Sister Act (1992)

After witnessing a murder in Reno, the mistress (Whoopi Goldberg) of a gangster (Harvey Keitel) is placed in a witness protection program. The program places her in a San Francisco convent until a trial date for her gangster boyfriend is set. In the meanwhile her boyfriend has placed a bounty on her. Directed by Emile Ardolino (DIRTY DANCING), this was a surprise hit and one of the highest grossing comedies of the 1990s. If there's a reason for its success, it's Whoopi Goldberg (who inherited the part when Bette Midler turned it down). Her comedic timing is flawless here and she and the expert cast are good enough to make us forget how far fetched the plot is, at least while we're watching. Afterwards, you're on your own. While music is plentiful in the film proper, it's not really a musical although it was turned into a stage musical in 2006. In addition to Goldberg, three other performers stand out. As the Mother Superior, Maggie Smith makes for a droll foil contrast to Goldberg. Then there's Mary Wickes and Kathy Najimy as her fellow nuns, both providing comedic assistance. It's a hard movie to resist so why try? Go with the flow and have some fun. A sequel emerged in 1993 but it didn't have the same spark. With Bill Nunn, Jenifer Lewis, Susan Browning, Ruth Kobart and Wendy Makkena.

The Sheik (1921)

Set in North Africa, a headstrong English girl (Agnes Ayres) heads out to the desert escorted only by Arab natives. She is captured by a sheik (Rudolph Valentino) who intends to keep her as his mistress. Based on the novel by Edith Maude Hull and directed by George Melford. The film's sexual politics are quite dated. Being kidnapped by a hunky desert sheik and held his prisoner may have seemed romantic in 1921 but today, it goes against the grain of everything we believe in. The novel's rape would have rendered Valentino's sheik unsympathetic so that was cut. Now, it's just the threat of rape that we have to deal with. This is the movie that solidified Valentino's stardom which had started earlier in the year with FOUR HORSEMEN OF THE APOCALYPSE but at this stage in his career, he's very charismatic and little else. The film was a massive success and spawned a sequel SON OF THE SHEIK in 1926. An important film for historical purposes but other than that, it's a curio. With Adolphe Menjou, Ruth Miller and future director George Waggner.   

Wandafuru Raifu (aka After Life) (1998)

A group of disparate recently deceased people find themselves at a way station. They are given three days to identify their happiest memory to take to the "after life". Written and directed by Hirokazu Kore-eda (STILL WALKING), the film is unique in its combination of documentary (many of those interviewed are not actors) and the fictional narrative written by Kore-eda. It's a lovely reflective examination of memory. What we choose to remember, what we can't remember and what we conveniently forget. Kore-eda leaves religious faith out of the after life. There is no Heaven or Hell and God is never mentioned. It's just a place where one transitions and moves on to the after life (whatever that may be). The movie isn't heavy on plot. It consists of moments that add up to a moving cinematic experience. With Arata, Erika Oda, Susumu Terajima, Taketoshi Naito and Hisako Hara.

A Millionaire For Christy (1951)

A legal secretary (Eleanor Parker) is the sole support of her family. When she meets a radio personality (Fred MacMurray) who's just inherited two million dollars, she plots to snare him even though he's engaged to another woman (Kay Buckley). Directed by George Marshall (THE BLUE DAHLIA), this screwball comedy falls flat in spite of its hard working cast. So hard, in fact, that you're rooting for them but the spark needed to ignite the laughs never happens. Perhaps it might have worked better in the 1930s with Irene Dunne and Cary Grant in the leads and Howard Hawks at the helm. It's not awful, far from it but there's an aura of distress hovering over the movie as if the actors sense it's not going right. With Richard Carlson, Una Merkel and Douglass Dumbrille.  

