The Social Network (2010)

David Fincher is on a roll. With ZODIAC (2007), CURIOUS CASE OF BENJAMIN BUTTON (2008) and now his latest effort, THE SOCIAL NETWORK, he's directed three of the best American films in recent memory. On paper, the idea of a film devoted to the founder of Facebook may sound rather vacuous but Fincher and company have made a fascinating film both as an entertainment and a wry dramedy on an adolescent Charles Foster Kane. This film moves, never letting up for an instant and the film editing by Kirk Baxter and Angus Wall is a near remarkable achievement. Of course, there's the razor sharp screenplay by Aaron Sorkin which is the jumping off point for this look at Facebook's founder Mark Zuckerberg (superbly embodied by Jesse Eisenberg), an arrogant, clueless if brilliant Harvard student lacking social skills and the most rudiment of elements of compassion or empathy. The irony is too obvious, an alienated young man and a fish out of water in the social structure of an ivy league university founds an internet site for other people to connect with each other. In addition to Eisenberg, there's excellent work from Andrew Garfield (NEVER LET ME GO), Justin Timberlake as Sean Parker (the founder of Napster), Rooney Mara and in a marvelous turn as a pair of twins, Armie Hammer. The pulsating score by Trent Reznor and Atticus Ross propels the film forward as much as the editing.

Ivanhoe (1952)

This rousing adaptation of the Walter Scott novel might possibly be the best of the "knights in shining armor" movies that came out of Hollywood. In a divided England as Saxons and Normans fight each other, a Saxon knight (Robert Taylor) attempts to raise the ransom for King Richard (Norman Wooland) held captive in Austria while Richard's dastardly brother Prince John (Guy Rolfe) attempts to usurp the throne in Richard's absence. The battle and fight scenes are exciting and director Richard Thorpe smartly doesn't let the plot slow down between the action scenes. The rich Technicolor look is handled by that ace cinematographer Freddie Young (LAWRENCE OF ARABIA) and the stirring score is by Miklos Rozsa. The lucky Robert Taylor must choose between the dark and stunning Elizabeth Taylor at the height of her legendary beauty and the soft, pale luminescent Joan Fontaine. George Sanders is almost touching as the treacherous De Bois-Guilbert, hopelessly in love with the Jewess Rebecca (Taylor), a woman he can never have and whose obsession to possess her leads to his downfall. With Robert Douglas, Emlyn Williams (too precious by half), Finlay Currie, Felix Aylmer, Sebastian Cabot, Basil Sydney and Megs Jenkins.

Midnight Lace (1960)

A combination of glamorous soap opera and woman in peril thriller. A wealthy American heiress (Doris Day) in London is being stalked by an unseen maniac who calls to leave death threats. The problem is no one believes her as no one has heard the phone calls but her and even when she is mysteriously pushed in front of a moving bus, there's only her word for it that the psycho exists. This being a Ross Hunter production, Day is clothed, coiffed and bejeweled to a dazzling perfection. Day's foray into heavy duty drama were rare but she had a great talent for hysteria as she showed in her one great scene in Hitchcock's MAN WHO KNEW TO MUCH and most of her performance here is played at that pitch. David Miller (LONELY ARE THE BRAVE) directs, Russell Metty is responsible for the photography and there's an effective score by the always welcome Frank Skinner. With Rex Harrison as Day's husband, John Gavin (whose accent is so ineffective that it was half way through the movie before I realized he was playing an Englishman), Myrna Loy, Roddy McDowall, Herbert Marshall, John Williams, Natasha Parry, Rhys Williams and Joan Staley.

Games (1967)

A young married couple (James Caan, Katharine Ross) of the chic, privileged upper East Side social set indulge in playing kinky, often sadistic, "games" involving the occult. When a down on her luck French emigre (Simone Signoret) enters their lives unexpectedly, they invite her to join their "fun". But when is murder a game? Director Curtis Harrington never made the big leagues but he has a strong cult following with films like NIGHT TIDE, WHAT'S THE MATTER WITH HELEN and QUEEN OF BLOOD. This nifty horror item borrows heavily from Henri George Clouzot's DIABOLIQUE with its trio similarly embroiled in a murderous cover-up and with one of the leads played by DIABOLIQUE's Signoret, the emphasis is even more blatant. It's a minor thriller but so effectively done that you don't mind the telegraphed ending. With Estelle Winwood, Kent Smith, George Furth, Carmen Phillips and Luana Anders.

