka Weak Spot) (1975)

Set in Greece (although the country is never specified) and filmed there shortly after the fall of the right wing military government (1974) which took over the democratic government in 1967. In a police state, a man (Ugo Tognazzi) is nabbed by the country's secret service and accused of a crime he has no knowledge of. Protesting his innocence, he is escorted on a day's journey by two agents (Michel Piccoli, Mario Adorf) to "Central", where he will be interrogated. Based on the novel by Antonis Samarakis and directed by Peter Fleischmann (HUNTING SCENES FROM BAVARIA). What at first seems to be a Kafkaesque nightmare of a bewildered citizen accused of something he doesn't know about turns itself upside down halfway into the movie and then ends grimly in another turn of events. One can't help but think of Costa Gavras (Z) while watching this political thriller. The two central performances are excellent but it's Piccoli who has the most ambiguous character and thus the most interesting. The film is timely considering the political situation in the U.S. right now. The score is by Ennio Morricone. With Adriana Asti and Dimos Starenios, who'll make your blood run cold!

Hairspray Live! (2016)

Set in 1962 Baltimore, a teenager (Maddie Baillio) has a dream to dance on a local TV show, The Corny Collins Show. When her dream comes true, the chubby teen becomes a local celebrity but her fame doesn't come without problems. Based on the Broadway musical (in turn based on the 1988 John Waters film) and directed by Kenny Leon (THE WIZ). Although lacking the vigor of the 1988 original film or the polished vitality of the 2007 film version of the stage musical, this live production is more than decent enough. It has a skillful cast of newcomers and veterans and the tuneful songs of Marc Shaiman and Scott Wittman are as catchy as ever and the lively choreography of Jerry Mitchell (KINKY BOOTS) takes center stage. With Harvey Fierstein recreating his stage role as the mother, Martin Short, Ariana Grande, Kristin Chenoweth, Jennifer Hudson, Derek Hough, Dove Cameron, Derek Clayton, Ephraim Sykes, Sean Hayes, Andrea Martin, Rosie O'Donnell, Shahadi Wright Joseph.

Nick Carter, Master Detective (1940)

Someone is sabotaging the creation of an innovative high speed aircraft at Radex Corporation. Posing as an executive at Radex, detective Nick Carter (Walter Pidgeon) attempts to unmask the culprits and save the project. Directed by Jacques Tourneur (I WALKED WITH A ZOMBIE) in his second Hollywood feature. As far as detective mysteries go, this one is a painless sit through at barely an hour long. The film didn't do well at the box office yet MGM did two more sequels before they abandoned the series. The movie has an annoying character for comic relief, Donald Meek as a beekeeper who fancies himself an amateur detective. As a detective, Pidgeon's Nick Carter is no Nick Charles or even a Charlie Chan. I'll catch up on the two sequels later to see if it improves. Pidgeon would move out of these B movies the next year (1941) and onto A list films like Ford's HOW GREEN WAS MY VALLEY and Fritz Lang's MAN HUNT. With Rita Johnson, Henry Hull, Martin Kosleck, Milburn Stone and Frank Faylen.

One Romantic Night (1930)

The matriarch (Marie Dressler) of a dethroned family of minor Germanic royalty hopes to marry her daughter (Lillian Gish) to a crown prince (Rod La Rocque) but when she pushes for her daughter to use her brothers' tutor (Conrad Nagel) to make the prince jealous, things don't go quite as planned. Based on the play THE SWAN by Ferenc Molnar (remade in 1956) and directed by Paul L. Stein (THE LOTTERY BRIDE). Regarded as the greatest actress of the silent era, this was Lillian Gish's first sound film. She's delightful but the movie itself suffers from the stiffness and stagnation that affected many early talkies. It doesn't help that Conrad Nagel as the tutor is charmless, something that was remedied in the 1956 film where Louis Jourdan was much more sympathetic. Of cinematic importance as Gish's first sound film and as such, she made the transition to sound smoothly. With O.P. Heggie and Billie Bennett.

That's My Boy (1951)

The nerdy son (Jerry Lewis) of a famous ex-football player (Eddie Mayehoff) is a disappointment to his father. The son has no athletic ability and wants to be a veterinarian. Directed by Hal Walker (ROAD TO ZANZIBAR). One of the weakest of the Martin and Lewis films. It's Lewis's movie really and Dean Martin as a star football player is relegated to supporting actor. With the exception of Lewis's occasional physical comedy bits which are funny, the rest of the film is trite and predictable and not funny. I found the film distasteful. Mayehoff's father is a loudmouth bully bribing and coercing his son and those around him into manipulating Lewis into a football player against his will. I was waiting for Mayehoff to get his comeuppance but he gets his way and everyone lives happily ever after. Sheesh! I love Jerry Lewis but this one is forgettable. With Polly Bergen, Ruth Hussey, Marion Marshall, John McIntire and Lillian Randolph.

Finis Terrae (1929)

Four men set out on a three month expedition to Bannec, an islet off the coast of Brittany. They intend to harvest seaweed, which will fetch high prices if burned and processed properly. But cabin fever sets in and an argument over a broken bottle of wine escalates the extreme tension. Written and directed by Jean Epstein. The title FINIS TERRAE is Latin for "end of the world". Epstein's silent film is shot in a stark documentary style and uses non professional actors. Visually, the film is stunning with its bleak B&W imagery (four cinematographers are credited). Its psychological dramatization of the isolation and paranoia that sets in and threatens to destroy the camaraderie of the men has been likened to Robert Eggers' THE LIGHTHOUSE. But the movie isn't as dark and if one couldn't call it a "happy" ending, it reconciles the psychosis. With Jean Marie Laot, Ambroise Rouzic, Gibois and Francois Morin.

Castle Of Evil (1966)

On a secluded private island in the Caribbean, a disparate group of six people have been ferried in to see a dying millionaire (William Thourlby). They all have reason to hate him but they're all mentioned in his will. Directed by Francis D. Lyon (CULT OF THE COBRA). If Agatha Christie wrote a horror movie, it might look something like this although it would most likely be much better. It's all rather monotonous in its execution and its convoluted plot doesn't make much sense. The saddest part of the film is seeing actors who had careers in major films reduced to a low budget B horror (with sci-fi trimmings) film. A matronly but still attractive Virginia Mayo brings some sass and spark to her aging tart but it's a far cry from her salad days as leading lady to James Cagney, Gregory Peck and Danny Kaye! With Scott Brady, Hugh Marlowe, David Brian, Lisa Gaye and Shelley Morrison.