Girl Trouble (1942)

A New York socialite (Joan Bennett) rents her apartment to a visiting Venezuelan playboy (Don Ameche) in order to make ends meet. When she is mistaken for a servant, however, she keeps up the masquerade. Directed by Harold B. Schuster (MY FRIEND FLICKA). For the first witty twenty minutes or so, I thought I had discovered a sleeper of a screwball comedy. Alas, after those twenty minutes, it just gets tedious and predictable. It's not unbearable mind you, it's just that it's run of the mill. You can't blame Bennett or Ameche, they do fine work considering the unimaginative direction and the screenplay's faltering humor. There are some good supporting performances like the always dependable Billie Burke doing her patented ditzy dowager bit. With Vivian Blaine, Helene Reynolds, Fortunio Bonanova, Frank Craven, Jeff Corey, Dale Evans (minus Roy) and Mantan Moreland.

The Proud And Profane (1956)

Set in 1943 on an island in the Pacific during WWII. A refined military widow (Deborah Kerr) joins the Red Cross. It's there that she meets a brutal Colonel (William Holden), who has a huge chip on his shoulder, in the Marines. Opposites attract and they become romantically involved although they are worlds apart on the social scale. Based on the novel MAGNIFICENT BASTARDS by Lucy Herndon Crockett and directed by George Seaton (THE COUNTRY GIRL). Although set during WWII, this is a romantic melodrama. We don't see any combat. Both protagonists are highly flawed individuals, not only not being honest with each other but not being honest with themselves. Holden is very good here, not attempting to make his callous brute likable or sympathetic. Ultimately, the movie is about forgiveness (an overrated virtue I think) and its ambiguous ending leaves you guessing. With Thelma Ritter, Dewey Martin, William Redfield, Adam Williams, Frank Gorshin and Marion Ross.

Below The Surface (1920)

A deep sea diver (Hobart Bosworth) and his son (Lloyd Hughes) become heroes after saving the lives of a downed submarine crew. Unfortunately, their fame pulls them into a deadly scam that will end in tragedy. Directed by Irvin Willat (BEHIND THE DOOR). A rather unpleasant piece of silent cinema, mainly because I found its characters disagreeable. The son dumps the girl (Gladys George) who loves him for a deceitful vixen (Grace Darmond), so I had no empathy for him when he started going mad. Bosworth then kidnaps the tart who broke his son's heart and forces her to return home to his son. Kidnaps! I began to have a perverse sympathy for the bitch. It ends with the evil ones being punished and the "good" ones with their insignificant lives intact. There's a spectacular shipping disaster sequence that's handled impressively. With George Webb and Edith Yorke.

Having A Wild Weekend (aka Catch Me If You Can) (1965)

While filming a television commercial, a stuntman (Dave Clark) and a model (Barbara Ferris) run off in a Jaguar which was used in the commercial and look to get away from all the crap of a commercialized mainstream society. Directed by John Boorman (DELIVERANCE) in his feature film debut. Using pop groups as the basis of a film wasn't unusual in the 1960s. Herman's Hermits did MRS. BROWN YOU'VE GOT A LOVELY DAUGHTER, Gerry and The Pacemakers did FERRY CROSS THE MERSEY, Freddie and The Dreamers did SEASIDE SWINGERS and the most famous, The Beatles in A HARD DAY'S NIGHT and HELP. This modest effort starring the Dave Clark Five is one of the better ones. It's different from its counterparts in that instead of playing to their demographics, there's a darker and more cynical subtext. The Dave Clark Five don't perform in the film, they're used as actors although their songs permeate the soundtrack. Clark wasn't much of an actor so Boorman reputedly cut his lines to the minimum and let Ferris do the acting. Artistically, it's not a success but it's not entirely a failure either. With Yootha Joyce, Robin Bailey and Marianne Stone.

Nutcracker: Money, Madness And Murder (1987)

A sociopath (Lee Remick) schemes her way from her modest Salt Lake City roots to Manhattan society where she has a seat on the board of the New York ballet. All it took was goading her 17 year old son (Tate Donovan) to murder her father (G.D. Spradlin) so she could inherit his money. Based on the non fiction book by Shana Alexander and directed by Paul Bogart (TORCH SONG TRILOGY). A fascinating true crime story with Lee Remick giving a sensational performance as the psychotic social climber pushing her son to patricide. Told in flashback, the film takes its time with a leisurely four and a half hours to tell the tale. It's as much a story of a dysfunctional enabling family as it is a crime drama. You're constantly shaking your head at how such a monstrous woman could use all the people around her and in many cases, they realize this but still want to remain in her orbit. With Tony Musante, Elizabeth Wilson, Inga Swenson, Daniel Hugh Kelly and Frank Military.

Parachute Jumper (1933)

An ex-Marine pilot (Douglas Fairbanks Jr.) and his pal (Frank McHugh) are down on their luck. They hook up with an unemployed stenographer (Bette Davis), who moves in with them. Things look up when he gets a job as bodyguard to a bootlegger (Leo Carrillo) but unknown to him, the bootlegger is also involved in the narcotics trade. Based on the short story SOME CALL IT LOVE by Rian James and directed by Alfred E. Green (THE JACKIE ROBINSON STORY). A perfect example of the kind of potboiler that Warners was putting Bette Davis in until her career was rescued by OF HUMAN BONDAGE. She ranked the film among her worst and Fairbanks hated it too. Is it that bad? I've seen worse, much worse. It's a fast moving hour and 12 minutes and it's always a pleasure seeing Davis, even when she's wasted as "the girl" as she is here. With Claire Dodd, Walter Brennan, Harold Huber and Nat Pendleton.

