Mini Mini Reviews #2

“The Omega Man” (1971) – More or less, it’s a lame version of “The Last Man on Earth,” that exchanges all of its subtlety and tension for over the top goofiness and really poor effects. Grade: D+

“Moonstruck” (1987) – A very heartwarming romance with one of the more honest performances out of Nicholas Cage, while also proving how multi-talented Cher can be. Grade: B

“Cleopatra” (1963) – This should be the dictionary definition of extravagant and box office failure. The history behind “Cleopatra” is far more interesting than the movie itself, though that might be due to the four-and-a-half hour runtime. I wouldn’t have nearly as much problems with the film if it wasn’t the longest film I’ve ever watched and nothing about the film justifies that runtime. Grade: C

“The Death of Stalin” (2017) – A nice palette cleanser after “Cleopatra,” “The Death of Stalin” feels like the Russian equivalent of “Dr. Strangelove” focusing on incompetent idiots having to deal with problems they were never prepared for. Great dialogue, wonderful performances, and a hilarious pace that never lets up. Grade: B+

“Cornered” (1945) – A man travels to Argentina to find the Nazi who killed his wife, and the film utlimately becomes more about stopping that same Nazi from controlling some crime syndicate or something. It started out great and Dick Powell’s performance really captures the grief and pain he’s going through, but somewhere along the way the film loses its focus. Grade: C+

“Scoob!” (2020) – One of the best children’s movies in the last year, “Scoob!” is colorful, funny, loyal to the source material, and most importantly, fun. It takes Scooby-Doo to a more personal level than he’s ever been while still having a great sense of humor about it all. The opening is touching and the ensuing sequence where they remake one of the classic Scooby-Doo moments is great to see. Even though it’s aimed for little kids, there’s enough here for older fans of Scooby to enjoy this movie. Grade: B

“A Ghost Story” (2017) – Is it cliche to call this film haunting? One benefit I’ll give “A Ghost Story” is that, in the case of other thought-provoking indie films like “Under the Skin” I’d normally be bored out of my mind with so little happening in the film and even less pontificating. And while there are some annoyingly slow or nonsensical moments in “A Ghost Story,” the film really does drive home how distant, cold and worrisome death can be. It certainly has some bizarre artistic choices, but those choices do lead to a point that makes the whole piece worth it. Grade: C+

“Candyman” (1992) – This is a supernatural horror film way ahead of its time. Much like “The Twilight Zone,” “Candyman” uses myths and legends to talk about issues that plague society, and especially societies that often get unheard, especially in the 1990s. Wonderful writing, spectacular performances, some impressive cinematography, and horrifying effects, this one shows why the myth of Candyman has stuck with us for so long. Grade: A-

“I am a Fugitive from a Chain Gang” (1932) – For 1932, this film is as politically charged and controversial as Hollywood could be, taking a long, hard look at the dehumanization of the criminal justice system and how it defines those who have been in it. This film is brutally honest and horrifying for its time, but surprisingly thrilling, especially due to Paul Muni’s gripping performance as a man caught up in the mechanisms of a corrupt and petty form of justice, and how that changes him from the inside out. Grade: A+

“Horse Feathers” (1932) – Not the best Marx brothers comedy, but this one is certainly worth watching if only for the climatic football game where the brothers go all out. At times, it feels like a cartoon in how energetic and absurd they get. Grade: C+

“Gattaca” (1997) – A thought-provoking piece of speculative fiction, “Gattaca” explores every aspect of how humanity would change if we went all in on the genetic manipulation, both the good and the bad, especially how that would make the best of us possible but also create a new form of descrimination against those who didn’t have their genetics changed. It’s an effective triumphant story, sold by Ethan Hawke’s emotional performance, with some eye-opening world building. Grade: B+

“The Yearling” (1946) – This is your standard, run-of-the-mill boy and his dog story, except that it’s a baby deer instead of a dog, complete with a coming-of-age story about the boy fighting for his home and growing up a little faster than expected. The best part is certainly the boy’s father, played by Gregory Peck, who has the same likable charm we’ve come to admire from him in works like “To Kill A Mockingbird” and “Roman Holiday.” Grade: C

“Murder by Contract” (1958) – This is a barebones film noir about a hitman with a strict code that he adheres to, with a strange sense of superiority that gives him a rather cool edge. Aside from a memorable soundtrack and the coolness of the main character, this is your basic film noir. Grade: C+

