Shadow Of Fear (1974)

A disgraced police officer (Claude Akins) is hired by a husband (Jason Evers) to investigate crimes surrounding his psychologically troubled housewife (Anjanette Comer). Directed by TV director Herbert Kenwith (HERE'S LUCY). A decent suspense thriller made for television that at first seems a retread of GASLIGHT. But it takes a different path that comes to a satisfying conclusion. The production serves as a showcase for Anjanette Comer who gets to sink her teeth into a juicy piece of acting steak. Production values are minimal (it was shot on videotape) but Kenwith's direction keeps it edgy. With Tom Selleck and Philip Carey.

The Rainbow Jacket (1954)

An ex-champion jockey (Bill Owen) having forfeited his own career by taking a bribe takes a young rider (Fella Edmonds) under his wing. Directed by Basil Dearden (KHARTOUM). After cats, horses may be my favorite animals. But I'm not a fan of horse racing on ethical grounds and with rare exceptions like NATIONAL VELVET and THE BLACK STALLION, movies about horse racing are a turn off. This one isn't too bad, in fact, it's quite decent but I had problems with the film's three lead characters (the third is Kay Walsh as Edmonds' mother) because their problems were of their own making due to their lack of a moral backbone. It's handsomely shot in Technicolor by Otto Heller (PEEPING TOM). With Robert Morley, Honor Blackman, Wilfrid Hyde White, Sid James and Edward Underdown.

Casa De Los Babys (2003)

Set in an unnamed Latin American country, a disparate group of six Caucasian women (Maggie Gyllenhaal, Daryl Hannah, Mary Steenburgen, Marcia Gay Harden, Lili Taylor, Susan Lynch) are impatiently waiting out their required residency before taking custody of their adopted babies. Written and directed by John Sayles (LONE STAR). What could have been an engrossing look at white privilege in a third world country is compromised by Sayles' insistence on spreading himself too thin. He tries to cram too much into the film and the narrative suffers. In addition to the six women's stories, we get a look at homeless street urchins, a pregnant Latina teenager, an indigenous man who dreams of visiting the U.S., a group of radical communists, a teenage beach boy, a Latina single mother struggling to support her family etc. There's no focus. Because of this, even the American women's narrative is diffused because we get to know them only superficially. The acting is very good. With Rita Moreno as the owner of the hotel the women are staying. Also with Martha Higareda and Vanessa Martinez.

Nurse Edith Cavell (1939)

The true story of Edith Cavell (Anna Neagle), a British nurse in WWI who developed a system to smuggle escaped prisoners into Holland and who was caught by the German Army and sentenced to death. Based on the non fiction book DAWN by Captain Reginald Berkeley and directed by Herbert Wilcox (NO NO NANETTE). To the film's credit, it doesn't add on a fictional love interest but other than that, I can't say much for it. It's a bit of a plodding dud. The dramatic story of Edith Cavell would seem made for the movies and maybe some day, a decent film about her will be made but this isn't it. The movie presents her as a saint but it also presents her as somewhat derelict in that surely she should have taken more precautions when operating right under the nose of the enemy. The film's intentions are good but its execution is a bore! There's a nice performance by Edna May Oliver who brings some vinegar to all the nobleness. With George Sanders, Zasu Pitts, May Robson, Robert Coote, H.B. Warner and Henry Brandon.

Just Off Broadway (1942)

A private detective (Lloyd Nolan) serving on a jury trying a society girl (Janis Carter) for murder, suddenly become embroiled in the case when a witness is killed in the middle of the courtroom. Based on the character created by Brett Halliday in a series of books and directed by Herbert I. Leeds (MR. MOTO IN DANGER ISLAND). The sixth entry in 20th Century Fox's Michael Shayne seven movie franchise, all starring Lloyd Nolan. I'm a murder mystery junkie but I've never really cottoned to the Shayne series and I think it's because, as played by Nolan, he's unlikable and unethical. Case in point, as a juror, he's sequestered in a hotel with fellow jurors but sneaks out to do some investigating on his own. He also tends to be a bully and a liar and whatever else it takes to get the information he wants. On the plus side, the movie moves very quickly and doesn't drag but still, it's not all that interesting either. With Phil Silvers, Marjorie Weaver, Richard Derr, Joan Valerie and Don Costello.

La Vierge Du Rhin (aka The Virgin Rhine) (1953)

Assumed killed during WWII, a man (Jean Gabin) returns to his home town to find that his wife (Elina Labourdette) has taken control of his shipping company with her new husband (Renaud Mary) and will do anything to get rid of him and keep his company. Based on the novel by Pierre Nord and directed by Gilles Grangier (SPEAKING OF MURDER). A first rate film noir that keeps you guessing until the very end. Handsomely shot in stark B&W by Marc Fossard (SOMETHING TO SING ABOUT), the movie evokes the writing of James M. Cain and Raymond Chandler and Hollywood films like THE POSTMAN ALWAYS RINGS TWICE and DOUBLE INDEMNITY. Every character, even the minor ones, leave an indelible impression. I don't want to oversell it but if you're a film noir buff, you have to check this one out. With Nadia Gray, Andree Clement, Claude Vernier and Albert Dinan.