Beetlejuice Beetlejuice (2024)

After her father is killed by a shark, a paranormal talk show host (Winona Ryder) returns to the haunted house of her youth and must confront her estranged daughter (Jenna Ortega) but also the 600 year old ghost (Michael Keaton) who traumatized her as a teenager.  Directed by Tim Burton (ED WOOD). Is it a good idea to do a sequel some 36 years after the original movie? I'm not convinced. This sequel to the 1988 film is a mixed bag. The returning cast members (in addition to Keaton and Ryder, Catherine O'Hara returns as the stepmother) are up for it and they're all wonderful but some of the new characters like Ortega and Justin Theroux are pretty lame. Of the new characters, Willem Dafoe as a deceased actor and Monica Bellucci as a dismembered wife bring some fresh energy to the proceedings. There are a couple of homages that are amusing: the baby from IT'S ALIVE and a B&W tribute to Mario Bava. But director Burton isn't as fresh as he was in 1988. If it worked then, he'll do it again. The hilarious Banana Boat Song musical sequence in the 1988 movie is recycled but with MacArthur Park this time and it's fun ..... for about 30 seconds but we have to listen to the whole song! With Danny DeVito and Arthur Conti.

I Can Get It For You Wholesale (1951)

Set in New York's garment district, an ambitious model (Susan Hayward)  turns fashion designer and steps on everyone in order to reach the top of her profession. Eventually, she is forced to choose between her ambition and the man (Dan Dailey) she loves. Very loosely based on the novel by Jerome Weidman and directed by Michael Gordon (PILLOW TALK). There's actually very little resemblance between the novel and film. The novel's protagonist is male and the film has inexplicably switched genders and given the film a sentimental happy ending. That aside, the film is moderately enjoyable and Hayward's aggressiveness as an actress is put to good use as the ambitious "take no prisoners" wannabe fashion tycoon. Not surprisingly for 1951, the novel's "Jewishness" has been eradicated and its central characters are gentiles. In 1962, a musical version of the book (with Elliott Gould and Barbra Streisand) opened on Broadway and was much more faithful to the novel. With George Sanders, Sam Jaffe, Randy Stuart, Marvin Kaplan, Barbara Whiting and Mary Philips. 

Anon (2018)

Set sometime in the near future in a technically advanced dystopian society where the government requires its citizens to have an ocular implant so they can be tracked. It enables you to get immediate information on anyone they see just by looking at them. These are their "files". One day a police detective (Clive Owen) spots a young woman (Amanda Seyfried) who has no "file". His investigation into the woman will unravel secrets beyond his abilities. Written and directed by Andrew Niccol (GATTACA). I didn't care much for GATTACA but it has a large following of admirers. ANON received mostly negative reviews but I found it fascinating and clever. Perhaps too clever! Much of it seemed incomprehensible (or do I mean incoherent?) to me. Still, I appreciated its ambitious attempt to to meld science fiction with a whodunit. With Colm Feore and Mark O'Brien. 

Never Say Goodbye (1946)

A seven year old girl (Patti Brady) plots to get her divorced parents back to the altar. The mother (Eleanor Parker) divorced the father (Errol Flynn) because he chased other women. Now, he's repentant and wants her back. Directed by James V. Kern (TWO TICKETS TO BROADWAY). If I'm being generous (and I am), one could call this a screwball comedy. The script is actually amusing but director Kern's direction is lackluster and the movie's two leads aren't suited to comedy. Flynn can be droll in his swashbucklers as Robin Hood or Don Juan but as a romantic leading man in a screwball comedy, he's a washout although he has one good comedic scene when he pretends to be a Humphrey Bogart tough guy (reputedly, he was dubbed by the real Bogart). If the film had a stronger director and the leads were expert screwball farceurs like Cary Grant and Rosalind Russell, the film might have been a winner. Still, I found it amusing enough to sit through. With Forrest Tucker, S.Z. Sakall, Lucile Watson, Peggy Knudsen, Hattie McDaniel and Donald Woods.

Crossing Delancey (1988)

Set in New York City, a happily independent bookstore manager (Amy Irving) isn't looking for a relationship but she's forced to re-evaluate her desires when she catches the eye of two very different men: a self centered novelist (Jeroen Krabbe) and a Lower East Side pickle seller (Peter Riegert). Based on the play by Susan Sandler and directed by Joan Micklin Silver (CHILLY SCENES OF WINTER). An unusual romantic comedy and unabashedly Jewish at its core. Amy Irving's 80s feminist career woman doesn't need a man to fulfill her but like all of us, she is in need of another human being in her life but what she thinks she wants and what she needs aren't necessarily the same thing. Unlike most romcoms, DELANCEY seems relevant rather than the cutesy formulaic bent (often glamorous) Hollywood romcoms tend to follow. In Irving's Izzie, we see the conundrum of a contemporary thirty something forging a career with precious little time for a personal relationship and when it comes, unable to recognize the right one. With Sylvia Miles (overacting terribly), Rosemary Harris, David Hyde Pierce, John Bedford Lloyd, Amy Wright and in a scene stealing role as Irving's grandmother, Reizi Bozyk.

