The Dark Crystal (1982)

Set on a different planet thousands of years ago, a powerful crystal cracks which causes two new races to appear, the gentle Mystics and the cruel Skeksis. As the Great Conjunction of the planet's three suns draws near,  the dying Mystic master (Sean Barrett) instructs a young boy (Stephen Garlick) of a near extinct race called Gelflings to heal the crystal by retrieving a missing shard from the crystal. Directed by Jim Henson (LABYRINTH) and Frank Oz (LITTLE SHOP OF HORRORS). Notable for its groundbreaking animatronics (for its time), this dark fantasy film received mixed reviews upon its original release but has since gone on to become a cult classic. I think it's a marvelous fantasy with Henson creating a captivating world of unique creatures and a compelling storyline. Perhaps a little too dark for younger children (the Skeksis may scare those under ten years old) but I'll take its epic high fantasy over the J.R.R. Tolkien output any day of the week. The gorgeous score is by Trevor Jones. With Billie Whitelaw, Barry Dennen and Lisa Maxwell.

Winner Takes All (1975)

A suburban housewife (Shirley Jones) is addicted to gambling and finds herself $30,000 in debt. She's kept this addiction a secret from her husband (Laurence Luckinbill) but when he needs the money to buy into a business, she scrambles to replace it before he finds out. Directed by Paul Bogart (TORCH SONG TRILOGY). Films about alcoholism and drug addiction are pretty common. Movies about gambling addiction are fewer and this melodrama takes its protagonist to rock bottom. We see her self destructing before our very eyes and unable to stop herself, she slides deeper and deeper into gambling hell until she can't sink any lower. As far as these cautionary movies go, this is a solid entry. Shirley Jones gives a very strong central performance and she's surrounded by a vigorous supporting cast. With Sylvia Sidney, Joan Blondell, Sam Groom, Joyce Van Patten and Alice Backes.

Sans Lendemain (aka There's No Tomorrow) (1939)

A widow (Edwige Feuillere) is reduced to working as a topless dancer in a disreputable nightclub in order to support her young son (Michel Francois). When a former love (Georges Rigaud), now a successful doctor, reenters her life, she hides her present life and puts on a charade of being more successful than she is. But maintaining her secret won't come easy or without a cost. Directed by Max Ophuls (LETTER FROM AN UNKNOWN WOMAN). This high class soap opera didn't quite work for me. I found the woman's deception disturbing. If the man (Rigaud) really loved her, her present situation wouldn't matter. Her lying only makes matters worse and gets her deeper into trouble with each lie. During his glossy melodrama period at Universal, Douglas Sirk remade several films that were popular in the 1930s (IMITATION OF LIFE, MAGNIFICENT OBSESSION, WHEN TOMMOROW COMES) and it's too bad, he didn't remake this one. It could have used his critical eye while supplying the lush melodramatic ironies of a woman descending into a hell of her own making but not choosing. With Daniel Lecourtois, Mady Berry, Paul Azais and Georges Lannes.

Our Vines Have Tender Grapes (1945)

Set in Wisconsin, the film follows a year in the life of Norwegian immigrants in a small farm town. There is no plot as such, it's an episodic slice of Americana seen through the eyes of a seven year old girl (Margaret O'Brien). Based on the novel by George Victor Martin and directed by Roy Rowland (HIT THE DECK). It's a well intentioned movie, the kind of film you might refer to as endearing or sweet. But I found it overly simplistic and sentimental in spite of some good performances, notably Edward G. Robinson in an atypical role as a gentle and kindly hard working farmer who dreams of having a new barn. The film has a slight socialist bent which might have been unconsciously placed by screenwriter Dalton Trumbo whose last credited film this was until 1960. The House Un-American Activities Committee caused him to be blacklisted from Hollywood for 15 years (although he continued to write screenplays under pseudonyms). 1945 audiences embraced it and the film was a big hit for MGM. With Agnes Moorehead, James Craig, Frances Gifford, Jackie Butch Jenkins, Morris Carnovsky, Sara Haden and Elizabeth Russell.

