Trois Jours A Vivre (aka 3 Days To Live) (1957)

A struggling actor (Daniel Gelin) witnesses a murder and fingers a suspect (Lino Ventura) as the killer. But when the man escapes from prison, he phones the actor telling him he has only three days to live before he's killed. Based on the novel by Peter Vanett and directed by Gilles Grangier (LE DESORDRE ET LA NUIT). An odd thriller in that the film's protagonist is unlikable. He's selfish, cowardly and abusive to other people. In comparison, the escaped convict is kinder and has a sense of integrity (slight though it is). One wonders why Jeanne Moreau, who plays the actor's girlfriend, puts up with him and his juvenile tantrums. For awhile, it looked like Moreau would hook up with Ventura's thug and I was hoping but alas, she stuck with Gelin. With Georges Flamant and Evelyne Rey.

Look What's Happened To Rosemary's Baby (1976)

A young woman (Patty Duke) who has given birth to Satan's son escapes from the coven holding her and the child she bore. But she is not strong enough to fight them and the child is eventually taken from her to be raised by Satan's disciples. Based on characters from the novel by Ira Levin and directed by Sam O'Steen (SPARKLE), who was the film editor on the original 1968 Roman Polanski movie. The 1968 film is one of the greatest horror films ever made and this made for television "sequel" is a miscalculated travesty! Other than its characters, it has nothing to do with Ira Levin's novel or Polanski's film (though Ruth Gordon returns as Minnie Castevet) and neither was associated with this film. Rosemary (Duke) is disposed of quite early in the film and as the adult Adrian, the spawn of Satan, Stephen McHattie is just awful. Overdoing the angst bit, he plays Lucifer Jr. with a tormented James Dean imitation. Dull and not even bad enough to be camp, just bad. With George Maharis, Ray Milland, Tina Louise, Donna Mills, Broderick Crawford and Lloyd Haynes.

Exclusive (1937)

After being acquitted by a bribed jury, a mobster (Lloyd Nolan) buys a newspaper with the intention of destroying the competition that exposed his corruption. The other newspaper's editor (Fred MacMurray) is determined to bring the mobster to justice but a lot of innocent people are going to suffer during the battle. Directed by Alexander Hall (HERE COMES MR. JORDAN). A huge miscalculation! The movie attempts to bridge two dissimilar styles and the juxtaposition is jarring. On one hand, it attempts to be a serious drama about ethics in journalism with a narrative that features murder, suicide, corruption and yellow journalism. On the other hand, it attempts to be a brassy newspaper comedy along the lines of THE FRONT PAGE and HIS GIRL FRIDAY! A smoother script and better direction could possibly have married the two comfortably but this effort is clumsy. I liked the dramatic aspects of the film but the comedy is lame. With Frances Farmer, Charles Ruggles, Horace McMahon and Fay Holden.

The Miracle (1959)

Set in a Spanish convent, a young postulant (Carroll Baker) forsakes the convent to rejoin the British soldier (Roger Moore) she loves. She falls in with a group of gypsies but when she thinks her soldier lover is dead, she rejects her Christianity. Based on the 1911 play by Karl Vollmoller and directed by Irving Rapper (NOW VOYAGER). The kind of schmaltzy faith based hokum that shouldn't work but damned if it doesn't! It's the kind of movie where you're either rolling your eyes or resisting getting choked up without much success. Carroll Baker's performance is so sincere that despite being miscast, she brings some genuine pathos in her work. Reputedly, director Rapper (he blamed the movie's failure on her) and actress Baker (she called him a humorless jerk) disliked each other. Watching the film, you know it's not very good but you can't help getting involved in the plot's machinations. Handsomely shot in Technirama by Ernest Haller (LILIES OF THE FIELD) and there's a nice underscore by Elmer Bernstein. With Katina Paxinou, Vittorio Gassman, Walter Slezak, Isobel Elsom, Torin Thatcher, Gustavo Rojo, Carlos Rivas, Madlyn Rhue and Eduard Franz.