Swing Shift Maisie (1943)

After she loses her job at a nightclub because of a pilot (James Craig), a showgirl (Ann Sothern) gets a job at a WWII aircraft factory. While she has a crush on the pilot, it's another girl (Jean Rogers) who catches the pilot's eyes. The seventh entry in the ten movie MAISIE franchise. The series was a popular moneymaker for MGM, so they cranked them out at the rate of one a year. This effort plays up the Rosie The Riveter angle with the emphasis on women on the home front doing their duty while the guys were off to war. It's engaging enough and there's a third major character: Jean Rogers as a manipulative self centered gold digger out to get Maisie's man. That's the main plot. Routine stuff but Ann Sothern's down to earth and wisecracking Maisie is intensely likable so one can see why audiences loved her. With Kay Medford, Connie Gilchrist, John Qualen and Jacqueline White.

Is Your Honeymoon Really Necessary? (1953)

When a U.S. Navy airman (Bonar Colleano) takes a new posting in London with a new wife (Diana Decker), he has no idea that his first wife (Diana Dors) will turn up and threaten his marital bliss by claiming they are still married. Based on the play by Vivian Tidmarsh and directed by Maurice Elvey (MY WIFE'S LODGER). A tiresome bedroom farce that might have been saved by more savvy direction and a stronger cast. When one thinks of the British theatre, one thinks of the likes of Shakespeare or George Bernard Shaw or Harold Pinter. But the Brits have their lowbrow side too. NO SEX PLEASE, WE'RE BRITISH ran for 16 years in the West End! The original play of this ran for two solid years. With one exception, the cast plays to the balcony at a fevered pitch and the worst is Sid James who lets his chewing gum do the acting for him. The one exception is Diana Dors who underacts and whenever she's on screen, I breathed a sigh of relief. With David Tomlinson, Lou Jacobi, Audrey Freeman and MacDonald Parke.

Das Testament Des Dr. Mabuse (aka The Testament Of Dr. Mabuse) (1962)

A German police commissioner (Gert Frobe) has himself tied in knots trying to figure out how his adversary, the diabolical Dr. Mabuse (Wolfgang Preiss) could be continuing his criminal reign of terror from inside a mental asylum. Directed by Werner Klingler (THE DIRTY GAME). A remake of the 1933 Fritz Lang film but without the Lang inventiveness. What we get is a B&W pulpy genre piece that doesn't require much concentration but passes the time amiably. I enjoyed the comical camaraderie of a pre GOLDFINGER Gert Frobe's commissioner and his not too bright sidekick, Harald Juhnke but it remains a lesser entry in the Mabuse universe. With Senta Berger (wasted), Walter Rilla, Leon Askin and Helmut Schmid.

British Agent (1934)

Set in 1917 as the Russian revolution begins, a British diplomat (Leslie Howard) finds himself falling in love with a revolutionary member (Kay Francis) of the Red Army. Their political differences would seem to doom their romance. Based on the non fiction book MEMOIRS OF A BRITISH AGENT by R.H. Bruce Lockhart and directed by Michael Curtiz (WHITE CHRISTMAS). Although based on a non fiction book, the film is very much fictionalized. The film is interesting because Kay Francis's revolutionary puts her political beliefs over romance and the film seems to be heading toward a darker finale. Alas, the movie's final moments gives us a phony happy ending and doesn't ring true. Of course, Kay Francis isn't remotely believable as a fervent Bolshevik revolutionary and doesn't even attempt an accent. Still, until that silly ending the movie held my attention. With Cesar Romero, William Gargan, J. Carrol Naish and Irving Pichel (who would give up acting and turn to directing).

La Morte Risale A Ieri Sera (aka A Death Occurred Last Night) (1970)

A father (Raf Vallone) has raised a mentally challenged daughter (Gillian Bray) who has the mentality of a young child. She's statuesque and attractive and has a strong sexual urge. When she disappears one day, the father goes to the Milanese police for help in finding her. What follows is a dark journey through Milan's underbelly of prostitutes and pimps and ends in tragedy. Based on the novel I MILANESI AMAZZANO AL SABATO by Giorgio Scerbanenco and directed by Duccio Tessari (THE BLOODSTAINED BUTTERFLY). Wow! Going in, I thought I would be watching a a typical 70s Italian police procedural or giallo. It's neither although it has strong elements of both. It's a crime thriller to be sure but it has an added layer of humanity and social critique that isn't usually present in a genre film like this. Vallone's bereaved father whose grief drives him to violence and a black prostitute (Beryl Cunningham) spiraling downward to a unpleasant fate are two characters who touch us because we can feel their pain and frustration. With Eva Renzi, Frank Wolff, Gabriele Tinti and Gigi Rizzi.

September 5 (2024)

Set during the 1972 Summer Olympics in Munich, Germany. The ABC Sports broadcasting team must quickly shift from sports reporting to live coverage when terrorists invade the housing unit at the Olympic village where the Israeli team are residing. Directed by Tim Fehlbaum (TIDES). Taking a documentary film like approach with a relatively little known ensemble cast (Peter Sarsgaard is probably the biggest "name" in the cast), director Fehlbaum has made an intense thriller out of a tragic situation that we already know the outcome of. The human element is at the forefront as the broadcast team make mistakes, argue among themselves and desperately improvise perhaps not knowing they are making broadcast history. Like the superb UNITED 93 (2006), it takes a real life catastrophe and focuses on the facts and keeps the dramatic license melodrama to a bare minimum. Its screenplay received an Oscar nomination. With John Magaro, Ben Chaplin, Leonie Benesch and Corey Johnson.

