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1. West Side Story
2. The Apartment
3. Midnight Cowboy
4. La dolce vita
5. Asphalt Jungle, The
6. Eclisse, L'
7. Mulholland Dr.
8. The Last Picture Show
9. Born to Kill
10. Kiss Me Deadly
11. Blow-Up
12. Nashville
13. Alien
14. The thin Red Line
15. Nightmare Alley
16. Loneliness of the Long Distance Runner, The
17. L' Avventura
18. Servant, The
19. Billy Liar
20. Winchester '73
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Brute Force (1947)
No One Really Escapes
Grim, fatalistic Noir with a top notch cast, fine production and great director in Jules Dassin. Perhaps the prison in this film represents the world, the doomed human lives in will all die some day, as we all will. It's a harsh life, and brutal Captain Munsey (Hume Cronyn) makes it even worse. Collins (Burt Lancaster in his second film role) has had enough, along with other characters played by Sam Levene, Jeff Corey, Charles Bickford, John Hoyt, Whit Bissell, Howard Duff (in his film debut), Art Smith (as Dr. Walters) and the rest. Some well-known actresses play the romantic attachments of the men in brief flashbacks. The film is probably most notorious for the scene with Munsey and Miller (Levene), whom he beats mercilessly, pushing the other prisoners over the edge. They plot an escape and hell breaks loose in a brilliantly directed climax that will have you on the edge of your seat.
The Nickel Ride (1974)
Grade A Neo-Noir
THE NICKEL RIDE is a winner all around for its acting, direction and cinematography. A grim, violent, pessimistic look at a couple of days in the life of a guy who tries to put something over on a local crime boss. At issue is ''The Block" a MacGuffin in true Hitchcock mode: we may not fully understand what it's about, but that won't matter.
Characters are central here, more than action (though there is plenty of that). As Cooper, Jason Miller has a perfect grip on the protagonist's dangerous game. He's not kidding, but neither is crime boss Carl (John Hilerman in a cooly understated performance). Then there is Turner--the one you won't forget--a hitman with a folksy, playful manner. Played by Bo Hopkins, a handsome, swaggering, lethal presence from his first appearance. Robert Mulligan sets effectively contrasting scenes in drab LA apartments with those at an idyllic lake house. Besides the main characters there is Cooper's love interest (Linda Haynes, very good) and an array of supporting character players who give life to every scene.
Die Konsequenz (1977)
Terrific Jürgen Prochnow before DAS BOOT.
Jürgen Prochnow gives a beautifully shaded performance as a man entering prison, charged with pedophilia. While there, he joins a theater group that puts on another prisoner's play. One of the guard's teenage joins the cast. He and Prochnow quickly become involved and the boy finds a way to hide in the prisoner's cell. There are many further developments, No Spoilers here. This is a very well-made film, with very capable actors, intelligent writing, and top-drawer b&w cinematography. Made 5 years before director Wolfgang Petersen's breakthrough with DAS BOOT (also starring Prochnow), this excellent film deserves to be better known.
Midsommar (2019)
Good idea that goes off track
A somewhat interesting idea that goes off track. This is the kind of thriller/horror film that requires a good deal of suspension of disbelief. In the US, a college student with Swedish background invites three of his male friends and one female to travel with him to Sweden for a special ethnic celebration. Before they leave, we see a lot of background about the young woman (very well acted by Florence Pugh). She's very troubled and has recently, tragically lost her family. Much of what she sees in Sweden will trigger painful memories for her. *No Real Spoilers* here, but just to say that the very elaborate ceremony they witness is nothing like what they might have expected. The main issue is that a few of the important plot points are inconsistent with the nature of the religious group as presented early on. Based on what we see and know, why would certain things happen? The ceremony is set in an isolated location, but the visitors, and a couple of other attendees, are not local and it would seem someone would eventually be asking about them. In one particularly shocking scene near the end, one might well ask: ''what was the point of that?' This film is beautifully planned out in terms of space and especially in terms of color. The young actors are all just fine, with a couple of awkward moments excepted. Not recommended for the squeamish, but it's certainly something different.