Jay Kelly (2025)

An internationally famous movie star (George Clooney) goes to Italy, ostensibly to receive a career tribute award but in reality, he hopes to spend time with his daughter (Grace Edwards) who wants to spend time with her friends in Italy before going to college in the fall. Co-written and directed by Noah Baumbach (MARGOT AT THE WEDDING). In his best performance since MICHAEL CLAYTON, a perfectly cast George Clooney is terrific. It's said that it takes a star to play a star and no where is it more in evidence than this film. The Movie Star as we knew them is a fading phenomenon. Clooney (along with the likes of Tom Cruise, Tom Hanks, Denzel Washington and Julia Roberts) is the last of the breed. The film is a rumination on the narcissism and self centeredness of the actor who knows no other life and whose life beyond the lens uses family and friends as a supporting cast. Fame is their victory but at what cost? As his loyal manager, Adam Sandler gives a career best performance. The movie is generously laced with humor and if you're any part of the film industry, the humor comes with the pang of recognition. With Laura Dern, Greta Gerwig (nice to see her back in front of the camera), Billy Crudup, Stacy Keach, Jim Broadbent, Patrick Wilson and Isla Fisher.

椿三十郎 (aka Sanjuro) (1962)

A jaded samurai warrior (Toshiro Mifune) helps an idealistic group of young warriors weed out their clan's evil influences. Based on the short story HIBI HEIAN by Shugoro Yamamoto and directed by Akira Kurosawa (HIGH AND LOW). A follow up to Kurosawa's hugely popular YOJIMBO from the year before. The element of humor is upped here and the tone is less bold than its predecessor. As the title protagonist, Mifune is as charismatic as ever and gives an authoritative performance. I have to confess I found the infighting rivalry confusing at times but not enough to take away from my enjoyment of the film. The wide screen (Tohoscope) lensing by Fukuzo Koizumi is impressive and despite some anachronistic bits, so was the underscore by Masaru Sato. With Tatsuya Nakadai, Keiju Kobayashi, Yuzo Kayama and the lovely Reiko Dan.

Curdled (1996)

A seductive serial killer (William Baldwin), who preys on wealthy women, meets his match when he comes across an addled simple minded  woman (Angela Jones) whose job is to clean crime scenes including those of the serial killer. Directed by Reb Braddock in his only feature film. This mix of black comedy and slasher crime movie (Quentin Tarantino was an executive producer) didn't work for me. Although Baldwin is top billed, the real star of the movie is Angela Jones. But the film is muddled and both the characters are a turn off which leaves us as observers rather than fully invested in the characters. Baldwin is so strange and creepy that he may as well have "I am a serial killer" tattooed on his forehead and it's near impossible to imagine wealthy women finding him attractive. As for Angela Jones, she's every bit as creepy. She's fascinated by the murders and wants every gory detail of the killings. She's so whacko that you eventually give up on her and her fate starts to become of no interest to the viewer. With Lois Chiles, Kelly Preston, Barry Corbin, Daisy Fuentes and Bruce Ramsay.

L'Amant De Lady Chatterley (aka Lady Chatterley's Lover) (1955)

The faithful wife (Danielle Darrieux) to her war wounded paraplegic husband (Leo Genn), whose fortune flows from a local coal mine, seems unconcerned about her loss of sexual fulfillment. This changes when she crosses the path of the estate's new gamekeeper (Erno Crisa). Based on the controversial 1928 novel by D.H. Lawrence and directed by Marc Allegret (PLUCKING THE DAISY). As a film, this was as controversial as Lawrence's source material (which was banned for obscenity in the U.S., Canada, Japan, Australia and India). The film was banned in New York for obscenity until 1959 when the Supreme Court reversed the ban. Controversy aside, how is the movie? Very good adaptation I thought. I can see how in 1955, the film was considered "obscene". The sexual relationship in the film is frank and unapologetic which was anathema to uptight audiences of the 1950s. Darrieux makes for an exquisite Lady Chatterley, Genn a perfectly repugnant Lord Chatterley with only Crisa's gamekeeper lacking. Since it's no longer "controversial", today's viewers can concentrate on the class distinctions which make the relationship untenable to its closed society. It's not the adultery, it's who's she's sleeping with. With Berthe Tissen and Janine Crispin.

