The Celluloid Closet (1996)

A documentary that looks at Hollywood's depiction of LGBT characters on film from the earliest days of experimental silent cinema through early 1990s cinema. Based on the non fiction book by Vito Russo and directed by Rob Epstein and Jeffrey Friedman (LINDA RONSTADT: THE SOUND OF MY VOICE). Laced with film clips and interviews with writers, actors and critics, the film is an often fascinating look back at how homosexuals were perceived in an era when it was a taboo subject matter. While the word homosexual is never mentioned, their presence is there whether it is the sissies of Edward Everett Horton and Franklin Pangborn to the predatory lesbian vampire of DRACULA'S DAUGHTER. As the Hays code is relaxed (before disappearing forever in 1968), the 1960s ushered in films, often problematic, that were not afraid to discuss the subject. While I personally disagree with some of the movie's attitude (I think THE CHILDREN'S HOUR is still relevant and THE BOYS IN THE BAND is a sorry excuse for a "groundbreaking" gay movie), it remains a superb archival record of the history of gay cinema and LGBT characters in film. With Tom Hanks, Shirley MacLaine, Tony Curtis, Susan Sarandon, Whoopi Goldberg, Farley Granger, Harry Hamlin, Harvey Fierstein and narrated by Lily Tomlin.

Anora (2024)

A sex worker (Mikey Madison) who does lap dancing at a sex club works as a prostitute on her off hours. For some unfathomable reason, she falls in love with a spoiled Russian brat (Mark Eydelshteyn), who's a definite case of arrested development. Their marriage causes a ruckus when his parents find out. Written and directed by Sean Baker (TANGERINE). The winner of the Palme d'Or at last year's Cannes film festival and one of the most critically lauded movies of 2024. I was underwhelmed. The film's first 45 minutes are excruciating to sit through and it doesn't start popping until around the 47 minute mark. Madison gives a terrific performance, better than the movie deserves although I found her character's stupidity annoying. As the Russian male bimbo, Eydelshteyn comes across as a poor imitation of the "wild and crazy" Czech brothers played by Dan Aykroyd and Steve Martin on SATURDAY NIGHT LIVE. Other than Madison, there is one other performance worth mentioning: Yura Borisov as a Russian henchman who brings some complexity to an underwritten role. I found much of the film repetitive and could have been shorn by 15 minutes at least. With Karren Karagulian, Vache Tovmasyan and Darya Ekamasova.

The Smiling Ghost (1941)

A down and out engineer (Wayne Morris) is in desperate need of money so he jumps at the chance at $1,000 for pretending to be engaged to society woman (Alexis Smith). What he doesn't know is that the woman's three previous fiances have all died mysteriously. Will he ferret out the killer or will he be the next victim? Directed by Lewis Seiler (GUADALCANAL DIARY). This combination of screwball comedy and horror is mildly amusing in spurts but overall, it's silly but not in a good way. Wayne Morris's character is a dolt who doesn't summon up much interest or empathy so we're left adrift without a character to invest in. The identity of the killer is supposed to be a surprise but choose the most unlikely suspect in the whole movie and you've solved it. Alexis Smith shows some spark and she would move on to better roles (and movies) and despite playing the usual stereotypical black comedy relief, Willie Best manages to provide some genuine laughs. With Brenda Marshall, Lee Patrick and Alan Hale.

Oranges And Sunshine (2011)

Based on a true story, a social worker (Emily Watson) uncovers one of the most significant social scandals of recent times: the deportation of thousands of children from the United Kingdom to Australia. Children (some as young as 4 years old) who had been told their parents were dead and sent to children's homes on the other side of the world. But the injustice doesn't stop there as horror stories of what was done to them are revealed. Based on the non fiction book EMPTY CRADLES by Margaret Humphreys (played by Watson in the film) and directed by Jim Loach (MEASURE OF A MAN). This shocking scheme was first begun in 1869, largely discontinued in the 1930s but not entirely and not officially discontinued until the 1970s. The movie focuses on the children deported during the 1940s and 1950s. It wasn't until 2010 that the British government officially apologized for their part in this appalling scheme. It's a heartbreaking story and the movie doesn't manipulate the subject matter. Once again, the Catholic church's exploitation and abuse of these kids is horrendous. The strong central performance by Emily Watson gives the film an anchor to hold the movie together. With Hugo Weaving, David Wenham and Richard Dillane.