The Night Caller (1965)
Talky letdown Sci-Fi Horror
Good actors and nice cinematographic work. Yet another talky sci-fi/ horror from the early 1960s. I've wondered why so many film makers (British and US) choose to start a film like this with long dialog scenes, rather than showing us something exciting or frightening to grab our attention? Here is another example of long, slow scenes, people speculating on what some strange thing might be. When we finally see something, it's just globe with a rough-looking surface texture. If you've see The Thing (1951). For example, you know that leaving a character alone with the strange object means something will actually happen. Well, something does, sort of, happen: we see a huge claw attempt to grab the potential victim, a female scientist in this case, but she's too fast for it and is able to sound the building alarm. As we know, authorities, military as well as scientific, will not believe her story at first. Eventually some strange disappearances of women around London are tied together by witnesses and other information. It all leads to a strange, unearthly being who is abducting women for transport to its planet for procreation. The film never really tells a lot about this, much less show any of it. There is a stereotyped homosexual character, a witness, who flirts with a police inspector. This is an odd standout scene in an otherwise very reserved film. Later, there's drama, as that witness and the female scientist become victims. The resolution is somewhat forced. It looks good, though, filmed on dark London streets. The film opens with a very strange vocal, replacing the original instrumental theme, that might make you expect a light romantic comedy.
The Challenge (1960)
Minor UK Noir, Really not bad al all
Well-made minor UK film noir, featuring a strong cast. Superb Anthony Quayle plays Jim, an ordinary guy who goes along with a heist and pays a big price. When Jim is alone fingered for the crime he ends up in prison for five years. He knows where the money was hidden, but he's not telling, so the rest of the gang look him up when he's released and they mean business. That gang is led by none other than Jayne Mansfield. She could have been the weak link in the movie, based on her awful opening scene, but she turns out to be pretty effective, using her famed 'charm' to make men do what she wants. This highly dramatic and exciting film is highlighted by a ton of London location shooting. Peter Reynolds and Peter Bennett, regulars in British film of the time, add realism with their performances, while Carl Mohner, five years after RIFIFI, stands out as a trigger-tempered thug. Nice dubbed singing for Mansfield by Joan Small. The film's conclusion is somewhat contrived, but it's a good payoff.
The Right Hand of the Devil (1963)
Ultra-cheap, violent crime-waster
Aram Katcher, wrote, starred and directed himself (sort of) in this b movie that benefits from Los Angeles location shooting in its first half. It's always fun to see what a major city looked like so long ago. The movie itself is fun too, but not always for intended reasons. Katcher seems to be reading cue cards in an early scene where he recruits a cohort for a heist. He's never really convincing as an actor, but fortunately the movie is more interested in action. After romancing and taking an older woman for a hilarious beach romp,Katcher assembles his gang of three. They pull off the robbery, but Katcher has a nasty way to pay them off. He also has to deal with the older woman, who was a witness (very nasty!). Fleeing to Rio (all shown in stock footage), Katcher lives the high life, until an unexpected associate shows up one day for a wowzer of a finale.
Somewhat famous for a graphic acid-bath death scene,the violence is crudely done and not a single actor shows any real chops. But the movie was nearly impossible to see for long time and now that it's available it's worth a look for those drawn to it. (The Youtube print has severe cuts).
Some Like It Hot (1959)
Just an honest opinion
I don't find this movie extremely funny, after several viewings. It always seems too long for this kind of material. Though the great skills of Billy Wilder, I. A. L Diamond and the actors are in play, it's just a little too much of a good thing at times. Specifically for the actors: I find Tony Curtis without fault (even if his "Josephine" voice had to be dubbed), Jack Lemmon overdoes his "Daphne" character too often, and Marilyn Monroe---though what see of her in the film is mostly pretty good--I find the character annoying, and it's hard not to think about the terrible stress she brought to the production. I understand that, since they had her for the movie they wanted to maximize her time onscreen, so she gets three songs. Yes this is a farce, and that means the kind of very broad humor we see. Nothing wrong with that, just a matter of taste. Love the final scene though.
Gunsmoke: Mayblossom (1964)
Not one of the better Gunsmokes
One of those "cute" episodes that probably appeal to some viewers, but will disappoint others.