“Da 5 Bloods” (2020) – Describing “Da 5 Bloods” as a strange mix of “Do the Right Thing,” “Apocalypse Now” and “The Treasure of the Sierra Madre” would not do this film justice. Much like all of Spike Lee’s best work, this film captures a great pain that is timeless in its relevance, in this case the mistreatment of black soldiers during the Vietnam War and how situations have not improved much since then. Most of this is sold through the tortured performance of Delroy Lindo, a man teetering on the edge of clarity and insanity, and a brilliant fusion of Fred C. Dobbs and Colonel Kurtz. It is eye-opening, impactful, thrilling, visually stunning, and it is Spike Lee in his element. Grade: A

“Underworld U.S.A.” (1961) – If “Mildred Pierce” is the perfect Mother’s Day film noir, then “Underworld U.S.A.” is the perfect Father’s Day noir, about how far one man will go to avenge his old man. What really hits home is that, while we never get to see the father alive, we see just how much he impacts our protagonist (Cliff Robertson) in his day-to-day life, making this a tribute to how much a father influences his son’s life in invisible ways. Grade: B

“San Francisco” (1936) – Aside from the spectacularly executed earthquake special effects and model use that followed that scene, nothing too extraordinary about “San Francisco.” Other than wanting to slap Clark Cable for being the most insensitive, smug, selfish prick on the planet, and that apparently D.W. Griffith co-directed it, which would probably explain why the film wants us to sympathize with the most unlikable man on the planet. Grade: C

“Tokyo Godfathers” (2003) – “San Francisco” could have learned a thing or two from this movie about taking characters that should be unlikable or despised and giving them dimensions, trauma and redemption. Everything about this movie flows together so perfectly, especially the broken homeless family healing each other through actions even they didn’t know they had in themselves. Grade: A-

“A Matter of Life and Death” (1946) – The best way I can describe “A Matter of Life and Death” is as a reverse “Wizard of Oz,” where real life is filled with bright technicolor and new opportunities to explore and love, and the fantastical is shot in black-and-white and is shown to be a dreary, monotonous bureaucracy. If you enjoy “Wizard of Oz,” you should definitely give this one a try. Grade: A-

“The Loneliness of the Long Distance Runner” (1962) – Certainly the most angsty, rebellious British film I’ve ever seen. It shows a darker, more honest look at the impoverished side of Britain and the hardships that those people carry. Grade: C+

“I was a Male War Bride” (1949) – One of the better examples of a love-hate relationship I’ve seen in Hollywood movies, where both partners (played by Cary Grant and Ann Sheridan) constantly try to one-up each other in the most showoff-y way possible, which gets on the other’s nerves, while always going out of their way to help the other whenever possible. It is odd that the titular plot of the film, about Cary Grant having to pose as a war bride, only comes in the last 40 minutes, but this light screwball comedy still works throughout. Grade: B

“Chariots of Fire” (1981) – On the complete opposite end of the spectrum from “Loneliness of the Long Distance Runner,” this film is all about proper Englishmen and devotion to that prim and elegant lifestyle above all else. Still, the most interesting thing about “Chariots of Fire” was the soundtrack, mostly because the electronic 80s music feels so strange when used for a film set in the 1920s. Grade: B-

“Earth vs. the Flying Saucers” (1956) – What pushes this film above other 1950s sci-fi movies is a few things. Ray Harryhausen’s effects work on the flying saucers breathes new life into something we often take for granted now, the final battle on Washington D.C. still holds up surprisingly well, especially when combined with other effects that aren’t stop motion, and the romance between the two leads (Hugh Marlowe and Joan Taylor) is charming and never overbearing, making the two leads some of the more likable protagonists in any 1950s sci-fi movie. Grade: B

“The 7th Voyage of Sinbad” (1958) – Going in, I thought the only thing of note was going to be Ray Harryhausen’s stop-motion effects, but there are a few other stand out things about this epic fantasy. Namely, Bernard Herrmann’s score is as good as any of his music for Hitchcock’s films, atmospheric and adds a new sense of scope to the many monsters Sinbad must defeat. Still, the Harryhausen’s effects steal the show and take on a life of their own, especially with so many different monsters here, such as a two-headed bird, multiple cyclops, a swash-buckling skeleton, and a fire-breathing dragon. Grade: B

“OSS 117: Cairo, Nest of Spies” (2006) – To be a truly great parody, you have to love what you’re parodying. “Cairo, Nest of Spies” might be the best parody since “Airplane!” because it doesn’t just nail the aesthetic, camera techniques, green screen effects and fight choreography of the James Bond movies, but the views and attitudes of the time period too, putting Bond’s gross misogynistic and insensitive views on full display to show just how out of date they are, without having the dimwitted, backwards spy who doesn’t know any better come across as unlikable. This spy parody blows all of the Austin Powers movies out of the water. Grade: A

Mini-Mini Movie Reviews

I picked a weird time to stop reviewing films. Apparently when this website stops publishing, a pandemic begins.

