The Crucible (1967)

Set in the Massachusetts Bay Colony in 1692. After a clergyman (Henry Jones) catches a group of girls dancing naked including his own daughter (Kathleen Cody) and engaging in a pagan ritual, his daughter lies in a coma as the village is rife with rumors of witchcraft. Soon the hysteria spreads as neighbor accuses neighbor of witchcraft. Based on the play by Arthur Miller and directed by Alex Segal (RANSOM!). This adaptation of Miller's celebrated play is an allegory of the House Un-American Activities witch hunts that destroyed so many lives in the 1950s. It's a straightforward production of Miller's play with excellent performances with three standing out: George C. Scott as a man whose wife (Colleen Dewhurst) is accused of witchcraft by a vengeful girl (Tuesday Weld) after he ends their affair. It's an unsettling and disturbing production to sit through since it has its basis in historical fact. That human beings could do this to their fellow man is shocking and some 300 years later, it's still difficult to comprehend the intentional evil. With Melvyn Douglas, Fritz Weaver, Catherine Burns, Cathleen Nesbitt and Will Geer.

Golden Needles (1974)

A priceless ancient Chinese statue that has the power to give health and vigor if used properly with acupuncture needles (if used improperly, it causes death) is pursued by two ruthless men, an American (Burgess Meredith) and a Chinese (Roy Chiao) who will stop at nothing to attain it. Directed by Robert Clouse (ENTER THE DRAGON), this martial arts action movie is a bit of a mess. The action sequences never amount to anything more than okay, the karate sequences are a bit livelier but I've seen better. But its near incoherent plot never makes much sense which leaves its characters up a creek without a paddle. Joe Don Baker had scored a sleeper hit the year before in WALKING TALL so someone thought it might be a feasible idea to make him a movie star and this movie is the result. It didn't and by the 1980s he was back doing character parts. As Baker's romantic interest, Elizabeth Ashley is overqualified for stuff like this and can only assume a paid trip to Hong Kong was an incentive. With Ann Sothern, Jim Kelly and Frances Fong.

Belfast (2021)

Set in 1969 Ireland during the Northern Ireland conflict between Protestants and Catholics (though it wasn't really a religious war), a working class Protestant family struggles to stay neutral while the fighting rages around them. Eventually, they're pulled into the conflict against their will. Written and directed by Kenneth Branagh, this is his best film since HAMLET (1996) though ALL IS TRUE (2018) is very good. Probably because it's such a personal project for him. This ode to his childhood in Belfast brings up memories of John Boorman's HOPE AND GLORY. Shot in notable B&W with occasional splashes of color by Haris Zambarloukos (MAMMA MIA), the film is seen through the eyes of a 9 year old boy beautifully played by young Jude Hill. Branagh perfectly captures the angst of parents reluctant to give up the home they've known all their lives yet watching as the horror of war creeps into their daily lives and threatens to destroy the childhood of as well as lives of their sons. It's flawlessly acted by its ensemble cast. The only sour note I found was the use of the song from HIGH NOON during a crucial scene which came across as a bit cheesy. With Caitriona Balfe, Jamie Dornan, Judi Dench, Ciaran Hinds and Lewis McAskie.

Poison (1991)

Three intercut stories dealing with "misfits" living outside of society's margin are told in genre style vignettes: 1) HERO. After killing his abusive father (Edward Allen), a boy literally flies out the window never to be seen again. 2) HORROR. A scientist (Larry Maxwell) accidentally drinks a potion that turns him into a disfigured murderous leper. 3) HOMO. In prison, an inmate (Scott Renderer) finds himself sexually attracted to another inmate (James Lyons). Written and directed by Todd Haynes (FAR FROM HEAVEN) in his feature film debut, the film was considered an audacious entry in the burgeoning gay cinema and parts of it are still potent. But overall, I found that time has not been kind to the film. Its intentional (?) amateurishness renders it an artifact of its time. Certainly, it is not without interest. Clearly there's a man of talent at the helm and Haynes would go on to make some masterworks like SAFE and FAR FROM HEAVEN and POISON shows a budding artist on his way. I found HERO to be the most engrossing of the three stories but it gets shortchanged as Haynes seems more interested in the other two tales. With Edith Meeks and Susan Gayle Norman.