As they work Festus into the cast in this one, his young cousin, Mayblossom, arrives unannounced in town one day. She intends to marry Festus, but really has a ''hankerin'' for cousin Feeder. There is also a villain who goes after Mayblossom and does something we never see, nor is it ever discussed in any detail. Lauri Peters does well in the featured role, and Ken Curtis does a welcome turn as his beloved regular.
It's all pretty contrived and slow...this one makes the 50-minute runtime seem long.
Airport (1970)
Holds up very well!
Seeing this for the first time, 54 years after its release, the star-studded cast makes less of an impact, name recognition-wise, but the film itself is more solid than might be expected. There's a long build-up to that infamous flight and it's worth the wait, especially when tension begins to mount with the Van Heflin character. There are some really good bits with the characters--especially Helen Hayes, as the feisty stowaway. George Kennedy, Burt Lancaster, Dean Martin, Barry Nelson and Jean Seberg all give fine performances. But really there's no complaint about the cast. What still impresses is the way the movie shows operations behind a flight: air traffic workers, ground crew, airport personnel. All convincing. And there's that climactic scene you're waiting for---it pays off. This is more than an airborn soap opera, and its first two sequels aren't bad either.
Ransom (1974)
"Scandinavia is not a country"
Pretty good thriller set in "Scandinavia", as if that were a country. Final credits say it was filmed on location in Norway, so I don't know why they didn't identify the country in the film itself. In the cast are Sean Connery, Ian McShane and a host of lesser-known, but talented British actors. A typical hostage drama in most ways, not as exciting as the best, but the locations are interesting at times and there is enough intrigue to hold your interest. Jerry Goldsmith's emphatic score is sometimes annoying, not one of his best, but it doesn't hurt the film. Worth a look for fans of the genre.
Devil and the Deep (1932)
Pre-Code Misfire
An odd film for sure. What begins as a domestic melodrama, set in the upper class reaches of naval society, turns into an unexpected, frantic race for survival. Based on a handful of films I've seen, Tallulah Bankhead's acting isn't something to be too excited about. Given the ludicrous plot development in the film's first half, she comes through with an acceptable performance, nothing more. We don't see enough of Cary Grant to full evaluate his contribution; he just looks good for the part. Regarding Gary Cooper, this is one of the worst early acting appearances by a future major star. He simply recites most of his lines and the chemistry between him and Bankhead is, in a word, nonexistent. Many feel that this early film role for Charles Laughton makes the film worth seeing. The great actor certainly is into his part, enjoying his nasty manipulations all the way. But I'd not call this one of Laughton's great moments on screen.
The Manchurian Candidate (2004)
Muddled Remake, still worth seeing
There's no question that the acting is top-drawer, and Jonathan Demme's visual style has points of interest, but this is a muddled remake that only barely satisfies. A decision was made to switch some key characters around in terms of the roles they play in the drama, most notably for the finale. Anyone who hasn't seen the great Frankenheimer version may find this good enough, but there is far less of the shock value in some of the older film's great moments. Denzel Washington is as least as good here as his counterpart Frank Sinatra. In some ways he's better, more sympathetic. As Raymond Shaw, Liev Schreiber is stuck with a character who doesn't register properly until the final act, unlike Laurence Harvey's brilliantly broken man--a great performance, not always given its due. With Meryl Streep we see a typically committed performance, but one that never rises to the magnificent evil created by Angela Lansbury. Ultimately, this version is worthwhile for the cast and a few scenes that do have some impact, but don't overlook the 1962 masterpiece.
Fingerman (1955)
Very good minor Film Noir
Hold-up offender Casey Martin (Frank Lovejoy) is nabbed by police and offered 'redemption' if he goes undercover with the local mob and leads them to the kingpin Dutch Baker (Forrest Tucker).
It's an oft-told tale in Film Noir and it's pretty well handled here by an able cast that includes Peggie Castle and Timothy Carey. In typical 50s style, the movie has a brighter look, with few of the darker, urban settings, until the end, and the direction is pretty anonymous. Although IMDb says Frank Lovejoy was 5'11 he is towered over by Tucker and Carey. In more than one scene, Lovejoy pummels much bigger men and it looks, at best, improbable. His character is a hothead, so we can accept it for the sake of the plot. Lovejoy was a solid actor, who also excelled playing a similar role in I WAS A COMMUNIST FOR THE FBI (one of the better films in its sub-genre). Tucker was one of the unsung great actors of his period, and he's great here as the self-important crime boss. As for Carey, he's doing his trademark psychotic type, used for dirty work by Tucker. Beautiful Peggie Castle is impressive as a mob-girl with a past she'd like to forget.