The Affairs Of Cellini (1934)

Set against the lushness of 16th century Florence in Italy. The famous artist Benvenuto Cellini (Fredric March) is rapidly becoming known more for his womanizing and fighting than his art. Complications arise when the Duchess of Florence (Constance Bennett) takes a fancy to him and the Duke (Frank Morgan in an Oscar nominated performance) takes a fancy to his latest model (Fay Wray). Based on the play THE FIREBRAND OF FLORENCE by Bess Meredyth and directed by Gregory La Cava (STAGE DOOR). This racy historical romantic comedy is amusing in spurts, enough charm to keep one interested but not enough to make it memorable. The players are game but the surprise is that Fay Wray, not known for her comedic prowess, steals the movie. As the shallow model with an appetite for food and luxury, she's delightful. The film was made prior to the Hays Code but released after the Hays Code went into effect which might explain how the frequently risque situations pop up in the movie. Audiences weren't in the mood and the film didn't do well at the box office. With Louis Calhern and Jessie Ralph.

Come To The Stable (1949)

Two French nuns (Loretta Young, Celeste Holm) come to America to set up operations in a local stable in order to raise money for a children's hospital. Directed by Henry Koster (MY COUSIN RACHEL). Oy! A treacly sentimental slice of hokum with Loretta Young and Celeste Holm looking all beatific and pious as they obnoxiously hustle and annoy everyone around them but we're supposed to excuse them because they're nuns! These merciful penguins don't resemble the holy terrors from my childhood. Inexplicably, this sugary faith based movie received seven, count them, 7 Oscar nominations including three for acting (Young for best actress, Holm and Elsa Lanchester for supporting actress) despite the fact that their performances are adequate at most. Not as bad as GOING MY WAY (what could be?) but the schmaltz is piled nearly as high but thankfully no Barry Fitzgerald! There is one mildly amusing sequence with Holm playing a tennis match in her habit. With Hugh Marlowe, Thomas Gomez, Dooley Wilson, Dorothy Patrick and Mike Mazurki.

Wicked: For Good (2025)

A year has passed since she (Cynthia Erivo) was branded the Wicked Witch Of The West by the duplicitous Madame Morrible (Michelle Yeoh). Determined to expose the Wizard (Jeff Goldblum) of Oz as a fake, Elphaba must also deal with the betrayal by her best friend (Ariana Grande). Based on the Broadway musical (music and lyrics by Stephen Schwartz) by way of the novel by Gregory Maguire and directed by John M. Chu (CRAZY RICH ASIANS). This is NOT a sequel to the 2024 hit WICKED. It is the second act of the Broadway show which ended at the play's intermission point. It's a solid and satisfying conclusion to part one. If WICKED was dominated by Cynthia Erivo, it's Ariana Grande who takes over in WICKED FOR GOOD and she's much stronger here that in the first half. I'll be upfront and admit I'm not the greatest fan of the 1939 film version (or its outdated message) but after WICKED (parts 1 and 2), I doubt I'll ever look at it the same way again. Some have complained that this doesn't live up to the first part, I disagree. It's a fitting closure. With Jonathan Bailey, Ethan Slater, Marissa Bode and Bowen Yang.

Of Mice And Men (1968)

Set during the Great Depression, two drifters find some work on a ranch. One (George Segal) watches over his mentally challenged friend (Nicol Williamson) whose inability to control his strength is their undoing. Based on the novel by John Steinbeck (previously filmed in 1939) and directed by Ted Kotcheff (WEEKEND AT BERNIES). While I respect the source material, I've never found Steinbeck's book (and the various film, stage and TV incarnations) very appealing. This television adaptation is very well done, I'll give it that with fine performances by the two leads. Williamson doesn't overdo the backward hulk and Segal gives a sensitive performance treading the line of genuine love for his friend and frustration at how the burden of caring for his friend impedes his ability to lead his own life. But I still find Steinbeck's narrative unnecessarily unpleasant. With Joey Heatherton as the slutty wife who seals Williamson's fate, Will Geer, Donald Moffat, Don Gordon, Dana Elcar and Moses Gunn.