Mrs. Warren's Profession (1972)

An independent young woman (Penelope Wilton) is visited by her mother (Coral Browne) who she has had little interaction with through out her growing up years. But when she discovers how her mother earned the money to support and educate her, she finds her belief system challenged. Based on the play by George Bernard Shaw and directed by Herbert Wise. Shaw's attitude toward prostitution was controversial for its day and although written in 1893, censorship wouldn't allow it to be publicly performed until 1902. In its own way, it's a feminist play although her daughter's reaction seems rather priggish today, even as the daughter represents an independent strong woman who finds no need for a man or romance to complete her life. This production is rather straightforward with the two actresses (Browne, Wilton) giving convincing performances. The male roles aren't as interesting so one can excuse the rather antiseptic performances. It's a bold play that still resonates today. With Robert Powell, Derek Godfrey, Richard Pearson and James Grout.     

Bird Box (2018)

A mysterious unknown force causes mass suicides globally. The only way to avoid it is not to make eye contact with it. Into this apocalypse, a pregnant woman (Sandra Bullock) struggles to survive in a house with a small group of random strangers. Based on the novel by Josh Malerman and directed by Susanne Bier. An intelligent thinking man's horror film with a strong performance by Bullock. This is a very intense and visceral roller coaster ride that balances thrills with some some well delineated characters. The latter is important in a movie like this because if you don't care about the characters, their fate mean nothing to you. Bier grabs you right at the beginning and keeps on squeezing you until the film's finale which is borderline mawkish but not sappy enough to spoil the the journey that got us there. I was dubious about the film's premise which sounded suspiciously like the recent A QUIET PLACE but I needn't have been. It's based on a book that came out way before that movie. The stellar cast includes John Malkovich, Sarah Paulson, Trevante Rhodes (MOONLIGHT), Jacki Weaver, Danielle MacDonald, BD Wong, Tom Hollander and two excellent child actors, Vivien Lyra Blair and Julian Edwards. 

Lola (1961)

Set in the coastal city of Nantes, France. A young man (Marc Michel) drifts aimlessly through life until he meets his first love Lola (Anouk Aimee) again. She is now a cabaret singer but she has her own romantic dreams which don't include the young man. Written and directed by Jacques Demy, this was his feature film debut and it's an enchanting if bittersweet romantic fantasy born out of the Hollywood dream factories. Although exquisitely shot in B&W scope by Raoul Coutard rather than Technicolor, it's as much a candy coated confection as an MGM Technicolor musical. Aimee's Lola lives in an optimistic bubble waiting for a fairy tale end and she gets it. This is in contrast to Michel's Roland who will forever remember Lola as the love of his life and the one that got away. Coincidence is a factor (as it is in other Demy films) here as it ties unrelated characters together. For example, a character will go to see a Gary Cooper movie by chance and that same Gary Cooper film ties in to another unrelated character's circumstance. The lovely underscore is by Michel Legrand. An elegant piece of film making. With Elina Labourdette, Jacques Harden, Allan Scott and Annie Duperoux.   

Nightwing (1979)

Set in New Mexico, a young Maskai Native American (Nick Mancuso) is a tribal deputy on an Indian reservation. When animals start turning up dead under mysterious circumstances (strange bites to the bone, drained of blood, the scent of ammonia), it will lead him to confront both his tribal legacy and deadly vampire bats. Based on the novel by Martin Cruz Smith (GORKY PARK) and directed by Arthur Hiller (LOVE STORY). The 1975  film of JAWS spawned a proliferation of animals terrorizing humans movies like ORCA (killer whale), PIRANHA, TENTACLES (squid) etc. This focuses on vampire bats. As a horror film, it's a failure. The bat effects are weak, there's little tension and it's steeped in Native American mysticism (or superstition if you prefer) that muddles the waters. Three of the four leads are ciphers. Nick Mancuso, Kathryn Harrold and Stephen Macht. Who you may ask? Indeed. Three bland actors who can't hold the screen to save their life (or the movie). Only David Warner as a British scientist brings any gravitas to his role. There is one all too brief moment of genuine tension when the protagonists are in a mesh cage when attacked by the bats and the film could have used more moments like that one. The best thing about the film is the terrific score by Henry Mancini. With Ben Piazza, Strother Martin and George Clutesi.

