Paul Scheer sheds some light on The Room, lets us in on a secret in The Disaster Artist, and answers your questions. Plus, we explore the origins of midnight movies and take a look at IMDb's Top 10 Stars of 2017.
When a troupe of showgirls with their impresario and press agent vacation at a Malibu Beach resort, two of them are garroted. Charlie takes on the case assisted by Number Two Son Jimmy and faithful chauffeur Birmingham Brown.
Victor Sen Yung
A treasury agent traveling aboard a ocean liner confides to fellow passenger Charlie Chan that he's on the trail of a counterfeiting ring operating from the South Pacific and has survived two recent attempts on his life. Chan helps him avoid a third but is helpless to prevent a knife thrown in his back in the ship's club room. Although the ship will be docking shortly in Samoa, Charlie is confident that he will unmask the killer before then. Among the suspects are an elitist reverend and his wife, a beautiful young woman traveling with forged papers, a shady loudmouth of a salesman, a larcenous ship's steward, and a professional knife-thrower. Written by
I was always a big Charlie Chan fan. I saw most of them as I was
growing up and I liked Sidney Toler over Warner Oland. I had never see
this one before, and it must be one of the few clinkers in the Charlie
Chan canon. It is a stagebound film with no exterior shots and suffers
from a very weak screenplay and spotty direction. And none of the
Warner Oland's were this low in quality.
Now, I understand Monogram's predicament as a Poverty Row studio and
the financial problems involved, but they should have been able to find
a better script writer than the one who wrote this misfire. Cast was
good, and they substituted Willie Best for Mantan Moreland in the
Pop-Eyed comic relief role. But the film bites off more than can be
chewed and the result is a slap-dash product which tries to squeeze in
too much, and results in my rating above.
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