Over the last two months of silence, I’ve taken on some new responsibilities that have kept me away from film reviews, mostly a new job that allows me to work from home. And while I’ve been focusing all of my attention on that job, that didn’t stop me from watching the occasional film, including over 20 films I’d never seen before.

And while I don’t quite have the time to write full length reviews on all of them (including some that I watched over two months ago), I do feel like I should give my thoughts on all of them, even if it’s just one sentence on each. So I’m going to try something new by offering you some mini-mini-reviews. I’ll try not to make this a regular thing, but can’t make any promises.

“Paprika” (2006) – Imagine if “Inception” was animated by Miyazaki and was more of a psychological thriller about making literal dreams into reality, and throw in some anime insanity and you’ve got “Paprika.” Grade: B+

“Falling Down” (1993) – All it takes is one really bad day for some people to snap, and “Falling Down” pushes the envelope of how one man going on a rampage against the society could be any of us, pulled together by an off-the-wall performance from Michael Douglas. Grade: B+

“Crime Wave” (1954) – “What do you want? Christmas every day?” is one of the greatest and most quotable movie lines that no one talks about. Grade: B-

“Red Dragon” (2002) – A much scarier depiction of Hannibal Lecter than “Silence of the Lambs,” while never shying away from what makes him such a likable villain in the first place. Grade: B

“Monkey Business” (1931) – Aside from “Duck Soup,” this might be the best Marx Brothers film, with many memorable slapstick moments and gags that play so well with everyone stuck on a cruise ship. Grade: B



“Sanjuro” (1962) – Not the best Kurosawa film, and certainly a downgrade from its predecessor, “Yojimbo,” but it is serviceable as a lighthearted period piece about rival feudal gangs trying to seize power. Grade: C+

“Address Unknown” (1944) – If the Twilight Zone had been made in the 1940s, I could see the plot of this movie being an episode – how, with the right motivation, anyone could have been convinced to see the same views as the Nazis. Doesn’t work as well today, but at least it was killer cinematography. Grade: B

“Your Name” (2016) – This one gets confusing, going from a lighthearted comedy about supposedly random body swapping to a convoluted tale about time travel and spirituality. Beautifully animated and the characters are quite likable, just don’t think about it too hard. Grade: B

“Beyond a Reasonable Doubt” (1956) – One of the most twist-and-turn filled film noirs I’ve ever seen, this one constantly kept me on my toes, having you love and hate pretty much every single character. Grade: B+

“Lone Wolf and Cub: Sword of Vengeance” (1972) – Far more violent than I ever expected it to be and filled with a lot of odd creative choices that had me scratching my head. Grade: C-

“Night and the City” (1950) – The main character is one of the most detestable, loathsome people I’ve ever seen in a movie, and yet is somehow quite charming in his passion and enthusiasm, so convinced of himself that you can’t help but love him. One of the strangest but most watchable dynamics of any film noir. Grade: B+

“Collateral” (2004) – One of the more effective thrillers in recent memory, with a brilliant cast, a sharp script that hits every moment perfectly with its atmosphere, and never a dull moment. Grade: A

“Exorcist III: Legion” (1990) – The most underrated psychological horror film ever made, “Exorcist III” even surpasses the original “Exorcist” in many ways, with a wonderful crime piece that’ll keep you guessing, pitch perfect atmosphere, scares that are worth it every time and some wonderfully creepy acting from Brad Dourif, who could be the villain in every movie ever and I wouldn’t complain. Grade: A-

“Wicked Woman” (1953) – The most memorable part of this film noir is the opening theme song, performed by a guy who sounds like he’s melting. Grade: C+

“Gentlemen Prefer Blondes” (1953) – One of the best performances from Marilyn Monroe and one that perfectly blends music and comedy, only being outclassed by “Singin’ In the Rain” in that category. Grade: A-

“The Candidate” (1972) – I feel like this one was building up towards its final moments, where the whole picture becomes clear as a farce about people wanting to be politicians for power and fame and nothing else. Other than that, quite forgettable. Grade: C

“Victor/Victoria” (1982) – This one was a lot funnier than I thought it would be, though I should have expected as much when it was made by the same guy who directed “The Great Race.” Lots of great moments for Julie Andrews and Robert Preston. Grade: B

“Superfly” (1972) – “I’m Your Pusherman” is a surprisingly addictive song that this movie loved to death. Grade: B-

“Fallen Angel” (1945) – It makes for a fascinating companion piece with “Beyond a Reasonable Doubt,” as both are about Dana Andrews being convicted with a crime they may or may not have committed, while someone else may be pulling the strings of the crime. Grade: B-