The Day The Fish Came Out (1967)

When a NATO plane accidently drops its nuclear cargo over Greece, the two pilots (Tom Courtenay, Colin Blakely) must retrieve the radioactive payload before government officials do. Written, produced and directed by Michael Cacoyannis (ZORBA THE GREEK). This black comedy is one of the most bizarre movies I've ever seen. Filmed in 1967, the movie is set in 1972 and the costumes (designed by director Cacoyannis) of the non Greek visitors have a slight futuristic look to them as does the dancing (choreography by Arthur Mitchell of the Dance Theatre Of Harlem) they do. While I appreciated the satire, its execution left something to be desired. The movie seems to go on forever covering the same ground. There's also a strong homoerotic undertone as Courtenay and Blakely spend the majority of the film running around in their tight jockey shorts while other male cast members wear bright colors (yellows, purples, reds) and see through shirts. Even Candice Bergen comes across as butch! I was entertained but probably not in the way the film makers intended. With Sam Wanamaker, Ian Ogilvy and Dimitris Nikolaidis.

Oregon Passage (1957)

Set in a Pacific Northwest U.S. Cavalry outpost in 1871. A renegade Shoshone leader (H.M. Wynant) is taking his time attacking the fort, waiting for the right time. Meanwhile, inside the fort, a clash of wills between the fort's stubborn commander (Edward Platt) and a Lieutenant (John Ericson) who was once his wife's (Lola Albright) lover threatens to put everyone at risk. Based on the novel by Gordon D. Shirreffs and directed by Paul Landres (THE RETURN OF DRACULA). Nothing to see here, just a routine Cavalry vs. the Indians fifties' western. The most interesting aspect of the movie is actually the subplot. The insanely jealous commander's (Platt) relationship with his bitter wife (Albright). I couldn't help but sympathize with her but, of course, the movie treats her as a conniving bitch who comes to a sad end. Albright brings more to the part than it deserves. With Rachel Ames, Toni Gerry (just awful as an Indian maiden) and Harvey Stephens.

Gia (1998)

A teenage girl (Angelina Jolie) moves from Philadelphia to New York City to pursue a modeling career. Her rise to the top of the modeling world is meteoric. But the price she pays is devastating. Directed by playwright turned director Michael Cristofer (THE SHADOW BOX). The tragic true story of Gia Carangi, often referred to as one of the very first "supermodels", her rise to fame in the fashion world and her descent into drugs and death from AIDS. Very well done for what it is, it's an unpleasant tale and often difficult to sit through. This was Angelina Jolie's breakthrough role and she's fantastic and the reason to see the film. In the hands of a lesser actress, this could have been yet another cautionary tale about the dangers of excess and drugs but Jolie's layered performance let's us see the innocent under the glamour, the hurt puppy looking for affection. With Faye Dunaway, Mercedes Ruehl, Mila Kunis, Elizabeth Mitchell, John Considine and Eric Michael Cole.

Vanessa: Her Love Story (1935)

On the eve of her wedding, the bride (Helen Hayes) wrongfully blames the groom (Robert Montgomery) for her father's (Lewis Stone) death and banishes him forever. This leads to unhappiness when both get married to others and find themselves trapped in loveless marriages. Based on the novel by Hugh Walpole and directed by William K. Howard (FIRE OVER ENGLAND). Boy, does this one creak! I find movies about women self sacrificing their lives over men or children that are bad eggs rather masochistic. But in the 1930s, this was still considered noble! This was the kind of drivel that drove Helen Hayes back to the legitimate stage. After this film, she wouldn't make another movie (excluding a cameo as herself in STAGE DOOR CANTEEN) for 17 years. Here, she suffers and suffers as she can't get a divorce from her insane husband (Otto Kruger) and Robert Montgomery suffers along with her losing an arm in the war and a child to an early death. With May Robson, Donald Crisp, Jessie Ralph and Ethel Griffies.