Castaway (1986)

A successful journalist and publisher (Oliver Reed) in his late 40s advertises in a magazine for a woman to share his life with him on a desert island for a year. A 20 something writer (Amanda Donohoe) answers the advert and they soon find themselves on the small uninhabited island of Tuin (between Australia and New Guinea). But their experiment doesn't quite turn out the way they had imagined it. Based on the non fiction book by Lucy Irvine and directed by Nicholas Roeg (DON'T LOOK NOW). If I hadn't known this was based on a true story, I would have said the movie was far fetched and improbable. The motives for its protagonists to live together on a desert island are never sufficiently explainted. It's an atypical Nicholas Roeg film and seems an oddity in his filmography. Reed and Donohoe give good performances although the camera lingers in an exploitative manner over Donohoe's nude body while making sure Reed's privates are discreetly hidden. The bonus is Harvey Harrison's location lensing of the Seychelle islands in the Indian Ocean which makes you want to hop on the next plane there. With Georgina Hale, John Sessions and Frances Barber.

Unconquered (1947)

An 18th century militiaman (Gary Cooper) buys and frees a beautiful indentured servant (Paulette Goddard). When a supplier (Howard Da Silva) of illegal firearms wants the girl for himself, he sparks a vicious battle between a Native American tribe and some colonists. Directed by Cecil B. DeMille (REAP THE WILD WIND). DeMille never heard of the axiom of less is more! He's taken a historical adventure and turned it into a two and a half hour epic. It's a lavish film with a cast of thousands, Indian battles, fancy dress balls, rushing the rapids and over the waterfall, all in gorgeous three strip Technicolor. It's also very simplistic. Everything is black and white. The villain (Da Silva) is totally evil and the demonized Indians are all treacherous savages. It's a glamorized imagination of the colonial era so don't expect any historical accuracy. The movie was a big hit but its budget was so huge that it didn't make its money back. The best I can say for it is that it looks sensational and you won't be bored. With Boris Karloff (as an Indian chief!), Ward Bond, Virginia Grey, Katherine DeMille, Lloyd Bridges, C. Aubrey Smith, Mike Mazurki and Henry Wilcoxon.

La Llorona (2019)

Set in Guatemala, a former dictator (Julio Diaz) is now on trial for orchestrating the genocide of the indigenous Mayan population in the 1980s. When a new maid (Maria Mercedes Coroy) arrives, strange things with supernatural overtones begin to happen. Directed by Jayro Bustamante (RITA). A blend of the supernatural which gives the film a horror movie patina and a political film. The real horrors of the mass murder of Guatemala's indigenous people are infinitely more horrifying than the well executed mystical atmosphere. Some critics have complained about the film's often snail like pacing but it didn't bother me at all. It allows the viewer time to let the true atrocities sink in rather than concentrating on traditional horror movie scares. A disturbing film and all the more disturbing because of its reality. With Margarita Kenefic, Sarina De La Hoz, Maria Telon and Juan Pablo Olyslager.

Big City (1937)

A cab driver (Spencer Tracy) and his foreign born wife (Luise Rainer) are accused of starting a taxi war which resulted in a death. They're innocent but are targeted by a corrupt city government. When they attempt to have the wife deported, friends hide her. Directed by Frank Borzage (HISTORY IS MADE AT NIGHT). Romance among the working class has been a favorite topic of director Borzage in films like SEVENTH HEAVEN and MAN'S CASTLE and this film is yet another example. Unfortunately, it's not very good. I found Rainer's doe eyed characer too wimpy for my taste and the movie on the sappy side. Still, the film resonates today because of the situation. An innocent immigrant being deported without any due process! Sound familiar? Shivers went down my spine. If the film had been more political, it would have been more interesting. The film was profitable for MGM. With Willaim Demarest, Charley Grapewin, Janet Beecher, Guinn Williams and cameos by several sports figures of the day like Jack Dempsey, Jim Thorpe and Maxie Rosenbloom.

It's My Turn (1980)

In Chicago, a mathematics professor (Jill Clayburgh) has a successful career, financial security and a live in boyfriend (Charles Grodin). But somehow it's not enough. When she flies to New York to attend her father's (Steven Hill) wedding, she falls in love with her new stepmother's (Beverly Garland) son (Michael Douglas), an aging baseball player. Directed by Claudia Weill (GIRLFRIENDS). Coming off back to back Oscar nominations from AN UNMARRIED WOMAN (1978) and STARTING OVER (1979), Jill Clayburgh's career was hot and Michael Douglas was coming off a big hit too, THE CHINA SYNDROME (1979). Why they chose this mundane and uninspired romantic comedy as a follow up is a mystery. It's not awful but with all the talent involved, one would expect something better. To be fair, the movie was an unpleasant experience for director Claudia Weill who locked horns with producer Ray Stark (FUNNY GIRL). She disowned the movie saying it was Stark's movie, not hers. The experience was so disagreeable that Weill never again directed a feature film although she worked in TV and some film documentaries. The film's title song was a hit for Diana Ross. With Dianne Wiest, Daniel Stern, Charles Kimbrough, Joan Copeland and Jennifer Salt.

Deep Valley (1947)

Isolated on a farm with her bitter parents (Fay Bainter, Henry Hull), a young woman (Ida Lupino) is lonely. When a crew of convicts arrive to build a road, she is fascinated by the strangers. In particularly, a good looking hothead (Dane Clark) with a propensity for violence. Based on the novel by Dan Totheron and directed by Jean Negulesco (JOHNNY BELINDA). Pretty much a dud! Seeped in tedium, nothing goes right except maybe a couple of the performances (Bainter and Hull). Lupino is miscast as the bumpkin and while Clark is okay, his character is off putting and it takes a stretch of believability that this quiet sensitive girl would be attracted to such a brute. Yet somehow the filmmakers expect us to be touched by their relationship. No, thank you! There are echoes of HIGH SIERRA (1941) (which also starred Lupino), a much superior movie, especially in the finale. With Wayne Morris and Willard Robertson.