“Dark City” (1998) – Perfectly blends together film noir and science fiction without ever feeling overwhelming, with some wonderful production design of philosophical questions that were better addressed in this movie than they were in “The Matrix.” Grade: B+

“Lone Wolf and Cub: Baby Cart at the River Styx” (1972) – Now this was more like it – still ultraviolent, but puts that violence to good use without ever coming across as grotesque or raunchy. Just a good ol’ samurai facing impossible odds and that’s really all I asked for. Grade: B-

“42nd Street” (1933) – Back when musicals were more of a spectacle than a story, “42nd Street” stands out for its elaborate dance numbers, unique cinematography and fun songs. I can see why this is often regarded as the first really great musical. Grade: C

“7 Faces of Dr. Lao” (1964) – You know, I could get behind the whole mystery comedy aspect of the movie with a mysterious stranger coming to town and using his powers to make everyone’s lives better, but then they had to make almost half of the film a western about land disputes and fighting the old west with newspapers. You know your movie is strange when the western aspects are weirder than one guy playing seven different roles, including Medusa, Pan and a talking clay-mation snake. Grade: C+

“The Crimson Kimono” (1959) – A surprisingly progressive film for its time, setting the tone for the buddy cop genre that would come 30 years later and discuss the trouble that come with interracial couples a decade before “Guess Who’s Coming To Dinner” would do the same thing. Still, it’s more of a police procedural than a film noir with some bold editing and camera techniques that makes this stand out from all the other films during this time period. Grade: B-

Movie Review - "Creature from the Black Lagoon" (1954)

It is fascinating to watch "Creature from the Black Lagoon" with the knowledge I have now, so many years after falling in love with movies like "Godzilla" and "The Shape of Water." Like many people, it is hard not to sympathize with the Gill Man as he defends his home from us, the invaders, and tries desperately to find love. He certainly is the most interesting character throughout the film, as every other character fills the generic monster movie tropes, including the macho hero (Richard Carlson), the greedy corporate leader (Richard Denning), and the helpless beautiful damesel in distress (Julie Adams), though it might help that the Gill Man has one of the best monster costumes ever made and is shown how dangerous he can be underwater with some rather beautiful underwater cinematography.

Though one thing I found distracting throughout the film was the music, since the same theme for the Gill Man would be used many times in "King Kong vs. Godzilla." Every time I heard his theme, I expected King Kong to show up and destroy a building. Still, I can see why "Creature from the Black Lagoon" has attained cult classic status - it is the right amount of campy monster goodness with seriousness, mixed with some great cinematography and an icon monster that may not really be a monster.

Final Grade: B 

Movie Review - "The Seven Year Itch" (1955)

I don't know why I would ever doubt Billy Wilder. Despite this not being mentioned on many of his best films list, "The Seven Year Itch" is still just as vibrant, witty, satirical and sexually charged as all of his comedies. It is raunchy without ever needing to be censored, funny while only needing two key performers (Tom Ewell and Marilyn Monroe), and its due to Wilder's brilliance of turning a phrase like no one ever could and impeccable comedic timing.

The idea of pairing up a lonely but married man with the most vivid imagination with...well, Marilyn Monroe leads to some of the most creative, bizarre comedy to ever come out of the 50s. It certainly helps that Monroe gives the best performance of her career here, as well as the best outfits she ever got to wear, including the famous subway-grate dress. Ewell constantly going over the top and over-thinking every little detail is paired so well with Monroe's simple, dim-witted approach that it sets the standard for many romantic comedies to come.

Final Grade: A- 

Movie Review - "Pather Panchali" (1955)

Much like "Rashomon" opened the world to Japanese cinema, "Pather Panchali" introduced the rest of the world to Indian cinema, showing a vastly different and unforgiving look at the world from the innocent perspective of a child that would otherwise probably go unlooked. Films like "Pather Panchali" are the reason to watch foreign movies, the entire world is filled with as much wonder as there is tragedy. Every type of people has a story to tell, and film offers quite possibly the most human way to experience those stories.

The film follows the Roy family, who lives in a run down shack of a home, where the father (Kanu Banerjee) is not making ends-meet and only has a slim hope of success as a writer, but only if he leaves his family for several months. This leaves the mother (Karuna Banerjee) to fend for her children, Durga (Uma Dasgupta) and Apu (Subir Banerjee), with nothing but her wits and will, all while the rest of the village is convinced that Durga is thief and her aunt (Chunibala Devi) leeches off her very little food and supplies.