House Calls (1978)

A doctor (Walter Matthau), who is a recent widower, embarks on a quest to be a modern day Casanova. But when he meets a recent divorcee (Glenda Jackson) who won't be another one of his conquests, he must adjust his expectations of swinging bachelorhood. Directed by Howard Zieff (PRIVATE BENJAMIN). While it's nice to see a romantic comedy about two mature people, this rather mundane romcom goes nowhere. Moreover, I didn't find the movie's background of an incompetent hospital run by an incompetent staff amusing either. Patients die because of inept doctors, funny yes? Funny, no! What makes the movie tolerable is the star power and the chemistry between Matthau and Jackson. Reputedly, they loved working together and would go on to co-star in HOPSCOTCH two years later. The movie was a big hit and even spawned a TV series spinoff. With Art Carney, Richard Benjamin, Candice Azzara, Reva Rose, Thayer David, Brad Dexter and Jane Connell.

Sleepers West (1941)

A private detective (Lloyd Nolan) attempts to escort a witness (Mary Beth Hughes) on a train going from Denver to San Francisco where she will testify at a trial. But there are people who don't want the girl to testify and will do anything in their means to stop her. Based on the novel SLEEPERS EAST (previously filmed in 1934) by Frederick Nebel and directed by Eugene Forde (CHARLIE CHAN ON BROADWAY). This is the second entry in the four movie 20th Century Fox franchise featuring the detective Michael Shayne. I'm a big fan of movies set on trains and if it's a thriller or a mystery set on a train, I'm doubly happy so this movie was right up my alley. It's a brisk, fast moving (one hour, 14 minutes) mystery drama and there's always something going on so there's no wasted time. Good fun! With Lynn Bari, Louis Jean Heydt, Edward Brophy and Mantan Moreland.

Dune: Part Two (2024)

After the destruction of the House Atreides, its heir (Timothee Chalamet) and his pregnant mother (Rebecca Ferguson) accompany Fremen troops to the Fremen hold where he joins them in their battle against the Harkonnen. Based on the novel by Frank Herbert (previously filmed in 1984) and a sequel to DUNE (2021) and directed by Denis Villenueve (ARRIVAL). I wasn't a big fan of the 2021 installment but I found this entry superior. It's a true epic, spectacular in its visuals and far reaching in its scope. That being said, as good as it is, I found it much ado about nothing. It's like a beautiful coffee table book, an adornment that's pleasing to look at but essentially superficial. As to its narrative, it's bonkers but who goes to movies like this for plot? With Zendaya, Javier Bardem, Josh Brolin, Christopher Walken, Charlotte Rampling, Florence Pugh, Dave Bautista, Lea Seydoux, Stellan Skarsgard, Anya Taylor Joy and Austin Butler.

A Hatful Of Rain (1957)

Set in New York City, a Korean war veteran (Don Murray) is addicted to drugs. While his brother (Anthony Franciosa in an Oscar nominated performance) knows about his habit, his pregnant wife (Eva Marie Saint) does not. When their estranged father (Lloyd Nolan) comes for a visit, things come to a head. Based on the play by Michael V. Gazzo and directed by Fred Zinnemann (A MAN FOR ALL SEASONS). Though the film is minimally opened up for the screen, it still plays out like a filmed play. The narrative is divided between the drug addiction scenario and the strained marital situation. The "kitchen sink" domestic scenes between Murray and Saint are a real drag although the domestic scenes between Saint and Franciosa are well written and played out. While the movie might have seemed strong stuff in 1957 (though the edge had been taken off by Preminger's THE MAN WITH THE GOLDEN ARM two years earlier), its impact has weakened over the ensuing years. The acting is good though. There's a potent score by Bernard Herrmann. With Henry Silva, Gerald O'Loughlin and William Hickey.