Police Python 357 (1976)

A police inspector (Yves Montand) and a police commissioner (Francois Perier) share a mistress (Stefania Sandrelli) though each man is unaware of the other. When the police commissioner kills his mistress in a fit of rage, he assigns the inspector to the case. But the circumstantial evidence builds indicating the the police inspector is the murderer. Will he be able to prove his innocence? Based on the novel THE BIG CLOCK by Kenneth Fearing (previously filmed in 1948 and again in 1987 under the title NO WAY OUT) and directed by Alain Corneau (CHOICE OF ARMS). A very dark, one might say nihilistic, thriller that goes farther than either THE BIG CLOCK or NO WAY OUT. In his desperation to prove his innocence, Montand's cop becomes a criminal himself (including murder) therefore eradicating any sympathy for him. The film also gives Perier's police commissioner a wife (Simone Signoret) who is complicit in covering up the mistress's murder. A tough, even nasty, crime film and Corneau keeps the screws tightening. With Mathieu Carriere and Vadim Glowna.

The Steel Trap (1952)

An assistant bank manager (Joseph Cotten) is tired of the suburban treadmill. So he concocts a plan to rob the bank during working hours on a Friday and be safely in Brazil (which has no extradition agreement with the U.S.) by the time the missing money is discovered on Monday morning. Directed by Andrew L. Stone (THE LAST VOYAGE). This contrived thriller throws every possible impediment in the way of the protagonist's attempt to flee the country with a million dollars in his suitcase. You would think this would up the ante in tension and suspense but it has the opposite effect (at least on me), it irritated me! Once Cotten robs the bank, he may as well have "GUILTY" tattooed on his forehead he's so nervous and jumpy! This being the moralistic 1952, it could only end in one of two ways: he'll get caught or have a change of conscience and return the money. Cotten is reunited with his SHADOW OF A DOUBT co-star Teresa Wright, who plays his wife. With William Hudson, Katherine Warren and Jonathan Hale.

Noon Wine (1966)

Set in Southern Texas in the late 19th century, a dairy farmer (Jason Robards) hires a mysterious Swede (Per Oscarsson) to help him on the farm. The farm hand proves to be a hard worker who helps turn the farm into a profit making enterprise. But when a bounty hunter (Theodore Bikel) shows up and claims the farm hand escaped from a mental asylum where he was placed after killing his brother, tragedy ensues. Based on the short novel by Katherine Anne Porter (SHIP OF FOOLS) and directed by Sam Peckinpah (STRAW DOGS). Peckinpah's career was in the doldrums after the failure of MAJOR DUNDEE as well as being unceremoniously fired from THE CINCINNATI KID. This critically acclaimed television adaptation of Porter's book restored his reputation and THE WILD BUNCH soon followed. It's a solid dramatic piece that captures the essence of Porter's novella. The film's only flaw is a terribly miscast Theodore Bikel who gives a phony performance. Unlike the other performers, he's clearly an actor "acting". With Olivia De Havilland, Ben Johnson, Steve Sanders and Robert Emhardt.

The Outrun (2024)

After a decade in London, a recovering alcoholic (Saoirse Ronan) returns home to Scotland's otherworldly Orkney Islands. She struggles to shake off the shadows of her troubled childhood and the turbulence of her recent city life. Based on the memoir by Amy Liptrot and directed by Nora Fingscheidt (THE UNFORGIVABLE). Is there anything new that a film about alcoholics can show us? Told in a non linear fashion, it's often difficult to place where you are in the protagonist's story. Is there a reason to see this film? You betcha! 2024 was a banner year for actresses with many excellent performances that in any lesser year would have nabbed Oscar nominations: Angelina Jolie in MARIA, Marianne Jean Baptiste in HARD TRUTHS, Nicole Kidman in BABY GIRL, Kate Winslet in LEE to name just four. You can add Saoirse Ronan's bravura performance here to that list. In cinema, I'm partial to performance, maybe more so than writing and directing and Ronan (who produced the film) is simply awesome. The wide screen cinematography of Yunus Roy Imer showcases the beauty of Scotland's countryside With Stephen Dillane, Saskia Reeves and Paapa Essiedu.

Il Sorpasso (1962)

A chance encounter between a shy law student (Jean Louis Trintignant) and a larger than life Roman playboy (Vittorio Gassman) results on a road trip from Rome to the Tuscan countryside. The contrast between the two men doesn't prevent them from bonding and a friendship develops. Directed by Dino Risi (SCENT OF A WOMAN). Considered one of the highlights of Italian commedia all'italiana, while I enjoyed the film I found Gassman's character annoying and lacking charm and rather pathetic. Yet I suspect the movie wanted us to embrace his joie de vivre as he "liberates" young Trintignant from the shackles that prevent him from enjoying life fully. However, the movie's dark journey's end indicates that the "easy life" has its consequences. The film is an archival piece of Italy at the time and I couldn't help but smile at how everywhere they pass, almost everyone seems to be doing the Twist or there's a Twist song playing on the soundtrack! The best sequence comes at the end when Gassman reunites with his estranged wife (Luciana Angiolillo) and daughter (Catherine Spaak). With Claudio Gora and Linda Sini. 

