Reviews

The early part of this film felt, to me, like a work by Stephen King. There is a mystery to it. The viewer tries to determine exactly what is happening on the screen, and a creepy tone pervades.

A young girl named Chloe (Lexy Kolker) and a man who is apparently her father (Emile Hirsch) live in a dilapidated house, cut off from the world. He warns her about dangers beyond their front door. He instructs her daily in how to lie, supposedly to protect herself. From what? Where exactly are they? Is he telling the truth? The questions mount until it all comes into focus.

Meanwhile, a strange old man (Bruce Dern) cruises the neighborhood in an ice cream truck. And Chloe seems to know more than she is lets on.

As the story develops, it feels like an episode of "The Twilight Zone". The film reveals itself slowly, until the full story is understood and there is real action. The final sections of the film are riveting. This is brave writing---to create such a complex narrative and to present it in a way that makes sense. The visual effects are excellent, helping the viewer to understand the full story and to enjoy the storytelling.

The cast is good. And Lexy Kolker delivers a powerhouse performance in her critical role.

At film's end, it felt like there was more story to tell. If only there had been a sequel.

This is supposed to be a rom-com, set against the backdrop of a political campaign. But rom-coms live or die based up the likability of their two lead characters.

Seth Rogen plays Fred Flarsky, a political writer who specializes in expletives. We first see him with a group of neo-Nazis he has infiltrated. They are portrayed as more stupid than dangerous. But they manage to bust his cover and he barely escapes by jumping through a window to the sidewalk below. It is not the only time Fred takes a fall that should be fatal in this film. Apparently, it is meant to be funny, like a cartoon fall.

Charlize Theron plays Charlotte Field, a Rhodes scholar who is U. S. Secretary of State. She is a political character in every sense of the word. She thinks of life in terms of polling and stances. Practically before the current president can finish telling her he will not be running for reelection, she has mapped a strategy to the oval office and assembled a team of image makers. She also takes a government jet on a whirlwind tour of nations to promote her new climate plan.

Viewers will decide whether or not they find these two characters likable. Fred Flarsky does not seem far removed from other crass characters played by Rogen in the past. And Charlotte Field seems reminiscent of other characters who have stooped to conquer charmless schlubs. To make these scenarios work, there needs to be charm. Think of Phil in "Groundhog Day", who grows into his charm.

As for the comedy, much of it is Roganesque, boner-centric humor that looks for laughs in race-based issues or bodily functions.

In one scene, Fred and Charlotte are laying waste to their working relationship, he saying she has sold out, and she saying he needs to do whatever is asked of him regardless of his principles. Then they stop to look at the aurora borealis, and miraculously they are happy again. Perhaps that is the fantasy this film is selling: that political operatives can subjugate their needs and values, look into each others' souls, and find fulfillment in superficialities.

As a lover of game shows, I consider this the worst game show on TV. It is not because of host Jerry O'Connell's silly dances. Neither is it due to its low-budget approach to production and prizes.

The big problem is that O'Connell violates a basic tenet of all competition shows: he influences play. Maybe you have noticed that he often makes comments, like "this is a tough one". As contestants draw the clues, he frequently says "it's all there" or "you did a good job"-all of which can be clues to the guessers. Or if someone uses a specific color, he might indicate that it's a wise choice. These might seem like subtle or meaningless comments, but you would never hear Alex Trebek comment that a final jeopardy clue was obscure. Pat Sajak would never say that someone made a good choice in guessing a particular letter.

Frankly, I am surprised that they allow him to get away with his imprudent remarks. Avid game players are scrupulous about fairness, and the producers and broadcasters who are responsible for content must be well aware of the line that separates fair play from behaviors that can lead to major fines.

This is not a bad film, but it falls far short of its potential, given its two talented stars (Anne Hathaway as Emma, and Kate Hudson as Liv) who portray best friends who grow up sharing a dream of the perfect wedding.

When it comes time for their big days, a wedding planner makes a scheduling mistake, and they find themselves adversaries. Though they still love each other, their desire to realize their dreams overpowers their affection. What follows is a battle of "tit for tat".

The story is rather formulaic. And there are no surprises. And opportunities were missed that might have resulted in more entertainment. For example, in one scene, Anne Hathaway dances, but Kate Hudson just sits and watches her, despite the fact that Hudson can dance and it would have made more sense if the Liv character had done just that.

Also, since Hudson and Hathaway are both accomplished singers, one can imagine a scene that would involve singing, say a karaoke competition.

This sequel is a real accomplishment. Even more than the first film, it is a prime example of world creation, pulling the viewer into its reality. The word "spectacle" comes to mind repeatedly while watching this film. Time after time, the screen is filled with impressive images. And the photography is immersive.

I don't know which actor to single out, because the acting is solid across the board. I did, however, find the casting of Christopher Walken as the emperor a miscalculation, temporarily pulling me out of the story.

And the story is exhilarating. At one point near the end of the film, I actually got chills. The entire narrative is infused with the mythology of Dune, filled with prophesies and visions. And there is a romance in the midst of it all, against the backdrop of iconic religious motifs and dynamic technologies.