Gold (1974)

Fairly exciting adventure yarn filmed in South Africa during the apartheid regime. A syndicate headed by John Gielgud conspires with the son in law (Bradford Dillman) of a wealthy gold mine owner (Ray Milland) to destroy the mine thus enabling the syndicate to profit in share dealing. The general manager (Roger Moore) of the mine is unaware of this and is being used as a dupe by Dillman. In addition to Moore who was playing James Bond at the time, the film utilizes several other Bond personnel including its director Peter Hunt (ON HER MAJESTY'S SECRET SERVICE), film editor John Glen (THE SPY WHO LOVED ME) and title designer Maurice Binder (DR. NO). Their combined particular talents give the film a polish it may not have had in other hands. Outside of the usual noble black man who sacrifices his life to save the white hero storyline, it's good solid action fare. Strong score by Elmer Bernstein which includes the Oscar nominated song Wherever Love Takes Me sung by Maureen McGovern. With Susannah York, Tony Beckley and Simon Sabela.

Fetish (2010)

Creepily amusing black comedy features an aging Hollywood diva (Joan Collins) whose life in the limelight has been a cliche of drugs, alcohol, multiple marriages and promiscuous sex and a television talk show host (Charles Casillo, who also wrote the screenplay) obsessed with movie star memorabilia and actresses of the Golden Age of Hollywood. Casillo proposes writing her biography and to that end invites her up to his house which is a museum dedicated to dead iconic actresses like Marilyn Monroe. Director Matthew J. Pellowski creates a dark and disturbing, uncomfortable atmosphere of dread while still dispensing one line zingers. One can't help but sense where the movie is going but like Halloween, it can be both fun and scary. Collins is excellent as the delusional, at times vulnerable, movie queen who, unlike the audience, can't see what's coming.

Flesh And Fury (1952)

A solid, well done programmer directed by Joseph Pevney (MAN OF A THOUSAND FACES). A young deaf mute (Tony Curtis) who feels alienated because of his deafness in an era when deaf mutes were still cruelly called "dummies" channels his aggressiveness into the boxing ring. A manager (Wallace Ford) with ghosts in his past takes him under his wing as two women, a cold golddigger (Jan Sterling) who exploits him and a news reporter (Mona Freeman) each set their sights on him. Curtis is very effective so early in a career when he was known more for his looks than his talent. There are several disconcerting close ups though when it looks like he's wearing eye make-up! Sterling plays the bitch to perfection and makes a nice contrast to the vapidness of Freeman. The real "stars" of the film though might be Leslie I. Carey and Robert Pritchard, the sound team, who use sound very effectively in taking us into Curtis's soundless world. With Harry Guardino, Connie Gilchrist and Virginia Gregg.

The Mark (1961)

A man (Stuart Whitman) is released from prison after serving three years for kidnapping a ten year old girl with intent to molest her. With the help of a caring psychiatrist (Rod Steiger), he attempts to rebuild a life but the real challenge comes when he falls in love with a widow (Maria Schell) with a young daughter. Based on the novel by Charles E. Israel and directed by Guy Green (A PATCHE OF BLUE). The movie is filled with good intentions but it seems rather naive today especially with what we now know about pedophiles. The film seems to think it's daring in its subject matter and so it is but it cops out by having Whitman's character attracted to little girls but never actually acting on his impulses so it's easier to sympathize with his predicament. It would have been more of a challenge doing a film about a man who had actually committed the act but, of course, he would have lost all audience sympathy. Here, the cards are stacked against Whitman's character that he almost seems the underdog. Still, it's an intelligent, well written film. Whitman is surprisingly good and good enough to get an Oscar nomination for his performance. Rod Steiger is more subdued than usual, maybe it was that Scottish accent. An understated score by Richard Rodney Bennett. With Brenda De Banzie, Donald Wolfit, Maurice Denham and Donald Houston.