The Accountant (2016)

A math savant (Ben Affleck), who is also autistic, is more comfortable with numbers than people. He works as a freelance accountant for the world's most dangerous criminal organizations. With the Treasury Department closing in, he takes a job with a legitimate client (John Lithgow) in what seems a simple case of embezzlement. But then body count starts to rise. Directed by Gavin O'Connor (THE WAY BACK). A crackerjack thriller that transcends its pulp status. While it wasn't a critical favorite when originally released, it was an audience favorite and one can see why. Director O'Connor leaves us breathless as he zips and zooms, going back and forth till we're heady with the excitement. Affleck gives what may be his best performance. There's an affability in his stoicism that makes you take to him. The movie stumbles in the last 20 minutes or so but up till then it's a terrific rollercoaster ride. A sequel is due out soon. With Anna Kendrick, J.K. Simmons, Jon Bernthal, Jean Smart and Cynthia Addai Robinson.

Dark City (1950)

After a group of gamblers (Charlton Heston, Jack Webb, Ed Begley) con a family man (Don DeFore) out of $5,000 that doesn't belong to him in a poker game, he commits suicide. When one of the gamblers turns up murdered, it's clear that someone is out to get revenge on the men. Based on the short story NO ESCAPE by Larry Marcus and directed by William Dieterle (THE DEVIL AND DANIEL WEBSTER). This is a solid well done thriller with noir touches and director Dieterle keeps everything driving forward at a taut pace and always keeps the viewer tightly in his grip. This was Heston's first big break in the movies and he already seems to have a strong sense of his physical personage so it's interesting to see him evolve from a conscienceless punk to a frightened man desperately trying to stay one step ahead of his killer. Lizabeth Scott, never much of an actress under the best of circumstances is dull as the nice girl carrying a torch for Heston. With Viveca Lindfors in fine form as the suicide's widow, Dean Jagger, Harry Morgan and Mike Mazurki.

The Passenger (1975)

A journalist (Jack Nicholson) is working on a documentary in the Republic of Chad. Disillusioned, he assumes the identity of a dead man (Charles Mulvehill) while faking his own death. But he hadn't counted on the dead man being an arms dealer. Soon, he is pursued by hitmen who want to assassinate the arms dealer and his own wife (Jenny Runacre), who doesn't know the arms dealer is her "dead" husband. Directed by Michelangelo Antonioni (L'AVVENTURA). Ostensibly a thriller of sorts, this being Antonioni, it isn't your garden variety thriller but an enigmatic adventure of a disillusioned man running away from his life and taking on a new life, only to find a dead end (literally) at the end of the journey. It's not my favorite work of Antonioni's films but it's still a spellbinding piece of cinema by a master filmmaker with Nicholson in his prime. With Maria Schneider, Ian Hendry and Steven Berkoff.

Sweet Dreams (1985)

Covering the years from 1956 to her death in 1963, the story of country singer Patsy Cline (Jessica Lange in an Oscar nominated performance). Besides her career, the film focuses on her turbulent marriage to Charlie Dick (Ed Harris). Directed by Karel Reisz (SATURDAY NIGHT AND SUNDAY MORNING). Reisz's biopic film on Isadora Duncan, ISDAORA (1968), was one of the better film biographies and here he alleviates the tedium and predictability inherent in most movie bios by concentrating on the relationship between Cline and her spouse. So the movie becomes a tempestuous love story instead of the usual rags to riches movie bio. There are two killer performances by Lange and Harris as Cline and Dick that carry the movie and make it a must see. There are the usual inaccuracies evident in the genre whether out of laziness or dramatic license, I don't know. Lange doesn't sing but lip syncs to Patsy Cline's recordings. With Ann Wedgeworth (very good as Cline's mother), John Goodman, David Clennon and P.J. Soles.  

The Devil's Partner (1961)

Set in rural New Mexico, an elderly man (Ed Nelson) regains his youth after making a deal with Satan. But instead of enjoying his newfound youth, he's malevolent and starts causing deaths. Directed by Charles R. Rondeau (THE THREAT), this B horror flick was made in 1958 but didn't get a theatrical release until 1961 when Roger Corman picked it up for distribution. A minor piece of low budget horror but it has a certain amount of eerie atmosphere that compensates for its shortcomings. One of those shortcomings is why is he killing people. It just seems random without any logical explanation. It's not very scary and depends on its moody ambience to hold your attention. It's predictable but sincere. With Edgar Buchanan, Jean Allison, Richard Crane and Claire Carleton. 

Quality Street (1937)

Set in 1805 England, a young woman (Katharine Hepburn) is abandoned by her beau (Franchot Tone) when he goes off to fight in the Napoleonic Wars. When he returns 10 years later, he finds her unrecognizable and not the same woman. Based on the play by J.M. Barrie and directed by George Stevens (A PLACE IN THE SUN). One of the flops that Hepburn made at RKO that got her labeled box office poison. It's not one of her better vehicles but not one of her worst either. It's a rather stuffy period piece with ladies in bonnets who ride in carriages and men tipping their top hats at passersby. Hepburn gets to have some farcical fun as she passes herself off as her niece and then has to switch identities frequently as not to be discovered. If you're not a Hepburn fan or completist, you may find this on the tedious side. With Fay Bainter, Joan Fontaine, Eric Blore, Estelle Winwood and Cora Witherspoon.