Jungle Cruise (2021)

Set in 1916, a British botanist (Emily Blunt) and her brother (Jack Whitehall) go to Brazil where they hope to find a legendary tree which bears flowers that have the ability to heal illness. To this end, they hire a rundown boat whose skipper (Dwayne Johnson) is fond of bad puns. Directed by Jaume Collet Serra (THE SHALLOWS), this expensive movie (200 million budget) is yet another Disney movie based on their theme park rides. It's a mindless (not necessarily a putdown) fusion of THE AFRICAN QUEEN and RAIDERS OF THE LOST ARK that has a lazy screenplay and more CGI than I've seen in years. Nothing looks real from the lush Amazon to the CGI jaguars, snakes and bees! In addition, we're saddled with an inane bad guy (Jesse Plemons) and an annoying gay brother (Whitehall). The three screenwriters didn't even bother to fact check. The film is set in 1916 and Johnson makes a joke about orange juice concentrate which wasn't invented until 1942! On the upside, they may not be Bogart and Hepburn but Johnson and Blunt are so damn likable that their presence covers up a multitude of sins. Complaints aside, it's highly watchable but forgettable. Apparently it was enough of a success that a sequel is in the works. With Paul Giamatti and Edgar Ramirez.

Tabu (1931)

Set on the island of Bora Bora, a young girl (Anne Chevalier) is chosen as a maiden sacred to the gods and from thenceforth is "tabu" meaning she must not be touched by man and any man who does is under penalty of death. So she and her lover (Matahi) flee the island to a French colony where they hope to be free and safe. Written by Robert J. Flaherty (NANOOK OF THE NORTH), who co-directed some of the film and directed by F.W. Murnau whose final film this was (he died before the film's release). Although made during the sound era, this is a silent film with some sound effects. Originally developed by Flaherty and Murnau, they didn't get along. Flaherty wanted a more documentary approach like his NANOOK while Murnau was more traditional in his plotting. The film does have a vague documentary feel to it although its narrative feels like typical Hollywood but at least it has real Polynesians (amateurs all) rather than Dorothy Lamour in a sarong which gives it some authenticity. As cinema, its neither fish nor fowl. One can see the movie pulling in opposite directions. Floyd Crosby (HIGH NOON) won an Oscar for his cinematography and his work is excellent. With Bill Brambridge and Hitu.

Carrie (1952)

Set at the turn of the 19th century, a young naive girl (Jennifer Jones) moves from a provincial small town to Chicago to live with her married sister (Jacqueline DeWit). She is seduced by a traveling salesman (Eddie Albert) and they live as a married couple. But when a married man (Laurence Olivier) falls in love with her, it will prove his downfall. Based on the novel SISTER CARRIE by Theodore Dreiser and directed by William Wyler (ROMAN HOLIDAY). Paramount had a critical success with a film version of Dreiser's AN AMERICAN TRAGEDY the year before (A PLACE IN THE SUN) so I suppose they thought to try it again. The movie is a sanitized version of the Dreiser novel. The Carrie of the novel is more ambitious and calculating than the sweet young thing we see here and while the novel's ending is darker, I found the film's ending devastating. Initial reviews were dismissive of Jones's performance but I thought her quite touching. But the film's piece de resistance is Olivier's performance, easily his best non-Shakespearean performance on film. To watch this dignified and educated man descend into his own private hell is shattering and if his last scene with Jones doesn't wreck you, you have no heart! With Miriam Hopkins, Ray Teal, William Reynolds, Mary Murphy and Barry Kelley.

My Wild Irish Rose (1947)

The rise of 19th century Irish tenor Chauncey Olcott (Dennis Morgan) from a tugboat skipper to performing in blackface in minstrel shows to co-starring on Broadway with Lillian Russell (Andrea King). Directed by David Butler (CALAMITY JANE), this is the kind of musical biopic that gives musical biopics a bad name (as if they needed help). The Irish blarney is laid on thick as a brick and it feels like you've been hit with one. If Irish schmaltz and songs like When Irish Eyes Are Smiling, Mother Machree and Wait Till The Sun Shines Nellie warm the cockles of your heart, this may appeal to you. The minstrel sequences with white actors in blackface may be historically accurate but that doesn't make it any the less uncomfortable. With Arlene Dahl (looking luscious in Technicolor in her film debut), George O'Brien, Alan Hale, Sara Allgood, George Tobias, Ben Blue and Peggy Knudsen.

