After The Hunt (2025)

When a colleague (Andrew Garfield) is accused of a sexual assault by a PhD student (Ayo Edebiri), a professor (Julia Roberts) of philosophy at Yale university is pushed into the conflict with each of them expecting her to stand by them. Directed by Luca Guadagnino (CHALLENGERS). Unfairly dismissed by critics as "muddled" or "unfocused", I found the film challenging and complex and reveled in its ambiguity. The film doesn't offer up any closure, any answers and at the film's end, it's cryptic as to the characters' motivations, actions and perhaps most annoying to most critics and viewers ..... the truth. Despite the movie's plot, it's not about rape. It's about the way we deceive others and ourselves, how we see in people what we want to see in them, how we're not honest about the monsters we have inside us, how we always have a choice even when we say we don't. Julia Roberts does her best work in 12 years (AUGUST OSAGE COUNTY) and she gets solid support from Garfield, Edebiri (who we're never quite sure about), Chloe Sevigny and especially Michael Stuhlbarg as Roberts' husband.

The Clay Pigeon (1949)

Two years after being injured in a Japanese prison camp, an amnesia victim (Bill Williams) awakens from a coma to find he's accused of treason. Escaping from the hospital, he is determined to prove his innocence. Written by Carl Foreman (HIGH NOON) and directed by Richard Fleischer (THE NARROW MARGIN). The use of amnesia in film noir is a fairly common trope. Films like THE BLUE DAHLIA, SOMEWHERE IN THE NIGHT, THE LONG WAIT among them. This little B programmer is one of the lesser ones and in spite of its far fetched narrative, Fleischer's taut direction helps it move along quickly so that you have very little time to ponder its implausibility. The cast is rather bland and Bill Williams's character comes across as a bully and a thug rather than an innocent man unjustly accused. The identity of the real culprit is never in doubt so there's not much suspense. With Barbara Hale, Martha Hyer, Richard Quine (who would go on to become a major director with films like BELL, BOOK AND CANDLE), Richard Loo, Robert Bray and Marya Marco.

The Lady Is A Square (1959)

A widowed socialite (Anna Neagle) encounters financial problems that put her late husband's classical orchestra in peril. She loathes the current rock and roll music scene but rock and roll or rather a rock and roll singer (Frankie Vaughan) might be her salvation. Directed by Herbert Wilcox (NO NO NANETTE). A rather hokey effort that seems to have been made in an older era. If you remove the rock and roll angle, it could well have been made in 1945 with Frank Sinatra in Vaughan's role. The movie mashes rock and roll with classical music in the hope (one assumes) that music lovers from both camps will have something to take away. Vaughan was a huge star in England and 20th Century Fox imported him to Hollywood but after two films and an unsuccessful attempt to duplicate his British stardom sent him back. It's predictable but everyone tries so hard that it's not without a certain likeability. With Anthony Newley, Janette Scott and Wilfrid Hyde White.

Profundo Carmesi (aka Deep Crimson) (1996)

A lonely hearts advertisement leads a sexually frustrated obese woman (Regina Orozco) to an incredibly vain con man (Daniel Gimenez Cacho) with whom she becomes obsessed. Obsessed to the point of dumping her two children at an orphanage for him and an obsession that will leave a bloody trail. Directed by Arturo Ripstein (SUCH IS LIFE). This is yet another film version of the real life Martha Beck and Raymond Fernandez serial killers, other notable versions include THE HONEYMOON KILLERS (1970) and LONELY HEARTS (2006). This is one of the most disturbing movies I've ever seen. I think Ripstein intended for us to find some empathy with these two monsters (seen as "outsiders") but I didn't bite. The acting is good and in the case of Orozco, much more than that. But there's a sleaziness to the film that never quite transcends its pulp roots. Still, there's no denying its visceral power. The cinematography of Guillermo Granillo is superb in capturing the 1940s mise en scene. With Marisa Paredes and Rosa Furman.

The Glass Web (1953)

A married television writer (John Forsythe) has been having an affair with a scheming actress (Kathleen Hughes) while working on a true crime TV series. When he finds her dead body, he removes some incriminating evidence that would link her to him. But it doesn't end there because a fellow employee (Edward G. Robinson) knows about their affair having been involved with the girl, too. Based on the novel SPIN THE GLASS WEB by Max Simon Ehrlich and directed by Jack Arnold (CREATURE FROM THE BLACK LAGOON). Shot in 3D (with some decent "comin' at ya" effects), this is a moderately entertaining crime movie with noir edging. As the adulterous man in the net, Forsythe's character didn't get any sympathy from me so I didn't care much about his fate. The (almost) always reliable Edward G. Robinson doesn't disappoint and brings some gravitas to his cuckold. Decent enough to hold your interest but no great shakes. With Richard Denning, Marcia Henderson, Beverly Garland, Jean Willes, Eve McVeagh and Hugh Sanders.

Days Of Glory (1944)

Set in Russia during WWII, a group of guerrilla fighters hide in a forest while fighting the Nazi invaders. When a beautiful ballerina (Tamara Toumanova) is taken in by the group, the guerrilla leader (Gregory Peck in his film debut) finds himself falling in love with her. Directed by Jacques Tourneur (OUT OF THE PAST). One of several movies made during WWII that extolled the Russian people's courage fighting the Nazis. After the war, the U.S. turned against the Soviet Union and many of the creative talent involved in these films were targeted by the House Committee On Un-American Activities. The year before another film about a romance set against the backdrop of guerrillas fighting fascism, the superior FOR WHOM THE BELL TOLLS, was released and this effort seems very deja vu. Peck would survive this box office flop and go on to become one of Hollywood's biggest stars for the rest of his career. With Lowell Gilmore, Hugo Haas, Alan Reed, Maria Palmer and Glenn Vernon.