Maisie Gets Her Man (1942)

An unemployed showgirl (Ann Sothern) is forced to take a non show business job in order to survive. She meets an obnoxious comedian (Red Skelton) who has stage fright and she manages to get him a job at her place of employment. Directed by Roy Del Ruth (ON MOONLIGHT BAY). This is the sixth film in the ten movie MAISIE franchise from MGM, all starring Ann Sothern. I've enjoyed all the Maisie movies I've seen so far but must admit that this entry is pretty much at the bottom of the barrel. It's strictly routine and predictable and some might say that casting Red Skelton as an obnoxious comedian is typecasting! Outside of the WHISTLING movies, Skelton wasn't a big enough star at MGM as yet to carry a movie by himself so he was usually second banana to a bigger female star like Eleanor Powell, Lucille Ball or here, Ann Sothern. But the public liked it enough to push it in the profit column. Unless you're a fan of the series, this can be easily skipped. With Allen Jenkins, Donald Meek and Leo Gorcey.

Behind The Door (1919)

Told in flashback, a German-American taxidermist (Hobart Bosworth) living in rural Maine is looked upon with suspicion when WWI begins. To prove his patriotism, he enlists in the U.S. Navy. Before he goes to war, he marries his long time love (Jane Novak) but the marriage is frowned upon by her father (J.P. Lockney). Based on the short story by Gouverneur Morris and directed by Irvin Willat (BELOW THE SURFACE). An unusual but disturbing revenge war film. Sort of the DEATH WISH of its day. The film features an unpleasant gang rape and murder and the most ghastly revenge which thankfully we never actually see, just the reaction to the revenge. I don't know that it's a particularly good film, it's equal parts sentimentality and violence but there's no denying its impact. With Wallace Beery and James Gordon.

The Hour Of 13 (1952)

Set in 1890 London, a somewhat impoverished gentleman thief (Peter Lawford) steals a priceless emerald from a wealthy aristocrat (Heather Thatcher). But when a policeman is murdered nearby on the same evening, the latest in a string of murders of London constables, Scotland Yard is convinced the man who stole the emerald and the serial killer are the same person! Based on the novel X VS. REX by Philip MacDonald (LIST OF ADRIAN MESSENGER) and directed by Harold French (THE MAN WHO LOVED REDHEADS). Rich in gaslit atmosphere thanks to the atmospheric cinematography of Guy Green (Lean's GREAT EXPECTATIONS), this elegant murder mystery is quite enjoyable although it can't quite sustain itself and the movie's last ten minutes are a disappointment. This being 1952, bourgeois morality takes precedence over a stylish finish to a classy mystery movie. Still, mystery fans should have a good time with it, I know I did. With Dawn Addams, Derek Bond, Michael Hordern, Roland Culver and Colin Gordon.

Soundtrack To A Coup d'Etat (2024)

A documentary on the turbulent months from the election of Patrice Lumumba in May 1960 as the Prime Minister of the Democratic Republic of the Congo to his assassination seven months later. This is interpolated with musical sequences by jazz artists like Louis Armstrong and Nina Simone who were sent to Africa as musical ambassadors but were used (without their knowledge) as fronts by the CIA whose motives were less than honest. Directed by Johan Grimonprez, the film was a nominee for the best documentary Oscar this year. It's just crammed with so much information that my head was spinning as I tried to absorb it all. Made entirely with archival footage, it takes us behind the scenes as we discover the seemingly benign Eisenhower administration was far from benign. It's an intense mixture of music and politics that exposes the evil machinations of colonial nations and the attempts to suppress true freedom for African independence while governments (the U.S. the most prominent) want enough control to benefit from Africa's resources. A must see and an eye opener but it's not a casual watch. It requires all your concentration.

La Tulipe Noire (aka The Black Tulip) (1964)

Set in 1789 France on the eve of the French Revolution, a dashing masked hero (Alain Delon) known as the Black Tulip fights the tyranny of the aristocracy and has the support of the oppressed people. But when a fresh scar on his face threatens to reveal his identity to the Baron (Adolfo Marsillach), he brings in a secret weapon ..... his twin brother (Alain Delon). Loosely based on the novel by Alexandre Dumas (THREE MUSKETEERS) and directed by Christian Jacque (FANFAN LA TULIPE). It seems every major male star in France did a swashbuckler at one time or another: Jean Paul Belmondo CARTOUCHE, Gerard Philipe FANFAN THE TULIP, Jean Marais LE BOSSU etc. This swashbuckling farce was Alain Delon's turn. It's delightful! At times, silly and charming, exciting and zany. Maybe he isn't an Errol Flynn but Delon handles a sword with aplomb and even the girls get into it as the film's romantic lead Virna Lisi swashes a buckle or two. The movie was a big hit for Delon and he followed it up with another swashbuckler by playing Zorro. Handsomely shot in 70 millimeter by Henri Decae (THE 400 BLOWS). If you're a fan of the genre, this should satisfy you. With Akim Tamiroff, Dawn Addams and Francis Blanche.

The Godfather (1972)

Set in the mid 1940s soon after the end of WWII. The film chronicles the inner workings of a Mafia family, the Corleones, as it adjusts to the changes in American life and the passing of the baton from its patriarch (Marlon Brando) to his youngest son (Al Pacino). Based on the best selling novel by Mario Puzo and directed by Francis Ford Coppola (YOU'RE A BIG BOY NOW). This epic gangster film is one of the great American films, a staggering record of the rise of corruption in America with "family values" at its core. In a rare case of a film improving on the book, Coppola has taken Puzo's pulp novel and turned it into something rich and artful. The performances are all flawless and Gordon Willis's evocative cinematography is masterful. The film received rave reviews and was a massive hit at the box office, proving that Art and popularity aren't mutually exclusive. The amazing cast includes Diane Keaton, James Caan, Robert Duvall, Sterling Hayden, Richard Conte, Talia Shire, Richard Castellano, John Cazale, Morgana King and Al Martino.