Le Route De Salina (aka The Road To Salina) (1970)

A young drifter (Robert Walker Jr.) is mistaken as her son by a lonely woman (Rita Hayworth) who runs a diner and gas station in a small seaside town. He plays along but things turn mysterious when his "sister" (Mimsy Farmer, looking like a young Bibi Andersson but without the talent) accepts him as her brother. Based on the novel SUR LA ROUTE DE SALINA by Maurice Cury and directed by George Lautner (LE PROFESSIONEL). Although shot in English with American actors in the leading roles, this is a French/Italian production filmed in Spain and France. This is a strange psychological drama with an air of mystery about it. Everything and everyone seems off kilter and we're all as in the dark as the young drifter who eventually sets about finding the truth behind the delusional life he finds himself caught in. Naturally, it all ends badly. Beautifully shot in wide screen Panavision by Maurice Fellous, who makes extensive use of the Canary Islands landscape. The incest angle is creepy but the movie does cast a spell of its own. Frankly, I'm not sure if it's a good movie but it's highly watchable. With Ed Begley in his final film role (he died before the film's release), Bruce Pecheur, Sophie Hardy and Marc Porel. 

Liza With A Z (1972)

Reputedly the first filmed concert for television, this was shot on 16 millimeter film (8 cameras) by Owen Roizman (THE FRENCH CONNECTION) rather than the traditional videotape. 1972 was a banner year for director/choreographer Bob Fosse who won the Oscar for CABARET, the Tony for PIPPIN and the Emmy for this. It also serves as a reminder of what a dynamite triple threat entertainer Liza Minnelli was in the 1970s. Minnelli was still in fine voice and Fosse's sharp direction along with the material (lots of John Kander and Fred Ebb) and inimitable choreography make this special. Highlights are the Fosse choreographed numbers: I Gotcha, Bye Bye Blackbird and Son Of A Preacher Man which spotlight Minnelli's underrated dancing (Fosse said after Gwen Verdon, Minnelli was the one who understood his choreography the best). If you're a Minnelli or Fosse fan, you've probably already seen this but if you haven't, it's worth seeking out.

Defending Your Life (1991)

An L.A. advertising executive (Albert Brooks) is killed when his newly purchased car crashes into a bus. In the after life, he finds himself put on trial to justify his moving on to the next level or being sent back to Earth and reincarnated. In the meanwhile, he falls in love with a recently deceased woman (Meryl Streep) also awaiting a decision deciding her fate. Written and directed by Brooks, this inspired combination of romantic comedy and fantasy is a pure delight! Brooks' screenplay is clever and witty yet it's the romance between Brooks and Streep which gives the movie its heart. The movie is more introspective than some similarly themed films like HEAVEN CAN WAIT and GHOST and has one of the great romantic finales of all romcoms. I know Brooks has many admirers but other than this and MOTHER, his movies usually leaves me cold. With Rip Torn, Lee Grant, Buck Henry, Leonard O. Turner and in one of the film's funniest gags, Shirley MacLaine playing herself.     

Kid Nightingale (1939)

An aspiring opera singer (John Payne) is talked into becoming a heavyweight boxer by a boxing scout (Walter Catlett). He agrees on the condition that he can also train for the opera. With his good looks and singing voice, he becomes known as Kid Nightingale and lures a legion of swooning female fans to the ring. Directed by the Oscar nominated film editor George Amy (THE SEA HAWK) who directed a few films but had more success as a film editor. This mildly amusing B programmer is bolstered by an eager cast and its brief running time (it's barely an hour long). Its two attractive leads, Payne and Jane Wyman as his girl, are early in their careers and stardom for both would be a few years away. I've always liked Payne who had a nice screen presence and movie star looks but who never quite made the upper tier of stardom while lesser actors did. Who said life was fair? It's silly and predictable but one would have to work awfully hard to dislike it. With Edward Brophy, Charles D. Brown and Harry Burns.