No Questions Asked (1951)
No Questions about this this one!
NO QUESTIONS ASKED is a fine film noir from the transitional period when dark visuals were still present, but were gradually being edged out in favor of well-lit sound stages. The opening is emblematic of noir, like a pulp novel come to life, and it leads immediately to a flashback. Director Harold F. Kress moves things along quickly, like a good B-movie director should. The picture wastes no time, and essentially telescopes the romantic interludes. In other words, it's mainly an action picture. And the action is often set in atmospherically interesting places: a sleazy night-spot that feels like a real place, a low-rent dancing school caught in mid-rehearsal, a sinister, dimly-lit indoor swimming pool, and more.
Barry Sullivan, Arlene Dahl, George Murphy are good, if not impressive. The real acting standout is Jean Hagen, a performer seemingly incapable of giving less than a superb performance. Hagen plays her part as though she were in one of MGM's A-films.
There are several worthwhile figures in the supporting roles. Moroni Olsen (the DA from MILDRED PIERCE), charming Richard Anderson as Lt. O'Bannion, Madge Blake (Mrs. Mondello from 'Leave it to Beaver'), Robert Osterloh, Mari Blanchard and the rest. Most fascinating of all is William Reynolds as the impossibly handsome thug/dancer Floyd. Reynolds (20 years old here) would later develop into a good actor with a career largely based in television.
Doktor Faustus (1982)
Thomas Mann's Faust
This may not be the perfect adaptation of Thomas Mann's great, long and complex novel, DOKTOR FAUSTUS--it's been too long since I last read it--but it stands as a powerful film nonetheless. Memorable characters and scenes are there and there is an overarching sense of doom about the whole thing. This was Mann's retelling of the Faust legend with a musician as the protagonist, a man who bargains with Satan for success as a composer. His price: never to experience love for another human being, not just for a woman. The two objects of his love (non-romantic, a close friend and a very young nephew) are tragically taken from the world, when he betrays the bargain. In the end, there is a parallel made between this composer's fate and that of Nazi Germany. Jon Finch, the excellent British actor who had to be dubbed for this German production, seems ideally committed to the lead role and the rest of the cast is without exception very good.
Dance, Fools, Dance (1931)
Very good Pre-Code with a terrific cast
Don't let the poster and title mislead you. This is a pretty substantial movie as Pre-Code melodrama goes. When a wealthy man dies, his children quickly learn that they have no inheritance and must make it on their own. The daughter (Joan Crawford) takes an honest route, while her brother (William Bakewell) falls in with a shady gang of liquor peddlers headed by Luva (Clark Gable). The star players are great, and the supporters do well too. Since it's set during The Great Depression and Prohibition there is a feeling of desperation going around, with people often doing whatever it takes to get by. The Pre-Code elements are all there, right from the start with the infamous underwear bathing party aboard a yacht, later with a bedroom scene between Crawford and her unmarried paramour (Lester Vail), and there's plenty of drinking, smoking, gunplay and sexual innuendo to go around. Highly recommended.
The Outer Limits: Wolf 359 (1964)
Better than I remembered it
I won't pretend this is one of the great Outer Limits episodes. There aren't many of those, but some avoid total failure by holding interest to the end. "Wolf 359" is one that had always intrigued me, mostly because it manages to sustain the weird feeling that the show occasionally evokes. I must have seen a syndicated version with edits because seeing it again there is more to it than I'd remembered. The concept of replicating a tiny part of a planet nearly 8 light years from Earth is fascinating (as long as you don't think too much about how anyone could know enough about the planet's properties to attempt this in the first place). What happens to make the episode interesting is just fine--but then the old problem of what producers of the show called "the bear" knocks it all down a few notches. The budget was pretty limited, but it's too bad a malevolent being from a distant planet ends up looking like a cheaply designed "ghost". The music and the good actors help to keep us watching, so we can suspend disbelief. Still, we can wish they'd come up with something a little creepier than this particular "creature".
