Red, White And Zero (1967)

An anthology film consisting of three segments, each by a major director: 1) RIDE OF THE VALKYRIE directed by Peter Brook (LORD OF THE FLIES). An opera singer (Zero Mostel) in full costume must navigate his way through London's busy traffic to get to the theater in time for his performance. With Julia Foster. 2) THE WHITE BUS directed by Lindsay Anderson (O LUCKY MAN). While visiting a city, a young girl (Patricia Healey) from London takes a bus trip accompanied by the city's mayor (Arthur Lowe) and foreign tourists. 3) RED AND WHITE directed by Tony Richardson (TOM JONES). A cabaret singer (Vanessa Redgrave) sings love songs in French while reflecting on the messiness of her love life. The first film, shot in B&W, is a curtain raiser running about 14 minutes. It's done minus dialog and is a homage to the silent Mack Sennett comedies. It's short and doesn't wear out its welcome. The second film, shot in B&W and color, is a jumbled affair about (I think) a girl returning to her hometown and feeling alienated in what was once her home. The third story, shot in color, is the most successful. A mini musical influenced by Jacques Demy and beautifully shot by Billy Williams (WOMEN IN LOVE). With Douglas Fairbanks Jr., Michael York, Gary Raymond and Robert Flemyng.

Every Girl Should Be Married (1948)

A salesgirl (Betsy Drake) in a major department store sets her marital sights on a prominent pediatrician (Cary Grant). Unfortunately, he's not interested in marriage or her. But she's determined to land him by whatever trick or subterfuge necessary. Based on the short story by Eleanor Harris and directed by Don Hartman (HOLIDAY AFFAIR). An unpleasant romantic comedy. There's something rather pathetic about a woman so desperate to get married that she'll humiliate herself, tell lies and manipulate people to get what she wants. She is, in fact, what today we call a stalker. Yet we're meant to think this psychotic is adorable! It might have helped if Betsy Drake had a bit more charm or charisma but she doesn't. Perhaps if the charming Diana Lynn had played the role instead of the bland role of the heroine's best friend it might have been more tolerable. With Franchot Tone, Eddie Albert, Alan Mowbray and Elisabeth Risdon.

The Thirty Nine Steps (1978)

Set in 1914, a mining engineer (Robert Powell) visiting Great Britain takes in a neighbor (John Mills) who is being pursued by German agents. He tells the engineer of a plot to assassinate the Greek prime minister. When he is killed, the engineer is suspected of his murder and goes on the run. Based on the novel by John Buchan and directed by Don Sharp (KISS OF THE VAMPIRE). This is the third film version of Buchan's book. The most famous being the 1935 Alfred Hitchcock version and it was later filmed again in 1959. This version however is the closest to the Buchan book as Hitchcock made numerous plot changes and added a major female character not in the book. The 1959 movie is essentially a remake of the Hitchcock film rather than the original novel. The film is hampered by a colorless leading man (Powell) but on its own terms it's fairly successful. It has a marvelous set piece featuring Big Ben that I'm sure Hitchcock would have approved of, not unlike the finale of NORTH BY NORTHWEST. With David Warner, Karen Dotrice, Eric Porter, George Baker and Andrew Keir.

The Sunshine Boys (1996)

A theatrical agent (Sarah Jessica Parker) tries to reunite her uncle (Peter Falk) and his old partner (Woody Allen), who were once a famous comedy act, for a movie. There's a problem though ..... they can't stand each other. Based on the play by Neil Simon (previously filmed in 1975) and directed by John Erman (AN EARLY FROST). I'm not a fan of Simon's play and didn't care at all for the Oscar winning 1975 film adaptation. Still, I thought I'd give this remake a chance and it still didn't work for me. This  time around, I liked Allen's character who seemed a more sensible character than Falk's irritating stubborn curmudgeon. But it's just not very funny. Simon has updated this adaptation, the comedy team are no longer ex-vaudevillians but stars from the golden age of television. With Whoopi Goldberg, Liev Schreiber, Edie Falco and Michael McKean.