Pendulum (1969)

When his wife (Jean Seberg) and her married lover (Harry Lewis) are found murdered, a Washington D.C. police captain (George Peppard) becomes the primary suspect. It's with some irony that he chooses the civil rights attorney (Richard Kiley) responsible for freeing the rapist/murderer (Robert F. Lyons overacting terribly) the police captain helped put away to defend him. Directed by George Schaefer (DOCTORS' WIVES), this is a rather contrived if decent police drama that tries to walk both sides of the fence when it comes down to civil rights vs. law enforcement. Instead of taking a position, it gives an argument for both sides thus leaving a rather confusing finish. But it's good enough to hold your attention even though you know exactly where it's going. Despite being second billed, the lovely Jean Seberg's role is fairly small but she brings a nice presence to a stereotypical (the adulterous wife) part. With Madeleine Sherwood (in the film's best performance), Charles McGraw, Isabel Sanford, Marj Dusay, Dana Elcar and Robin Raymond. 

Arabian Nights (1942)

Set in Persia, the brother (Leif Erickson) of the Caliph (Jon Hall) attempts to take over the throne by revolt. During one battle, the Caliph is left for dead while his brother usurps the throne. But a beautiful dancing girl (Maria Montez) nurses him back to health. Directed by John Rawlins (SHERLOCK HOLMES AND THE VOICE OF TERROR). What can one say about a piece of mindless Technicolor fantasy like this? It's nowhere near the caliber of genuine classics like THE THIEF OF BAGAD (1940) or 7TH VOYAGE OF SINBAD (1958). But it's harmless fun and the three strip Technicolor pops off the screen and the art direction by Alexander Golitzen and Jack Otterson is impressive. Less impressive are the gaudy costumes by Vera West which detracts from Montez's beauty. Thankfully it's not the kind of movie where acting matters because Montez is pretty awful and during her big dance number, it's clearly a dance double doing all the bumping and grinding. But she's gorgeous and that's all the part requires of her. There is a bit of tiresome comedy courtesy of Billy Gilbert and John Qualen (as Aladdin) but overall, a pleasing slice of kitsch. With Sabu, Turhan Bey, Edgar Barrier, Thomas Gomez, Jeni Le Gon, Robin Raymond and Shemp Howard as Sinbad 

Illegal (1955)

After it turns out he sent an innocent man (DeForest Kelley) to the electric chair, a District Attorney (Edward G. Robinson) resigns and spirals downward in drink and self pity. When he recovers, he turns to defending criminals until he gets a case that hits close to home. Directed by Lewis Allen (THE UNINVITED), this is a taught little crime melodrama without pretension. Robinson gets to show what a firecracker he is in parts like this: cocky and unethical but you can't help but like him anyway. Some refer to it as film noir but without getting into a definition of what constitutes film noir, I wouldn't define it as such. It's not unlike the gritty little mobster movies Robinson was doing in the 1930s at Warners although Albert Dekker has the role Robinson would have played back then. So it's fitting that the underscore was composed by Max Steiner. I wasn't thrilled with the ambiguous ending where we we're not allowed to see Robinson's fate. With Nina Foch, Jayne Mansfield, Hugh Marlowe, Jay Adler, Edward Platt, Ellen Corby and Howard St. John.

Great Expectations (1974)

Circa 1812, a young boy (Simon Gipps Kent) lives with his abusive sister (Rachel Roberts) and her kind hearted blacksmith husband (Joss Ackland). But an act of kindness will change his future when he (now grown up to be played by Michael York) is the recipient of a mysterious benefactor's generous financial gift that will enable him to become a gentleman. Based on the classic novel by Charles Dickens and directed by Joseph Hardy. When released in 1974 (television in the U.S. but cinemas in the rest of the world), it was dismissed as an inferior version of the Dickens novel with the 1946 David Lean film held as the definitive version of the Dickens book which I feel is unfair. There have been over 25 (at least) adaptations of the Dickens novel for film, TV and the stage. I find this a more than decent version. York may be a rather innocuous Pip and Sarah Miles not quite the destructive beauty that Estella should be but some of the performances are excellent. Notably Margaret Leighton as Miss Havisham who brings a pathos to the part instead of just playing to her eccentricities and James Mason makes for a formidable Magwitch, the escaped convict. Maurice Jarre did the lovely score. With Anthony Quayle, Robert Morley, Heather Sears, Andrew Ray and James Faulkner.  