Yet under all of this, there is a honest sense of hope and optimism that permeates throughout the movie. The children take ever opportunity to savor every moment of innocence, while the parents seem to genuinely enjoy watching their children grow and enjoy themselves despite their less than ideal home. This is certainly helped due to most of the actors being a real family who live in similar squalor when the cameras aren't rolling. It paints a harsh but uplifting view of India that was daring and bold for 1955. Hell, it would still be bold if it was filmed today.

"Pather Panchali" is certainly the most important Indian film of all time. Its honest depiction of the impoverished is striking and soulful. It is one of the rare films that transcends cultural and language barriers and speaks to anyone on a loving, passionate level.

Final Grade: A 

Movie Review - "Bell, Book and Candle" (1958)

Normally, I would say a film like "Bell, Book and Candle" has not aged well. It is the modern-day story of a New York witch (Kim Novak) falling for her neighbor (James Stewart), who is engaged to another woman, and puts a spell on him so that he falls madly in love with her despite every logical bone in his body telling him that this doesn't make sense. As it was pointed out to me, this is the same kind of love as "Seven Brides for Seven Brothers" - forceful one-sided love, until the other side is left with no other option but to be in love. This witch is practically changing who this man is, just so that she isn't lonely.

Yet at the same time, I find this far more excusable than "Seven Brides for Seven Brothers" because it drowns itself in its fictional world, loving every detail about how witches and warlocks operate in modern day society. We see their night clubs and the experimental music they create, as well as old style witches with potions and incantations versus new age witches who work more subtlety and with a bit more ego. Kim Novak's reasoning for making Jimmy Stewart her love slave might be despicable, but given how she's lived her whole life using magic and the bewilderment Jimmy Stewart goes through while under the spell, it is a hilarious result. As far as a entertaining attempt at imagining how witches would take advantage of our unsuspecting humdrum world, this one is boasted by some of Jimmy Stewart's most over-the-top performance, a sultry Kim Novak and some wonderfully slimy performances from Jack Lemmon and Elsa Lanchester.

If the romance between Stewart and Novak feels creepy, it's only because it reminds me of "Vertigo."

Final Grade: B-

Movie Review - "The Mummy" (1959)

Like so many other Hammer horror films, their version of "The Mummy" is a tribute to the Universal horror films that came before it. From the loving attention to detail on the Egyptian artifacts and costumes, to the mysticism of ancient Egyptian society that is both so captvating and so horrifying, this is something that certainly gets better if you've seen the 1932 "The Mummy."

And yet, while the film only takes a few plot elements from the 1932 film, it does take several plot elements of other Universal horror films, specifically "The Mummy's Hand" and "The Mummy's Tomb." It's as this version took all the best plot elements of all three Mummy movies to make the best version of the character that they wanted to see on the big screen. In this case, after a bunch of archologists unearth a long forgotten tomb of an Egyptian princess, a devoted follower of an Egyptian god of death uses an undead mummy, who had been deeply in love with the princess, to get revenge on those who distrubed her tomb. The film has a rather progressive outlook, especially from the villain's perspective who has a great scene explaining that the dead were meant to stay buried and not shown off in museums, while he descends more and more into a manic and obsessed craze. Peter Cushing gives a much more restrained performance, but it is George Pastell as the villain Mehemet Bey that stands out here, always selling is devotion to his death-obssessed religion.

Final Grade: B

Movie Review - "Executive Suite" (1954)

When Avery Bullard, CEO of a large furniture production company, suddenly dies of a heart attack, it leaves his five vice presidents confused, afraid and scrambling to find Bullard's next replacement. These men include the architect and visionary Don Walling (William Holden), the groomed but paranoid Fred Alderson (Walter Pidgeon), the salesman Walter Dudley (Paul Douglas), the lavish and laid-back Jesse Grimm (Dean Jagger), and the by-the-books sales manager with a heart as warm as his files Loren Shaw (Fredric March).

What follows is a power struggle to decide the fate of the company, none of these men surprisingly doing anything out of greed or self-importance, but because each of them has a different idea of success and feel that the company will fall without the proper hand to guide it. This makes "Executive Suite" a rather noble and heartfelt look at the business world and the inner politcs of how death can ruin the lives of even men living at the top of the food chain.

Final Grade: B-

Movie Review - "The Wild One" (1953)

"The Wild One" is a cinematic time capsule, perfectly capturing one moment forever to remind us of the phases and changes society went through. While some films do their best to capture the mood of the time period, I can't think of one that does a better job than "The Wild One" and the rebellious biker outlaw gangs. From the leather outfits and hip jive talk to the outright hatred of any establishment, especially law enforcement, and the backlash they faced from every day people, this movie lays it on thick.