The House And The Brain (1973)

Set in New Orleans, a recently discharged soldier (Keith Charles) rents a room in a handsome old mansion. It is there, he falls in love with the pretty ward (Carol Williard) of the absent owner (Hurd Hatfield). But he soon senses that something is not right with the girl or the house. Very loosely based or perhaps inspired is a better word on the novella by Edward Bulwer Lytton and directed by Gloria Monty. What should have been a slice of atmospheric Gothic horror a la DARK SHADOWS comes off as a routine soap opera with horror trimmings. As in his most famous role (THE PICTURE OF DORIAN GRAY), Hurd Hatfield manages to bring a bit of creepiness to his waxy villain. With Gretchen Corbett and Maryce Carter.

Gabriel Over The White House (1933)

After being elected as the president of the U.S. during the Great Depression, a corrupt career politician (Walter Huston) who doesn't much care about the problems of its citizens is seriously injured in an auto accident that leaves him in a coma. When he emerges from the coma, he is a different man who might be touched by an angel. Based on the novel by T.F. Tweed and directed by Gregory La Cava (STAGE DOOR). A bizarre political fantasy with a slight religious bent that is both progressive and fascist in its ideals and ideas. Made during the Great Depression, the supernatural fantasy gave hope to the unemployed and hungry masses of the period but while the rogue president is doing good (and also bad, gangsters are executed by a firing squad without a civil trial), he's essentially an American version of Mussolini. A preachy curio of the period. With Franchot Tone, Karen Morley, C. Henry Gordon, Jean Parker and Dickie Moore.

The Purple Hills (1961)

Two bounty hunters (Gene Nelson, Kent Taylor) fight over who actually killed a wanted man (Jack Carr). They travel to the grave together along with the marshal (Russ Bender), the dead man's younger brother (Jerry Summers) and the brother's guardian (Joanna Barnes). Directed by Maury Dexter (THE DAY MARS INVADED EARTH). An undemanding B western programmer that doesn't wear out its brief running time (barely over an hour). Filmed in Arizona, the outcome isn't obvious so the narrative holds our attention. I'm a fan of westerns so perhaps I'm more tolerant of a simple western like this. Not memorable at all but a genial time waster. With Danny Zapien and Medford Salway.

The Annihilation Of Fish (1999)

A Jamaican widower (James Earl Jones) recently released from a mental hospital relocates to Los Angeles. He (literally) fights the invisible demon who brutally attacks him periodically. He moves into a boarding house run by an eccentric landlady (Margot Kidder) where he meets a woman (Lynn Redgrave) fleeing her lover ... the ghost of composer Giacomo Puccini. Directed by Charles Burnett (KILLER OF SHEEP). An off-center romantic comedy with the teeniest bit of satirical bite to it. There have been movies about mentally ill people engaged in romantic relationships before ranging from the good (LILITH) to the bad (DAVID AND LISA). But this quirky romance is set away from the mental institution and they're on their own and free to indulge in their fantasies. The three principals give excellent performances, a reminder of what good actors they are. Unfortunately, director Burnett can't sustain the whimsical environment till the end and it stumbles and falls on its face in the last 15 or 20 minutes. With Shannon Wilcox and Linden Chiles.

Trap (2024)

A father (Josh Hartnett) brings his young daughter (Ariel Donoghue) to the concert of her pop singer idol (Saleka Night Shyamalan). What they don't know is that the concert is a trap for a serial killer known as The Butcher ..... who just happens to be the father! Written, produced and directed by M. Night Shyamalan (THE SIXTH SENSE). Shyamalan had a hot streak from 1999 to 2004. But after the disastrous LADY IN THE WATER (2006), his career hit a wall and his movies failed to garner favor with either critics or audiences. While this film received mixed reviews, they were still some of his best reviews since the dire LADY IN THE WATER. Still, Hartnett got some very good reviews for his performance but I found him near laughable. He might as well have had "I am a sociopathic serial killer" tattooed on his forehead, his performance is that obvious. At times, the movie seems like it was created to call attention to Saleka Night Shyamalan's musical career. She's not creative enough or entertaining enough to be believable as a Taylor Swift or Beyonce type musical mega star. The second half of the film is much better than the concert first half although no less preposterous. At least there's some intensity. With Hayley Mills, Alison Pill and Jonathan Langdon.

Hooray For Love (1935)

A would be Broadway producer (Gene Raymond) mortgages his family home in order to partially fund a Broadway show starring a singer (Ann Sothern) he's in love with. But her con man father (Thurston Hall) unknowingly sets him up with crooked backers. Directed by Walter Lang (THE DESK SET). This limp musical comedy has every cliche in the book tossed in! And with one exception, the musical numbers are stale. The exception is the film's musical highlight with the great dancing Bill Robinson and Fats Waller at the piano who bring the movie temporarily to life. Otherwise, it's a dud! Ann Sothern's appeal helps it a bit but it can do only so much. It doesn't help that the two leading male characters are annoying especially Thurston Hall who takes advantage of people. With Lionel Stander, Pert Kelton, Maria Gambarelli, Etienne Girardot and Jeni Le Gon.