Vice (2018)

A young man (Christian Bale) journeys from an aimless party animal life in rural Wyoming to arguably the most powerful Vice President in U.S. history, Dick Cheney. Directed by Adam McKay (THE BIG SHORT). The film acknowledges right off the bat that Cheney is a secretive (their word, not mine) and private man. The film then proceeds to give us the backstory of the rise of Cheney but while the public facts cannot be disputed, the behind the scenes story is merely speculation and not substantiated. Being left of center myself, I have no problems at all with the film's "liberal" agenda but it's done with all the subtlety of a hammer. The film is a political satire (or black comedy if you prefer) and it's very clever and there are some truly inspired moments. But it's the kind of film I worry that people will see and accept as fact because they saw it in the movie so it must be true. I enjoyed it but I remained skeptic through out. With one exception, the performances are flawless and Bale and Amy Adams (as Mrs. Cheney) are awesome. I had a problem with Sam Rockwell's George W. Bush which came off as a caricature (not unlike Alec Baldwin's Trump on SNL) rather than a real person. With Steve Carell, Tyler Perry (as Colin Powell), Lily Rabe, Alison Pill and Shea Whigham.

Mary Poppins Returns (2018)

The Banks children are grown up and struggling to keep hold of their family home during the great depression. Michael Banks (Ben Whishaw) is a widower with three children (Pixie Davies, Nathanael Saleh, Joel Dawson) while Jane Banks (Emily Mortimer) is a social activist living on her own. Enter their childhood nanny Mary Poppins (Emily Blunt) to set a few things right. Based on the books of P.L. Travers and directed by Rob Marshall (INTO THE WOODS). Absolutely charming! Walt Disney would have been proud. I didn't think of Julie Andrews once as soon as Blunt's Mary descended down from the clouds. The hand drawn animation is a treat, the production numbers are wonderful and only a curmudgeon wouldn't fall under its spell. When 91 year old Dick Van Dyke broke into a dance, the audience broke into applause. Meryl Streep steals the movie during her big musical number but it's the delightful Emily Blunt who is the glue that holds the movie together. This isn't a remake of the 1964 film, this is just another chapter in the life of the Poppins character. With Lin Manuel Miranda, Angela Lansbury, Colin Firth, Julie Walters and David Warner.

Coma (2012)

A medical student (Lauren Ambrose) becomes concerned when she notices a pattern of seemingly healthy patients falling into comas during routine surgeries. Based on the novel by Robin Cook and directed by Mikael Salomon. Cook's book had previously been filmed in 1978. The 1978 film was a brisk thriller with a strong central performance by Genevieve Bujold and ran under two hours. This version has been padded out by more than a half hour and added characters and a more convoluted plot and the result is a mess. There's less tension and a perfectly ridiculous hit man (Michael Weston) who is given too much attention. His counterpart in the 1978 film had minimal dialog and was much more frightening. Ambrose and the male lead (Steven Pasquale) have zero chemistry and aren't strong enough actors to overcome the tedium. There are two very good performances though, both by women. Ellen Burstyn as the Jefferson institute manager which has been expanded from the 1978 film and in this case, it works. The other performance is an unscrupulous psychiatrist played by Geena Davis, a character not in the 1978 film. Every time they show up, the film is elevated by their performances. With Richard Dreyfuss, James Woods, Joseph Mazzello, Joe Morton and James Rebhorn.   

Charlie Chan In Rio (1941)

The renowned Chinese detective Charlie Chan (Sidney Toler) arrives from Honolulu to Rio De Janeiro in order to arrest a nightclub singer (Jacqueline Dalya) for murder. But before he and his Brazilian counterpart (Harold Huber) can make the arrest, she is found murdered. Based on the characters created by Earl Derr Biggers and directed by Harry Lachman. This is one of the more enjoyable entries in the Charlie Chan franchise. The film is generously laced with humor (most of it provided by Victor Sen Yung as Chan's son) and the mystery is sufficiently involving although if you put your mind to it, it's not that difficult to come up with the killer's identity. The psychic's (Victor Jory) use of coffee and cigarettes to induce a semi comatose state is pretty silly and far fetched but movies like these are not to be taken too literally. The suspects include Mary Beth Hughes, Richard Derr, Kay Linaker, Ted North, Truman Bradley, Hamilton MacFadden, Ann Codee and Cobina Wright Jr.