Marlon Brando's performance as Johnny, the titular wild one, sees him essentially playing himself, a rebel who hated the establishment and just wanted to establish his own identity. And while Brando, always the method actor, spent a lot of time hanging out with biker gangs to learn their lingo and mannerisms and drove a motorcycle to and from the set, he was always defiant and head-strong and despised Hollywood. As such, it's hard to see Johnny as anything more than an extension of Brando himself.

Overall, "The Wild One" is a fun experience if only for a chance to go back and see a time when bikers ruled the roads and struck fear in the hearts of every small Christian town.

Final Grade: C+ 

Movie Review - "A Place in the Sun" (1951)

I don't use the term "modern tragedy" lightly. To me, a tragedy invokes a Shakespearian-like character, one who is just and honorable, as his own good intentions ruin any hope of the world recognizing his admirable qualities. In the classic sense, a tragedy is simply a character ending in a worse place than they started, but the genre has grown and become more sophisticated since the classic Greek tragedies, and we've gotten to a point where the overwhelming luxuries of modern society have made us crave success to no end. Because in the end, all we really desire is a place in the sun.

While the story follows a young man down on his luck (Montgomery Clift) who gets a job at his rich distant families company in the big city and ends up falling for a quiet female coworker (Shelley Winters) while always pinning for the beautiful and elegant model (Elizabeth Taylor), the star of "A Place in the Sun" is George Stevens meticulous detail in every aspect. Stevens had his hands in costume design, editing, cinematography as well as directing, making this movie far more his vision than any other Hollywood movie at the time.

Stevens' depiction of a tragedy is chilling and yet surprising authentic. Clift's subtle performance is often quiet and calculating, like we can see the gears turning in his head, all while he tries to find some semblance of happiness in the world by following his basic temptations. It certainly helps that Taylor is at her most alluring, acting like the devil on Clift's shoulder and she doesn't even realize it. Rather than demonize this man for his actions, Stevens is understanding yet distant, giving everything a matter-of-fact tone while showing how the desire for success can corrupt the modern man.

Stevens makes a point to show that Clift can be any man, and that we're all capable of the same evil.

Final Grade: A 

Movie Review - "Invasion of the Body Snatchers" (1956)

While it pales in comparison to its 1978 remake, the original "Invasion of the Body Snatchers" still proves to be a relevant, almost film noir-like, science fiction flick. Like most other 1950s sci-fi, it feeds off the fears and nightmares of its time, in this case the rise of communism or conformity in the American household and what that does to the American way of life and how that turns into rampant paranoia and suspicison. The thought that anyone and everyone around you could be a cold, uncaring alien that could try to convert you too when you least expect it, speaks not only to McCarthy era, but still rings true even to this day as our personal identities become so important. It adds a certain level of horror to the film, on top of it's noir style of unraveling its other worldly mystery. One of the classic 1950s sci-fi movies, as well as one of the simplest yet most effective.

Final Grade: B+ 

Movie Review - "The Long, Long Trailer" (1954)

Despite having never seen a full episode of "I Love Lucy," one thing that certainly comes across in "The Long, Long Trailer" is the love and admiration that Lucille Ball and Desi Arnaz have for one another. The chemistry between these two as they attempt to haul an ungodly long trailer through the Colorado mountains on their honeymoon is vibrant and so lively that they can turn something as simple as backing a trailer up into an uproarious affair. Of course, Ball and Arnaz were married in real life, so the duo bickering and whining comes across as genuine, but with that same charm that only Lucille Ball could bring. This is the perfect showcase of Ball's comedic timing and witty personality that made her a household name, while also having some of the best slapstick outside of a Charlie Chaplin or Buster Keaton film. A wonderful film to relax and unwind to, where the biggest stakes are worrying if the trailer will make it to the top of the mountain.

Final Grade: B+ 

Movie Review - "The Earrings of Madame de..." (1953)

The more I watch French cinema, the more I appreciate the way it turns subtlety into an art form. "Diabolique" and "Wages of Fear" pull this off masterfully, and Max Ophuls' "The Earrings of Madame de..." is another great example of taking performances built on undertones and small moments and turning it into a gripping movie. The structure of the film is entrancing, where something as insignificant as a pair of earrings seem to be controlling this story, manipulating each of these characters like a master train conductor trying to orchestrate the biggest accident possible without any other train knowing. The film is elegant, yet is quite possibly the most greedy and selfish movie I've ever seen, creating this seedy undertone to an extravagant time and period that is quite frankly mesmerizing. If you're looking for the best drama that France has to offer, look no further than "The Earrings of Madame de..."