The Case Of The Black Cat (1936)

Famous attorney Perry Mason (Ricardo Cortez) is summoned in the middle of the night by an eccentric millionaire (Harry Davenport) who wants to cut his granddaughter (Jane Bryan) out of his will. Shortly thereafter, he is killed in a fire under suspicious circumstances. Based on the novel THE CASE OF THE CARETAKER'S CAT by Erle Stanley Gardner and directed by William C. McGann. The fifth entry in the Warners Perry Mason franchise and the first without Warren William as Mason. The tone in this film is decidedly different than the previous Perry Mason films. The Warren William movies were rich in humor and combined screwball comedy with the mystery. This one is closer to the Gardner books and on the serious side. It's also the first in the series to actually show Mason in the courtroom defending a client. The previous entries had Mason as more of a detective. The title is inaccurate. There is a cat in the movie and he's very important to the plot but he is not black. While the humor is missed, the movie is fast paced and I enjoyed it probably because it's closer to the Raymond Burr TV series I grew up with. With June Travis as Della Street, Garry Owen as Paul Drake, Guy Usher as Hamilton Burger, Craig Reynolds, Nedda Harrigan and Bill Elliott.

La Macchina Ammazzacattivi (aka The Machine To Kill Bad People) (1952)

Set in a small coastal village in Italy, a struggling photographer (Gennaro Pisano) is given the power to kill the bad people of his village by taking their picture. But as he uncovers evil, greed and cruelty in the town, will anyone be left alive when he's done? Directed by Roberto Rossellini (STROMBOLI), this whimsical comedic fantasy is unlike anything he's ever done. At least that I've seen. When one thinks of Rossellini, one doesn't think of whimsical comedies. If it were a bit more irreverent, I would have compared it to some of Bunuel's comic pieces. It's a slight concoction, a one joke premise that promises to run out of steam but Rossellini smartly ends it before it does. It's a morality tale whose moral is pretty obvious but that doesn't preclude an enjoyable journey with bits and pieces of charm and a surprise at the end. With Giovanni Amato, Clara Bindi, Giacomo Furia and Marilyn Buferd (Miss America 1946).

Black Zoo (1963)

A sociopath (Michael Gough) owns a private zoo in the San Fernando Valley. He literally worships his menagerie which includes big cats and primates and he has trained them to kill anyone who stands in his way. Directed by Robert Gordon (IT CAME FROM BENEATH THE SEA), this is a rather subdued horror film. Most of the violence is done off screen or shown very briefly and not graphic. Nicely shot in wide screen Panavision by the Oscar winning cinematographer Floyd Crosby (OLD MAN AND THE SEA), much of the footage is devoted to the big cats and while they're quite majestic, it does make for tedious scenes. The script is poorly written and most of the actors are defeated by the dialogue. Exceptions include Jeanne Cooper as Gough's abused wife and Virginia Grey as her theatrical agent (their one scene together is the best acted scene in the movie) who somehow manage to make the dialogue sound natural. Lucky Rod Lauren is playing a mute so he's spared. Gough snarls and spits his dialogue out as if he were playing a junkyard dog and after awhile one can't help wondering why he isn't in a padded cell somewhere. With Marianna Hill, Jerome Cowan, Edward Platt and Elisha Cook Jr.

Poliziotto Sprint (aka Highway Racer) (1977)

An arrogant cop (Maurizio Merli), a member of Rome's Mobile Squad, has a reputation for recklessness and disregard for authority. When he is assigned to go undercover and infiltrate a notorious gang of bank robbers, will he be able to pull it off or will his careless attitude do him in? Directed by Stelvio Massi, this Italian poliziottesco is one long series of car chases. It's like a musical in that instead of stopping the story for a song, the movie stops for a car chase. I like a good car chase (BULLITT, FRENCH CONNECTION) as much as the next guy but a whole movie? The real stars of the film are the stuntmen and precision drivers. So if speeding through crowded traffic and endangering lives give you a thrill, you should find much to like here. Merli's immature self centered cop is a turn off so you don't much care what happens to him and his 360 turnaround to responsible lawman happens too quickly to be believable. Stelvio Cipriani's underscore hits all the right notes. With Angelo Infanti, Giancarlo Sbragia and Lilli Carati.