All Hands On Deck (1961)

A Lieutenant (Pat Boone) in the U.S. Navy is assigned to look after a troublesome sailor (Buddy Hackett) who comes from an oil rich Indian tribe. This assignment conflicts with his intended marriage to a reporter (Barbara Eden). Based on the novel WARM BODIES by Donald R. Morris and directed by Norman Taurog (BLUE HAWAII). The novel received good reviews and was compared to MISTER ROBERTS. I've not read the book but obviously something was lost in its transition to the screen. It's pure sitcom material (and not a good sitcom) and it plays out like an extended episode of MCHALE'S NAVY. The most glaring aspect of the movie is the troublemaking Native American played by Buddy Hackett. Simply put, its portrayal is degrading to Native Americans and it's not a situation of "that's how they did things then" because is was embarrassing even in 1961. This was Boone's first film since JOURNEY TO THE CENTER OF THE EARTH (1959) because he took almost two years off to study acting with Sanford Meisner. With Dennis O'Keefe, Warren Berlinger, Gale Gordon and Ann B. Davis.

Half Angel (1951)

A prim and proper nurse (Loretta Young) has a suppressed personality. Sometimes, her other personality, that of a bold seductress takes over but she doesn't remember what happens. Complications ensue when the repressed nurse becomes engaged to one man (John Ridgely) but the femme fatale seduces another man (Joseph Cotten), who falls in love with her. Directed by Richard Sale (GENTLEMEN MARRY BRUNETTES). This Technicolor comedy should be way funnier than it is. The premise is rife with farcical possibilities but they're nowhere to be found. The movie's screenplay assumes that the very idea of a woman having a split personality is comic enough and it just isn't. It's not fair to judge the performances of Young and Cotten because the script puts a strait jacket on them. Even expert farceurs like Irene Dunne and Cary Grant would be hard pressed to elevate the comedic quotient. With Cecil Kellaway, Jim Backus, Irene Ryan and Basil Ruysdael.

Nosferatu (2024)

Set in 1838 Germany, a young wife (Lily Rose Depp) is haunted by the spectre of a Transylvanian vampire called Nosferatu (Bill Skarsgard) who she gave herself to as a girl out of loneliness. After her marriage to a real estate agent (Nicholas Hoult), the vampire has left her alone but he is only biding his time. A remake of the 1922 silent classic by F.W. Murnau (itself inspired by Bram Stoker's DRACULA) and directed by Robert Eggers (THE WITCH). Quite simply, a superb horror film, an instant classic. Dripping with atmosphere and drenched in mood as well as dread, Eggers isn't interest in scaring us but in exploring the psychological horror inflicted on Depp's bride. While his presence is continually felt, the vampire is a supporting character as the emotionally bereft wife takes center stage. This is really Depp's movie. Although shot in color, Jarin Blaschke's monochromatic texture gives the movie a B&W sheen. My only (and minor) complaint is its nod to THE EXORCIST. Effective yes but the film didn't need it. Horror fans should embrace this one! With Willem Dafoe, Aaron Taylor Johnson, Simon McBurney and Emma Corrin.

The Prime Of Miss Jean Brodie (1969)

Set in 1932 Edinburgh, Scotland. An eccentric school teacher (Maggie Smith in an Oscar winning performance) in a conservative girls school attempts to inspire and encourage her students (known as the Brodie girls) to independent thinking. But as she espouses her wisdom on art, music and life ..... is she, in fact, a dangerous influence on the impressionable girls? Based on the play by Jay Presson Allen (in turn, based on the novel by Muriel Spark) and directed by Ronald Neame (THE POSEIDON ADVENTURE). Understandably, Presson's play differs from Spark's novel which would have been difficult to adapt faithfully. What we get is a strong melodrama with a tour de force performance by Maggie Smith. While I admire Smith's exemplary work here, there's a layer of campy (a bit of the drag queen) artificiality that prevents me from fully embracing her performance. After awhile, I began to wonder how Dame Edna Everage would have done in the part. I don't mean that as a putdown, Smith has some heartbreaking moments that stand with the best work she's done. The casting is impeccable down to the smallest roles. With Pamela Franklin, Celia Johnson, Robert Stephens, Jane Carr, Gordon Jackson, Rona Anderson and Diane Grayson.