Final Grade: B+ 

Movie Review - "Umberto D." (1952)

It has been close to six or seven years since I've seen an Italian neo realist film, and while watching "Umberto D." I suddenly remembered why I'm not a fan of the film movement and why I haven't watched one in years. There is a certain appeal to the genre - no actors, no big Hollywood stories that try to play up reality for dramatic reasons, just real people living their lives in a harsh post-WWII world. "Umberto D." certainly has this in spades, as a retired government worker (Carlo Battisti) does everything he can to not get evicted from his home without anyone to help besides his pregnant neighbor and his dog.

But, like so many other neo realist films, it never succeeds in pulling me in. Despite the vivid unforgiving world it paints, and the struggle it creates for its lead character, Umberto seems like such a lifeless character as he waddles from scene to scene aimlessly. Part of the problem could be the whole "casting actors with no acting experience" experience of neo realism, they just can't convey the passion and emotions as well as expressive actors.

Final Grade: C-

Movie Review - "Sabrina" (1954)

 
Is it just me, or does anyone else get creepy vibes anytime they see Humphrey Bogart try to romance a woman who looks like she could be his daughter? Maybe the problem is that Bogart has always looked so old, and he keeps trying to make love to beauties like Ingrid Bergman, Mary Astor and now Audrey Hepburn, all of whom look to be half his age. Bogart has always sold the hardened loner with a heart of gold, but rarely sells me on the well-meaning lover, and "Sabrina" is no exception. However, the film still boasts many great accomplishments, including a career-defining performance from Audrey Hepburn and a wonderful change-of-pace role for William Holden. It helps to have a sizzling screenplay that gets bumped by Billy Wilder's excellent unmistakable touch to many key scenes to make the dialogue really stand out, as well as Wilder's keen sense of cinematography that adds to the visual storytelling. And while I remained unconvinced by Bogart and Hepburn's chemistry, the romance between Hepburn and Holden almost plays out like a tale of revenge between two old friends, and it is both terrifying and hilarious. This is classic Billy Wilder and still comes highly recommended.

Final Grade: B

Hundred-Word Review - "Pillow Talk" (1959)

I've been convinced that Doris Day can do no wrong. In "Pillow Talk," Day plays a independent interior decorator who shares a party-line with a playboy song writer (Rock Hudson), as they continually butt heads over control of the phone and each others' private lives. While the film sets the stage for many mistaken identity romantic comedies, it is the strength of Day's performance as a witty, outspoken woman that knows what she wants and isn't afraid to step on some toes to get there, leading to some great comedy and chemistry with the brick wall that is Rock Hudson.

Final Grade: B+

Movie Review - "The Blob" (1958)

Meet the definition of cheese and camp for science fiction in the 1950s - "The Blob."

Looking beyond the laughable yet effective special effects, mostly consisting of running slime down a slope, and the story being made up of adults playing rebellious teenagers while trying to stop an alien amoeba creature, I feel the main reason people still talk about "The Blob" is because of the lead actor - Steve McQueen in his film debut.

Despite the fact that he does not look like a teenager in his Mister Rogers sweater, all the elements of what made McQueen so likable are here - cool, suave, rebellious, but with a heart of gold. Even if this is just a B-movie with a cult following, McQueen gives an A-list performance and sells that this is a teen that feels like he has the world against him. Effectively, he's playing the boy who cried wolf, as the whole town doesn't believe there is a gelatinous monster and every time he spots the jelly, it vanishes. He spends the rest of the movie proving that he's not insane and trying to save the town from being consumed by the blob, and McQueen lives in the agony and pain of his character.

Beyond this, "The Blob" feels like a beach party movie that turned into a low-budget monster film, with it's overplayed rebel teens versus the police plot and how the adults just don't understand the kids these days. This plot takes up far more of the film than the story about the monster terrorizing the whole town. Then there's the 1950s groovy theme for the Blob that feels like something out of "Scooby-Doo." The whole film is campy fun like this, but it never takes itself too seriously so that the mood becomes disturbing, despite the fact that citizens are being dissolved by an alien jam.

Overall, "The Blob" has certainly earned its cult status, even if it belongs on "Mystery Science Theater 3000." It's a strange mix of a rebel teen tale and a B-horror movie and works as both for the most part. The effects are minimal and dated, but still get the job done, especially during the climax. And of course, Steve McQueen turns in a captivating and heartfelt performance that he would become known for long after this film. Watch this one with some friends and some alcohol, and you'll have a blast.

Final Grade: C+ 

Movie Review - "No Time for Sergeants" (1958)

The charm of "No Time for Sergeants" is that it never takes itself too seriously while always trying to be as fun and endearing as possible in its own simple way. Andy Griffith masterfully pulls off the backwoods rube act of Will Stockdale during the peacetime air force, while always coming across as kind and charming in his own unique way, not unlike Forrest Gump - honest and larger than life, but knows nothing about how the real world works. This combination makes for a stand-out comedy that feels like an air force equivalent of "Mister Roberts."