Julietta (1953)

A young girl (Dany Robin) engaged to marry a Prince (Bernard Lancret) she doesn't love misses her train to Paris while returning a cigarette case to a lawyer (Jean Marais). He reluctantly offers to let her stay the night in his country manor until she can catch the next train to Paris in the morning. She accepts and everything goes crazy from then on. Based on the novel by Louise De Vilmorin and directed by Marc Allegret (LADY CHATTERLY'S LOVER). An imperfect mixture of romcom and screwball comedy, French style. It's all done at a frantic pace as befits a farce but its three main characters aren't likable which keeps the viewer at a distance. Normally I find lovely Dany Robin charming but here, she's an irritating and selfish brat. Jean Marais's attorney is a weakling when it comes to strong willed women in his life and as his haughty fiancee, Jeanne Moreau vacillates between a shrill neurotic and a henpecking bitch. It was interesting watching Moreau in the kind of part usually played by Gail Patrick in Hollywood comedies like MY MAN GODFREY and MY FAVORITE WIFE, a sort of female Ralph Bellamy. You'd never guess that just a few years later, she would become one of France's most important actresses. Entertaining up to a point but that point is reached quickly. With Nicole Berger and Georges Chamarat.

Charge Of The Black Lancers (1962)

Set in the 16th century in what is now known as Ukraine, an ambitious soldier (Jean Claudio), who wants to be appointed the commander of his country's army, is seduced by an evil queen (Yvonne Furneaux) into betraying his people and pits him against his noble brother (Mel Ferrer), who is also a soldier. Directed by Giacomo Gentilomo (YOUNG CARUSO). The same year as the more extravagant TARAS BULBA set during the same time period and same country pitted father against son, this Italian attempt at a swashbuckler pits brother against brother. I'd call it a peplum except that it's not set in ancient Rome, Greece or biblical times. The movie's epic battle near the tail end of the film is decent enough but overall it's on the dull side. I have a soft spot for evil queens so for me, the movie perked up whenever Yvonne Furneaux was on screen. With Leticia Roman and Lorella De Luca.

The Late George Apley (1947)

Set in 1912 Boston, a member (Ronald Colman) of Boston's upper class finds it difficult to adjust to a changing world when his daughter (Peggy Cummins) and son (Richard Ney) both fall in love with people outside their "class". Based on the novel by John P. Marquand (H.M. PULHAM ESQ.) by way of a Broadway adaptation and directed by Joseph L Mankiewicz (ALL ABOUT EVE). Perhaps the most literate of Hollywood film makers, Mankiewicz' dialog driven film is on the dry side. A movie about a pompous stuffed shirt who believes people should stick to their own kind (or class if you prefer) and attempts to control his adult children's lives can set your teeth on edge. Colman is the perfect actor for the part (not necessarily a compliment) but his beginning to "see the light" at the film's end seems rushed rather than organic. With Vanessa Brown, Richard Haydn, Edna Best, Mildred Natwick and Charles Russell.

Honeymoon In Bali (1939)

The head (Madeleine Carroll) of a major department store is totally focused on her career and marriage isn't in the cards. Her resolve is tested when a visitor (Fred MacMurray) from Bali tries to sweep her off her feet. Based on the short stories OUR MISS KEANE by Grace Sartwell Mason and FREE WOMAN by Katharine Brush and directed by Edward H. Griffith (THE SKY'S THE LIMIT). Sigh! Yet another 1930s/40s romantic comedy about a career woman who is considered incomplete without a husband and children! So, of course, we know how the movie will end. Perhaps it would have been more tolerable if it were actually romantic and funny but no dice. It's all rather charmless. They even throw in an "adorable" moppet (Carolyn Lee) who has no parents to tug at our heartstrings. Not the fault of the actors. Both Madeleine Carroll and Fred MacMurray are appealing but they can't turn straw into silk. With Akim Tamiroff, Helen Broderick, Osa Massen and Monty Woolley.