Bury My Heart At Wounded Knee (2007)

Beginning in 1876, the film explores the aftermath of the Sioux triumph over General Custer at Little Big Horn. Three characters are at its center: a young Dartmouth educated Sioux doctor (Adam Beach), the proud Lakota chief Sitting Bull (August Schellenberg) who refuses to submit to government policies that would strip his people of their identity and dignity and a U.S. Senator (Aidan Quinn), one of the men responsible for government policy on Indian affairs. Based on the non fictional book by Dee Brown and directed by Yves Simoneau (MOTHER'S BOYS). The betrayal and genocide of Native Americans is one of the most shameful chapters in American history. This well thought out documentary like movie details how what was supposed to be a positive plan to assimilate Native Americans (albeit on enforced residency on reservations) into a self sufficient group able to sustain themselves on their own property turns into broken promises and acts of betrayal that would further strip Native Americans of their lands. The film has actors who at least are partially indigenous North Americans (mostly from Canada) rather than Caucasian actors playing "Indians". With Anna Paquin, J.K. Simmons, Colm Feore, Fred Dalton Thompson, Gordon Tootoosis and Chevez Ezaneh.

Looking For Mr. Goodbar (1977)

An inner city school teacher (Diane Keaton) for deaf children leads a double life. A respectable school teacher by day, at night she frequents dive bars and dance clubs looking for easy men and one night stands. Based on the novel by Judith Rossner and directed by Richard Brooks (ELMER GANTRY). Rossner's novel was inspired by the shocking 1973 murder of a school teacher, Roseann Quinn. A dark and disturbing movie that encapsulates the 1970s sexual revolution of one night stands and random sex that ushered in the era of AIDS in the 1980s. Keaton had a one two punch in 1977 with this film and ANNIE HALL. She won an Oscar for the latter but this is the film she should have won the Oscar for. It's a brave "go for it" performance and she holds nothing back. It's still the best performance of her career. Nothing she did before or since comes close. The film is not without its flaws. At times, Brooks pushes too hard and the film becomes lurid in ways that the book never was. With Tuesday Weld (in an Oscar nominated performance), Richard Gere, Tom Berenger, Richard Kiley, William Atherton, LeVar Burton, Brian Dennehy and Priscilla Pointer.

Charlie Chan At The Race Track (1936)

When a prominent race horse owner (George Irving) winds up dead, allegedly kicked to death by his prized stallion, renowned detective Charlie Chan (Warner Oland) is called in to investigate. When he discovers foul play, he's soon hot on the hooves of an international gambling ring. Based on the character created by Earl Derr Biggers and directed by H. Bruce Humberstone (SUN VALLEY SERENADE). The 12th entry in the 20th Century Fox produced Chan franchise is one of the lesser Chan movies although I may rate it lesser because I have an aversion to horse racing so take that into account. But I found the film's "mystery" rather convoluted and just couldn't get interested in the outcome. As usual, as the number one son, Keye Luke provides most of the film's humor though John H. Allen as a black stable boy is there to provide additional laughs but it's the kind of stereotypical racial humor often foisted on black characters in 1930s and 1940s films. With Helen Wood, Thomas Beck, Alan Dinehart and Frankie Darro.

Cat On A Hot Tin Roof (1984)

Set in Mississippi, a wealthy cotton tycoon (Rip Torn) is dying of cancer. His immediate family have temporarily withheld the information from him. Meanwhile, his son (Tommy Lee Jones) has taken to drink while his wife (Jessica Lange) struggles to save her marriage. Based on the play by Tennessee Williams and directed by Jack Hofsiss (I'M DANCING AS FAST AS I CAN). One of the most popular and performed of Williams' plays, this was the third filmed version of his play. The famous 1958 film version with Elizabeth Taylor was compromised by the censorship standards of the day. In 1976, Natalie Wood played Maggie The Cat in a British televised production with Laurence Olivier as Big Daddy. Here, there are some minor revisions to the original text made by Williams himself. It's a beautifully crafted play and well acted. Lange makes for an excellent Maggie although there's a bit of self consciousness in her performance. With Kim Stanley in an Emmy award winning performance, Penny Fuller and David Dukes.