Two Smart People (1946)

A con man (John Hodiak) who has stolen some bonds is on the run and pursued by a determined cop (Lloyd Nolan). But a con femme fatale (Lucille Ball) is also after those bonds. The three of them find themselves on a train headed for New Orleans. Directed by Jules Dassin (BRUTE FORCE), the film doesn't have a very good reputation but overall, I rather enjoyed it. It starts off well enough as long as it sticks to the larcenous competition between Ball and Hodiak but bogs down in the middle section when romance enters the movie before picking up with a spectacular Mardi Gras sequence. Dassin's career at MGM wasn't very impressive but once he left the studio and showed a talent for tougher film noir with such films as NAKED CITY, THIEVES HIGHWAY and NIGHT AND THE CITY, he seemed set for an impressive career until HUAC caused him to go to Europe to seek work. The imposing Mardi Gras set piece foreshadows Dassin's aptitude for darker material. With Hugo Haas, Lenore Ulric and Elisha Cook Jr. 

Sherlock Holmes (1916)

A series of letters which compromise a European royal family are held by a young woman (Marjorie Kay), the sister of a dead girl betrayed by a prince. A representative (Ludwig Kreiss) of the royal family asks the assistance of the renowned detective Sherlock Holmes (William Gillette) in retrieving the letters. However, Holmes' arch enemy Professor Moriarty (Ernest Maupain) also desires the letters for the purpose of blackmail. Based on the stage success by William Gillette (who plays Holmes here) and directed by Arthur Berthelet. While not based on any particular Arthur Conan Doyle story, actor/writer Gillette took bits and pieces of A SCANDAL IN BOHEMIA, A STUDY IN SCARLET and THE FINAL PROBLEM to create his play. It was a great success and Gillette played Holmes for well over a thousand performances. As far as a representation of Conan Doyle's iconic character goes, it's not especially notable (though it does have Holmes falling in love). But it is one of the earliest and most ambitious depictions of Holmes on screen. Holmes fans as well as fans of silent movies should enjoy it. With Edward Fielding as Dr. Watson, Mario Majeroni and Grace Reals.

Cattle King (1963)

Set in 1883 Wyoming, a cattle rancher (Robert Taylor) is trying to peacefully hold on to his spread and avoid a range war but a cattle baron (Robert Middleton) hires a gunslinger (Richard Devon) to intimidate the ranchers who refuse to accede to his threats. Directed by Tay Garnett (THE POSTMAN ALWAYS RINGS TWICE), this low budget western could just as well been an episode of BONANZA. I think I was supposed to admire Taylor's reticence to involve himself in violence but he seemed too unbelievably naive to not know that eventually it would erupt in violence. If he'd taken a stronger stand earlier, some deaths could have been avoided. But it passes the time just fine, just don't expect anything more than a routine oater. With Joan Caulfield, Robert Loggia, William Windom, Virginia Christine, Ray Teal, Maggie Pierce and Larry Gates as Chester A. Arthur, President of the United States.  

The Ambassador's Daughter (1956)

To win a bet, the daughter (Olivia De Havilland) of the American ambassador (Edward Arnold) in Paris goes out with a soldier (John Forsythe) by pretending to be a French model. Written and directed by Oscar winning writer Norman Krasna (he only directed three movies). This romantic comedy reunites him with De Havilland who starred in PRINCESS O'ROURKE, the film that won him his Oscar. This piece of piffle is basically a riff on that film in which De Havilland played a princess who pretended to be a war refugee as she romanced an American pilot. While I wasn't very enthusiastic about PRINCESS O'ROURKE, it had a bit of charm that carried it through most of the film. Lightning doesn't strike twice here and this results in tedium. Originally intended as a vehicle for Gene Tierney and Van Johnson, the pairing of a matronly De Havilland (she was pushing 40) and the bland Forsythe doesn't set off any sparks. Shot in CinemaScope, the French locations are attractive and De Havilland and Myrna Loy (as a Senator's wife) look quite striking in their Christian Dior frocks. With Adolphe Menjou, Tommy Noonan and Francis Lederer.