Winchester '73 (1950)

Set in 1876, a sharpshooter (James Stewart) wins a sought after prize rifle in a shooting contest. But when the rifle is stolen from him, it becomes a harbinger of death as it passes from one doomed hand to the next. Directed by Anthony Mann (FALL OF THE ROMAN EMPIRE). Actor Stewart and director Mann made a series of excellent westerns from 1950 to 1955 together. Many would say this was their masterpiece. Perhaps a personal preference for another teaming aside, I won't give them any argument. This is one terrific western with Stewart giving one of his best performances. I've always thought Stewart did his best work with Mann and Hitchcock. His character is relentless in his pursuit of both the gun and the man who stole it and Stewart's barely contained rage is simmering under his obsession. One of a handful of westerns that could be described as western noir. With Shelley Winters, Dan Duryea, Rock Hudson, Stephen McNally, John McIntire, Charles Drake, Steve Brodie and Jay C. Flippen.

Jeffrey (1995)

Set in Manhattan during the height of the AIDS epidemic, a disenchanted struggling gay actor named Jeffrey (Steven Weber) vows to be completely celibate. No sooner has he sworn off sex when he meets a hunky but sensitive guy (Michael T. Weiss) at the gym. But when the sensitive guy reveals his HIV status, Jeffrey is torn. Based on the play by Paul Rudnick (SISTER ACT) and directed by Christopher Ashley, a theatre director whose only feature film credit this is. This didn't work for me at all! In fact, I found most of it ghastly. The gay men in it are all stereotypes and to add insult to injury, the film ridicules gay men who don't fit into the stereotype! But to be fair, everyone in the movie is a stereotype. There's not a recognizably human being in the bunch! A romantic comedy about two gay men during the AIDS crisis is intriguing but I'm not sure this exaggerated over the top mess was the way to go. The movie comes alive only once during a segment with a motivational guru (Sigourney Weaver) that's genuine amusing. There are much better films addressing the AIDS crisis (LONGTIME COMPANION, THE NORMAL HEART, ANGELS IN AMERICA). With Patrick Stewart, Nathan Lane, Olympia Dukakis, Christine Baranski, Robert Klein, Victor Garber, Kathy Najimy, Debra Monk and Bryan Batt.

American Guerrilla In The Philippines (1950)

Set in the Philippines in 1942, an American naval officer (Tyrone Power) finds himself stranded after his ship is sunk by the Japanese. He and another survivor (Tom Ewell) lead a band of natives in fighting the Japanese until General MacArthur's promised return. Based on the novel by Ira Wolfert and directed by Fritz Lang (THE BIG HEAT). Inspired by the life of Iliff Richardson, a survivor of the sinking of PT-34 in WWII, who joined the Philippine guerrilla forces. It's well done but it's clearly a paycheck movie for Fritz Lang. It's a straightforward movie with little of the psychological exploration usually examined by Lang in his darker movies. Harry Jackson's (MOTHER WORE TIGHTS) handsome Technicolor cinematography benefits from being shot entirely on location in the Philippines. I'm not much of a fan of war movies but I liked this one. With Micheline Presle, Tommy Cook, Juan Torena and Jack Elam.

The Corn Is Green (1945)

Set in a small mining village in Wales in 1895, a school teacher (Bette Davis) is determined to bring education to the village despite the initial resentment of the locals. When she discovers a young miner (John Dall) in his teens has a superior mind, she takes it upon herself to educate him to reach his full potential. Based on the play by Emlyn Williams and directed by Irving Rapper (NOW VOYAGER). One of my least favorite film genres is "the teacher who inspired me" movie. I'm Bette Davis's number one fan and a Davis completist but I've been avoiding this movie for decades. So I figured it's about time and bit the bullet. My fears were confirmed although it's not as bad as it could have been. Thank heavens for Davis (playing older than she is), who brings a tough unsentimental strength to her school mistress. Even when the movie threatens to sink into a maudlin morass, she holds back the mush. A good performance but not among her best. The supporting cast is good and they include John Dall, Mildred Dunnock, Nigel Bruce, Rhys Williams and in Oscar nominated performance, Joan Lorring as the devious minx who almost ruins everything.

The Emperor's Candlesticks (1937)

A secret agent (William Powell) in the employ of Polish insurgents is carrying a secret letter addressed to the Czar of Russia. At the same time, a Russian secret agent (Luise Rainer) is secretly carrying a letter with orders to arrest the Polish agent on sight. By a mishap, each agent hides their letter in the secret compartment of a candlestick but the candlesticks are stolen and it's a race against time to retrieve them. Based on the novel by Baroness Orczy (THE SCARLET PIMPERNEL) and directed by George Fitzmaurice (RAFFLES). This was Rainer's follow up film to her Oscar winning turn in THE GOOD EARTH and she's perfectly cast. It's a nice combination of spy movie and romantic comedy and reunited with her GREAT ZIEGFELD co-star Powell, it's a an above average entertainment. So enjoyable in fact that one can forgive the movie's dubious deus ex machina conclusion. Apparently, the public also enjoyed it enough to place it in MGM's profit column. With Robert Young, Maureen O'Sullivan, Frank Morgan, Henry Stephenson and Douglass Dumbrille.