The High And The Mighty (1954)

An airline flight from Honolulu to San Francisco develops engine problems and as it has passed the point of no return, its crew isn't sure if it can make the west coast or if they have to ditch into the sea. The granddaddy of "disaster" pictures! In 2010 eyes, it may seem stocked with cliches and a regurgitated script but this is only because it has been copied, stolen from and parodied since 1954. This was the original, the blueprint for all the Airport movies and all the other airline in peril films that followed it. In most respects, it's even unfair to call it a disaster film since the film (unlike its cinematic spawn) is more interested in its characters and takes its time introducing us to them and giving them the necessary exposition so we get to know them and care about them rather than the shallow stick figures that usually populate the genre. This is probably due to the fact that it was based on a best selling novel by Ernest K. Gann who adapted his novel for the screen. The expert direction is by William Wellman. John Wayne as the aging co-pilot gives one of the very best performances of his career and Jan Sterling and Claire Trevor received well deserved Oscar nominations for best supporting actress. The large cast includes Robert Stack, Laraine Day, Robert Newton, David Brian, Phil Harris, Sidney Blackmer, Paul Kelly, Karen Sharpe, Doe Avedon, William Campbell, John Smith, John Qualen, Regis Toomey, Wally Brown, Joy Kim, Paul Fix, John Howard, Julie Bishop, Ann Doran and Julie Mitchum. The gorgeous Oscar winning score is a high mark in Dimitri Tiomkin's career.

Trail Of The Lonesome Pine (1936)

Perhaps more famous for being the first three strip Technicolor film shot completely on location rather than in the studio, this Henry Hathaway directed vehicle doesn't let the stunning outdoor vistas (shot at the Big Bear area of California) overtake the film's storyline. An engineer (Fred MacMurray) arrives in backwoods country to secure land rights for a railroad company and finds himself smack in the middle of a decades old blood feud between two rival families. Sure, it's a gorgeous looking film but the film's three players: MacMurray, Henry Fonda and Sylvia Sidney (never looking more beautiful) were still fresh at this early stage of their careers and give natural and appealing performances. There are several winning moments that stand out like Sidney's arrival home after her transformation and emotional peaks like a child's funeral or even Fuzzy Knight's lovely rendering of Twilight On The Trail. With Beulah Bondi, Nigel Bruce and Fred Stone.

The Hero Of Rome (aka Il Colosso Di Roma) (1964)

In ancient Rome, a deposed tyrant (Massimo Serato) attempts to regain his throne but not if a Roman general (Gordon Scott trading his Tarzan loin cloth for a toga) has anything to say about it. Tiresome sword and sandal feature isn't much fun as it takes itself far too seriously for something that lacks the stature of a genuine epic. Its earnestness is deadly. The sword fights are routine and the battle scenes lack any imagination. The plot is contrived and lacks logic. When a devious and duplicitous Serato demands ten hostages, all daughters from the Roman patricians, as proof of good faith during peace talks ... the senate agrees to his demand! With dumb decisions like that, no wonder Rome fell. With Gabriella Pallotta as Scott's love interest.

Seminole (1953)

A western set in Florida? Budd Boetticher is admired for the series of classic westerns he made with Randolph Scott from 1956 to 1960. Though not in that league, this minor western is not without interest. Once friends when they were boys, a cavalry lieutenant (Rock Hudson) and a Seminole Indian leader (Anthony Quinn) find themselves not only on opposite sides of a conflict between the U.S. Army and the Seminole tribe but in love with the same girl (Barbara Hale). Unusual for a western of this period, not only because of its clear sympathy for the Indians but the interracial romance in which the white woman prefers the Indian to Rock Hudson! The film's setpiece is a trek through the Florida everglades by the ill prepared cavalry where they are at a clear disadvantage. The film was shot at Everglades National Park in Florida and that superb cinematographer Russell Metty (TOUCH OF EVIL, WRITTEN ON THE WIND ) takes full advantage of the exotic hothouse locale. Hudson is very awkward and his line readings stiff and Richard Carlson as the film's cavalry commander overacts the villainy to the point where I almost expected him to twirl his moustache! With Lee Marvin, Hugh O'Brian, Russell Johnson and James Best.