Bone Tomahawk (2015)
Original,grim, witty, slow, and worth your time
A grim and promising opening scene suggests the novels of Cormac McCarthy. Then some long exposition, maybe a little too long, setting up characters and relationships. The cast is strong, so it's watchable, but it could use a bit more energy. The film picks up very well when the search party sets out on horseback to rescue a character's wife who's been abducted by entities called "troglodytes". The latter are suitably threatening and hideous in appearance, and they appear to have unusual "tastes". Once scene in this sequence will be horrifically memorable for most viewers.
Very nice location photography is a plus, as several shots place the characters at a distance, amid atmospheric landscapes. The violence quotient in this movie is gradual, building to some nice payoff, even if much of it is predictable. But not totally predictable, so the movie is to be recommended for its original approach to genre, visual beauty and effectively managed dramatic violence.
Saltburn (2023)
A Visual Feast and much more
What a trip, visually. The color, camera work, settings...really something to see. First time around, this will grab you and won't let go. Until the end. Maybe. I'm still thinking about it, though not sure if it's as deep as it seems. Emerald Fennell sure can direct actors and her tech crew is beyond top-level. Much of the time, this looks like an instant cult film--there is that much in it to keep you re-watching and talking about it. Barry Keoghan is perfect---really, who could have been better? He's got the right look for the character--attractive, but not Elordi-level....that keeps the initial tension firmly in place all the time. *No Spoilers*, just saying that there is more in this than meets the eye. So stick with it, if you think this is just another "let's be weird for two hours" type of thing. It's not. If nothing else, it's so brilliant to look at, and listen to, with great dialog. Funny as hell---has Carey Mulligan ever been more amusing? With Richard E. Grant, Rosamund Pike, Paul Rhys (as Duncan the butler) and Mr. Elordi, all in top form. A must-see.
Race with the Devil (1975)
I wish they hadn't brought the dog along.
Warren Oates leads the cast in this above-average 1970s, devil-cult thriller. Looks like a more violent TV-movie. Mr. Oates has a great way of making things seem real. His delivery of "It only hurts when I laugh. If I ever do" is priceless.
DELIVERANCE on wheels, without that great film's locations, or anything resembling its notorious scene of degradation. Also, unlike DELIVERANCE (which likely inspired it), the conspiratorial plot only works on B-movie level. Still, it's well-directed, acting is fine and it's nicely shot. If you like this type of thing it will be right up your country back road.
Man-Trap (1961)
Not exactly good, but watchable
A strange film with a good cast and excellent San Francisco locations, circa 1961. Somehow, during the Korean War, Matt, a soldier played by Jeffrey Hunter saved the life of Vince another soldier, played by David Janssen. Matt has pretty much forgotten the incident--maybe due to a metal plate now in his head. So he's shocked when one day Vince turns up at his door, wanting to rekindle their wartime camaraderie. Things appear to start on the wrong foot, when Vince flirts openly (and mutually) with Matt's wife Nina (Stella Stevens). But Matt hardly minds, since he's had it with materialistic, alcoholic, verbally abusive nymphomaniac Nina. So, when she insists that Vince stay in their guest room, we can assume adulterous hanky-panky is in the future. Matt really doesn't mind too much--he's having an affair with the office secretary.
Very shortly after arriving, Vince reveals his true reason for turning up out of the blue: he has a plan to get his hands on $3 million in a semi-honest scheme (not really), and he'll need Matt's help. Manipulative Vince convinces Matt to play along and things go very badly. There's some entertaining early 60s-style violence and a pretty decent car chase that serves as a partial tour of San Francisco, well shot in widescreen black-and-white. The problem with the film comes in when it tries to tie Matt's marital troubles with the criminal events. It just doesn't work very well. But there are some fun arguments between Matt and Nina (Ms Stevens doing well, delivering very choice dialog). Then there is that party crowd: a group of neighborhood swingers we see first at one of Nina's booze-soaked gatherings (featuring Martini-filled water pistols), and later when they burst into Matt and Nina's obviously looking for an orgy. It's all completely implausible, but it's hard not to keep watching. No spoilers here about other somewhat interesting plot developments. This was directed by accomplished actor Edmund O'Brien, and if he had reined things in it might have just been dull. So, odd as it is, this movie merits a look, especially for fans of the period.