Walk Don't Run (1966)

When a British industrialist (Cary Grant in his final film role) arrives in Tokyo on business, the influx of tourists for the upcoming 1964 Olympic games makes it impossible to find lodging. So he fast talks his way into sharing an apartment with a young woman (Samantha Eggar) who had advertised for a room mate but forgot to indicate a female room mate. A remake of the 1943 film THE MORE THE MERRIER and directed by Charles Walters (THE UNSINKABLE MOLLY BROWN). I'm not a big fan of the original 1943 movie though I found it rather charming. This remake has no charm and it's just not funny. The Japanese background gives it some atmosphere and the cast is appealing but that's about it. With scripts like this and FATHER GOOSE, perhaps Grant could see the writing on the wall, hence his retirement from cinema. With Jim Hutton, Miiko Taka, John Standing, Ted Hartley and George Takei.

Zero To Sixty (1978)

A man (Darren McGavin) finds himself down on his luck following a divorce settlement which has left him with nothing. So he hooks up with a street smart 16 year old (Denise Nickerson) who makes her living by repossessing cars from their owners. Directed by Don Weis (LOOKING FOR LOVE). Some six years before the cult favorite REPO MAN which dealt with the same subject matter, this lowbrow comedy made its appearance. If you're into movies with car chases and cars smashing into each other, this might appeal to you. I found it tedious and silly. The movie was produced by McGavin's wife, the actress Kathie Browne. She must have called in some favors because the supporting cast consists of some good actors. Among them: Joan Collins, Sylvia Miles, Dick Martin, Gordon MacRae, Lorraine Gary, David Huddleston, Lyle Waggoner, Monica Lewis and Vito Scotti.

Dead Of Winter (2025)

Hit by a blizzard, a grief stricken loner (Emma Thompson) gets lost in the backroads near a Minnesota lake and stops for help at a remote cabin. It is there she discovers a young woman (Laurel Marsden) kidnapped by a desperate couple (Judy Greer, Marc Menchaca). Directed by Brian Kirk (21 BRIDGES). Although the story takes place in the wintery backwoods of Minnesota, the film was actually filmed in Finland and Germany. As the fisherwoman who finds herself beyond her depth in a kidnapping case, Thompson is very good and even does a spot on American accent. This isn't the kind of movie one expects to see Thompson in but I can see why she might have been attracted to it. However, it's those very things that attracted her that are the film's worst sections. This is a thriller that loses its tension because of too many flashbacks about the young Thompson's character (played by Gaia Wise, Thompson's real life daughter). The downbeat (but still sentimental) ending does the movie no favors either. With Cuan Hosty Blaney and Brian F. O'Byrne.

Martin Roumagnac (1946)

A working class building contractor (Jean Gabin) falls in love with a beautiful pet shop owner (Marlene Dietrich). She loves him but she loves money more. Based on the novel by Pierre Rene Wolf and directed by Georges Lacombe (CAFE DE PARIS). The only pairing of these two cinematic icons is a strong film noir that would still be of interest even without its two leads. Fortunately, Gabin and Dietrich give off sparks (apparently off screen, too) and elevate the movie to another level. They weren't stars for nothing. Gabin is wonderful but the film belongs to Dietrich, who gets free of the exoticism that infused her Hollywood films. Her promiscuous gold digging femme fatale has more in common with her Lola in THE BLUE ANGEL than the mysterious beauties of MOROCCO and GARDEN OF ALLAH. Being a French film, it can be and is franker with sexuality than her Hollywood movies. With Daniel Gelin and Margo Lion.

Charlie Chan In Honolulu (1938)

As the internationally renowned detective Charlie Chan (Sidney Toler) awaits the birth of his first grandchild, he is brought in to solve a high seas murder. But when a second victim is found strangled, he ties up the boat and lets no one leave or come on board until he's solved the murders. Based on the character created by Earl Derr Biggers and directed by H. Bruce Humberstone (I WAKE UP SCREAMING). This was Toler's first appearance as Chan as he took over from Warner Oland who had played Chan since 1931. Alas, I found it one of the weakest in the Chan franchise. The mystery isn't very interesting, the suspects are an ordinary bunch and there's too much comedic bits. Notably, the hysterical and stuttering deckhand played by Eddie Collins and the unamusing antics by Victor Sen Yung as Chan's number two son. With Phyllis Brooks, George Zucco, Claire Dodd, Robert Barrat, Marc Lawrence and John King.

C'e Ancora Domani (aka There's Still Tomorrow) (2023)

Set in postwar Rome, a working class woman (Paola Cortellesi) stuck in an abusive marriage dreams of a better future for her and her daughter (Romana Maggiora Vergano). When a mysterious letter arrives, she discovers the courage to change the circumstances of her life. Directed by actress Paola Cortellesi in her directorial debut. A massive hit in Italy, it received 19 David Di Donatello nominations (the Italian Oscar), winning six awards including best actress for Cortellesi. It received a limited U.S. release last year. Shot in B&W to duplicate the look of the Italian neo realist style of the 1940s and 50s. It's a fine film but some of Cortellesi's directorial decisions are awkward. For example, the anachronistic film score (which includes rap) is jarring and the domestic abuse scenes are diffused by stylizing them as romanticized musical numbers. But rather than a full out feminist film, Cortellesi concentrates on the baby steps towards women's liberations which would eventually blossom some 20 years later. With Valerio Mastandrea, Emanuela Fanelli, Giorgio Colangeli and Francesco Centorame.