There isn't too much else to say about "No Time for Sergeants" other than how effective it is through its simplicity of putting a uncultured yet well-meaning baffoon in the care of an orderly sergeant that is prone to emotional outbursts when things don't go his way. The film doesn't have an overly profound statement or message about the air force, nor does it berate the military. Instead, it presents a ridiculous situation and rolls with every ludicrious moment like it was a war using pies. This is just a simple yet fun ride that brought a smile to my film-loving face.

Final Grade: B

Movie Review - "A Man Escaped" (1956)

"A Man Escaped" is, above all else, an experience in claustrophobia. Set in a Nazi prison for members of the French Resistance, the film follows Fontaine (Francois Leterrier) as he does everything in his power to escape his German captors with the very few tools he has. There is hardly a word of dialogue and it is mostly set in one jail cell, yet this film does so much with so very little by making the mundane and trivial feel so monumental and important.

The strength in "A Man Escaped" lies in its uncertainty and strength in the littlest of details. Small things that we take for granted, like the sound of footsteps coming down the hallway, the passing of a note between prison members, the way the wood breaks off the prison door, are all of far more importance and tension than any of the characters or story. The entire film is made up of these details. This is by no means a classical drama, bragging about its big moments with tons of characterization, instead opting out for a more human and scintillating tale of survival.

The films' director, Robert Bresson, is a revolutionary director of French cinema, always making minimalistic films that have less of a story and more of a single narrative focus. Bresson also never hired any professional actors, instead usually casting those who had little to no acting experience, because then their reactions and emotions are genuine instead of feeling forced. Bresson was also captured by the Nazis when he was part of the French Resistance, so this film plays with his own fears and struggles while he attempted to escape twice.

Overall, there is no other film like "A Man Escaped" that feels so focused and concise while always being so gripping. Unconventional, while remaining relatable and honest in its depiction of prison escapes. It is not just an achievement in French cinema, but one of the best claustrophobic thrillers ever made.

Final Grade: B

Movie Review - "A Night to Remember" (1958)

Believe it or not, James Cameron's "Titanic" was not the first time the tragic tale of the unsinkable luxury ship was adapted to film - and many would argue it is not the best adaptation of this well-known story. And after seeing Roy Ward Baker's "A Night to Remember," I agree with those people.

While Cameron's film changed some of the historical aspects for the sake of dramatic storytelling, "A Night to Remember" prides itself on being as accurate, almost documentary-like, as possible. Rather than playing with our emotions at the cost of changing what actually happened, we get sucked into the authentic tale of a situation that could have easily been prevented and how it quickly turns into a hopeless one for thousands of people, all because of ego and pride getting in the way.

On top of that, for a non-Hollywood film made in 1958, this black-and-white film looks stunning, with amazing detail from the lavish halls to the submerging engine room. Even the models of the sinking ship and its interiors filling up with water are so authentic that seeing them slowly submerge into the depths is just as effective as Cameron's film, if not more so here due to the realistic tone of the movie.

But of course, the main focus of "A Night to Remember" is on the 2,200 people stuck aboard the sinking ship with only enough lifeboats for 1,200 people, and how these people cope with death creeping up on them.

The film mostly follows Second Officer Charles Lightoller (Kenneth More), the highest ranking officer to survive, as he prepares to board the RMS Titanic on her maiden voyage. The mood is electric, as everyone is excited to be apart of history being passengers on not only the largest ship every built, but also one that has been touted as being unsinkable. It even gets to the point where the captain and the senior staff feel like they can relax, since they have nothing to fear. As a result, the crew of the Titanic miss a lot of obvious warnings and hazards until they're right on top of a giant iceberg.

As the ship begins to sink, we watch that same electricity turn from shocking to deadly. The gravity of the situation is first handled with calm and sorrow, only for it to escalate to full blown panic and chaos as the front of the ship starts to go under. At which point, the focus switches to the brave men doing their best to save as many lives as possible, and how the passengers react to the icy water slowly surrounding them. Some are dumbfounded and unaccepting, while others realize there is no escape and hand on to the little life they have left. It's like watching something beautiful slowly be destroyed from on-high and being unable to do anything about the desperate pleas and cries for help.

The tale of the Titanic is one of the most tragic and heartbreaking stories in modern times, and "A Night to Remember" captures the tragedy in the most brilliant, accurate and moving way possible. If you only ever watch one movie about this story, forget about Jack and Rose, and see one of the most wonderfully human movies ever made.

Final Grade: A