Tail Spin (1939)

A budding aviatrix (Alice Faye) is determined to make a name for herself in flying circles by winning an air race. To this end, she enters the Powder Puff national race. Her main competition comes from a wealthy society girl (Constance Bennett), who she resents because she comes from a life of privilege. Based on the novel WOMEN WITH WINGS by Genevieve Haugen (who was an advisor and stunt pilot on the film) and directed by Roy Del Ruth (BROADWAY MELODY OF 1938). The focus on female pilots makes this ordinary narrative more interesting than if it had been focused on male pilots. But that's about the only point of interest here. The acting is above average and Alice Faye (not an actress I'm particularly fond of) gets an opportunity to display some acting chops. It's not a subtle film, it telegraphs events. One of the characters may as well have "I'm going to die in a plane crash" tattooed on their forehead while another could have a "I'm going to commit suicide" tattooed on theirs. To be fair, I found it very entertaining. With Jane Wyman, Nancy Kelly, Joan Davis, Charles Farrell and Harry Davenport.

Bugonia (2025)

The powerful CEO (Emma Stone) of a pharmaceutical company is kidnapped by a conspiracy theorist (Jesse Plemons) and his dim witted cousin (Aidan Delbis, who just about steals the movie). They are convinced she is part of an invasive alien species bent on the destruction of the human race. Based on the 2003 South Korean film SAVE THE GREEN PLANET and directed by Yorgos Lanthimos (POOR THINGS). A fantastical black comedy with a grim view of mankind. It fits in with my cynical world view so naturally I loved it! The three main actors are fully committed to their extreme characters making them both absurdly amusing and frightening at the same time. It's the kind of movie best going in with knowing as little as possible. Funny, thrilling, grisly, and suspenseful. Bonkers but with one foot firmly planted in reality. What more do you need? With Alicia Silverstone and Stavros Halkias.

No, No, Nanette (1940)

A perky young girl (Anna Neagle) attempts to save the marriage of her uncle (Roland Young) and aunt (Helen Broderick) by untangling several innocent but ensnaring flirtations. In doing so, she attracts a theatrical producer (Victor Mature) and an artist (Richard Carlson), who both fall in love with her. Based on the 1919 Broadway musical and directed by Herbert Wilcox (IRENE). The producer/director Wilcox has gutted the musical numbers from the popular musical and what we have left is an average screwball comedy with a smattering of songs. Actually, only three songs from the show are left: No, No, Nanette is sung over the film titles, there's a perfunctory version of I Want To Be Happy, the show's most famous song Tea For Two plus a dream dance number not from the show with Anna Neagle. There have been more egregious treatment of Broadway musicals transitioning to film (FANNY and IRMA LA DOUCE had their entire song catalog jettisoned making them non musicals) but one wonders why buy the rights to a musical if you're not going to use the songs! That aside, it's moderately entertaining but unmemorable. With Eve Arden, Zasu Pitts and Billy Gilbert.

Agent Trouble (1987)

A drifter (Tom Novembre) discovers a bus full of dead tourists and proceeds to rob the bodies. Returning home, he visits his aunt (Catherine Deneuve) and tells her what he has done. This brings her to the attention of an assassin (Richard Bohringer). When her nephew is later found murdered, she resolves to find not only his killer but the secret of the busload of dead tourists. Based on the novel THE MAN WHO LOVED ZOOS by Malcolm Bosse and directed by Jean Pierre Mocky (LE MIRACULE). An often bewildering satirical conspiracy thriller that when it was over, I still wasn't clear on the specifics of the "cover up". I found the nephew's character repugnant and was relieved when he was killed off about forty minutes into the film so I wouldn't have to see him again. A deglamorized Deneuve (wearing a hideous wig) maintains enough charm that she manages to hold the film together as well as being the only character in the movie that one remotely cares about. She was nominated for a best actress award at the Cesars (the French Oscars) for her work here and Dominique Lavanant as her next door neighbor got the best supporting actress award. With an early Kristin Scott Thomas performance as a hooker, Sophie Moyse and Maxime Leroux.