Weekend (2011)
Intelligent. Non-stereotyped look at contemporary gay men
Perceptive, intelligent, realistic look at two guys connecting and the possibility of a future. This is a "romantic" film in the sense that it looks at the very first, tentative ways two people approach each other. But it focuses only on a weekend. Russell and Glen meet in a Nottingham bar on a Friday and have two nights and and an afternoon together. They're very different people. Russell works as a lifeguard. He not fully out as a gay man, and we learn he went through a series of foster homes as a child, along with another boy who remains his best friend. He has a "romantic" outlook, and would like to meet someone for a relationship. Glen is an artist who apparently scrapes by, living with a room mate. He's out to everyone, brutally honest and not afraid of being judged by others. Russell is too closed-down, says Glen, he should be more up front with others about himself. They have a couple of lengthy discussions about their differences and they gradually influence each other, so in the end they are both more or less on the same page. The sex scenes are not especially graphic--but they convey what looks like real intimacy and the very beginning of an emotional connection. When Glen tells Russell that he is leaving on Sunday, it puts pressure on their relationship, despite the resistance to that on the part of Glen. Something real seems to be happening between them and he's going to America for two years for an art teaching post. Despite his insistence that he does not want a boyfriend, it's very clear that Glen is conflicted about leaving.
This is a strong film because it shows contemporary gay men in a realistic light, something we wouldn't see again until GOD'S OWN COUNTRY, six years later. They're in their early 30s, both attractive, but not camera-ready model types. They're smart, quirky, from working-class backgrounds--they seem like real people. Actors Tom Cullen and Chris New create lived-in, believable characters. The film ends with the possibility of love. A close examination of how people begin together, It doesn't judge or make fantasy-type predictions.
The Suspect (1944)
Pretty good. Laughton, Daniell, Ivans and Ridges are the standouts
Scenes with Charles Laughton and Henry Daniell together, as well as scenes with Laughton and Rosalind Ivan make THE SUSPECT a worthy member of what some call the "Gaslight Noir" list. It's a melodrama with some dark overtones (whether or not its truly "Noir" is a matter of opinion). The aforementioned actors' scenes bring high drama to the proceedings, delivering sharp, witty dialog. And the direction by Robert Siodmak, along with atmospheric filming by Paul Ivano add great value. But this is also one of those faux-British Hollywood movies, where lots of actors attempt a distracting half-baked accent. Ella Raines, otherwise quite good, is guilty of that as is young Raymond Severn, the disarming "Merridew". There's no problem with great, underrated Stanley Ridges as the tenacious police inspector "Huxley". It we look past any limitations, however, THE SUSPECT is good to have in an attractive blu-ray edition to watch every few years.
Intent to Kill (1958)
Offbeat Crime Thriller set in Montreal
Famous cinematographer Jack Cardiff directed this somewhat offbeat crime thriller and his visual flair is evident. Many shots are more than interesting, and the city of Montreal is used to advantage, filmed in what looks like the dead of winter. There's a feeling of urban bleakness, not unlike many Film Noirs shot in US or UK cities. This could qualify as a minor late-period Noir, with a plot revolving around a band of murderous types who intend to assassinate a South American president, in need of a brain operation, for political reasons. Concerned with safety, the man was moved to a Montreal hospital, but the thugs have followed him there, "intent" on carrying out their mission. The other side of the plot concerns the doctor who treats the South American, and his marital strife. That subplot works fine, thanks to the casting of Richard Todd, Betsy Drake, and a very good list of actors: Alexander Knox, Herbert Lom, Warren Stevens. The latter is particularly intimidating as boss of the murderous gang. The very slightly complicated plot involves some unexpected turns. It's all well directed by Cardiff, with a great climax. Unfortunately, this film is not easy to find in a decent print. It was shot in CinemaScope, but copies all seem to be pan & scan. Let's hope some day it will be restored.