The ending is ripe for another sequel, and they say it will come. One can only hope it lives up to this episode.

This "somewhat true" story is about Gary Johnson, a small-college professor whose side gig with the local police department turned into something quite different.

Glen Powell portrays Johnson, an unassuming teacher of psychology and philosophy, who also does tech work for the New Orleans Police. When undercover specialist Jasper (Austin Amelio) is suspended for disciplinary reasons, they ask Johnson to fill his role: posing as a hitman. Inexplicably, Johnson is a natural, and develops an entire stable of personas, complete with disguises, to do his new job. He settles into leading a double life. Everything is fine until he meets Madison (Adria Arjona), the abused wife who is considering the demise of her husband.

Much of what makes this film interesting, and comedic, is the fact that it is based on actual happenings. It seems like such an unlikely story. There are some embellishments to the real life of Gary Johnson, but the central story is accurate.

The cast is strong. Glen Powell deserves special acclaim for the range of characters he plays convincingly. One can imagine a series based upon the Gary Johnson character.

There are a few films that try to plug into the teen male psyche and indulge in the common fantasies. "Weird Science", which followed in 1985, did just that, but lacked the sophistication of "Risky Business". "Ferris Bueller's Day Off" (1986) is a closer example, and shares some similarities---like being set in the same suburb--- but "Risky Business" is a sexier film, by far. This is the film that put Tom Cruise's career over the top.

Joel is a teen trying to do all the right things. He wants to attend Princeton, and his energy is focused on that goal. But things start to unravel, despite his good intentions. And he runs into Lana (Rebecca De Mornay), who is different from any other girl he has ever met. Somehow he ends up running a business out of his parents' house while they are away. Some suspense of disbelief is needed here, but this is about fantasies, after all. Joel falls into the teen's version of the American dream, it seems, though everything comes with a price.

Credit director Paul Brickman with a well-made film that caters to female fantasies, as well. When Cruise dances to "Old Time Rock and Roll", he has all the right moves. And the film signals that there is a party to come. Plus he has those Wayfarers on, baby. His future is so bright, he has to wear shades.

De Mornay was a brilliant choice for the role of Lana. She is beautiful and she always seems to be dangling the promise of something more just out of reach.

Whereas Ferris recommends that you "look around" once in a while, Joel comes to realize that sometimes you just have to go for it, whatever "it" is. That may be a more dangerous lesson, but Joel always remains true to his nature, never selling out or giving in.

This Hallmark romance takes us to Greece, where an American, Abby (Danielle C. Ryan), goes to visit her mother. While there, she meets Theo (Rafael Kariotakis), who wants to establish a new restaurant in the space his mother used to operate. Though his father has other plans for Theo, the young chef is encouraged by Abby, who becomes his partner. Still, Abby has plans to return to the U. S. after a few weeks.

This film is infused with Greek culture and sights, making for enjoyable visuals. And the Mediterranean food looks delicious. On the other hand, the central relationship appears more platonic than romantic, though Ryan does her best to signal an infatuation.

In the end, there are few surprises. Things work out as expected. And there are no nagging conversations about work visas or such.

It's 1962 in Modesto, California. Teenagers are celebrating the end of the school year. Seniors are on the cusp of a new life. For Steve (Ron Howard), tomorrow will bring a trip to college and leaving his girlfriend, Laurie (Cindy Williams) behind. Curt (Richard Dreyfuss) is having second thoughts about leaving for college. But they have an entire night to figure it out.

"American Graffiti" by George Lucas, is one of the most successful films of all time, but it almost wasn't released, due to the studio's lack of confidence in the project. Producer Francis Ford Coppola had no such doubts, so the film eventually was released, to the joy of film fans who treasure this slice-of-life story about one night in a California town.

This flashback to the early sixties includes the quintessential elements of the teenage small-town experience: cruising and music. The soundtrack is like a jukebox of the seminal sounds that dominated the AM airwaves not long before the British invasion. As for cruising, the endless search---for action, for attention, perhaps for a connection---stops only for visits to the local hangouts, then loops around again.

The cast of this film reads like a list of future notables. And it also includes Wolfman Jack, one of the emblematic DJs of his day. He effectively narrates the events of the evening. In my teenage life, which was only a few years removed from 1962, "Cousin Brucie" Morrow was the narrator and the set list had expanded, but the cruising experience was essentially the same. It is a joy to revisit that era, time and again, through this wonderful film.

When an Egyptian band arrives in Israel for a performance at a cultural center, they find they are at the wrong location. They spend one evening and night in a desert town, and they interact with the locals. The result is like an odd cultural exchange. From a western perspective, this is an unorthodox film, with nontraditional characters and unusual interactions. And it is fun to watch.

Because of the language barrier (most of the communication is in English) and cultural differences, it's as if there is a surfeit of interfaces through which the characters can communicate, or the interfaces are not aligned. Through the night, they work to find commonalities, like music and humor, and they gradually allow themselves to open up to real exchanges of emotion.

I was happy to discover this film, which I had never heard of.

The tone of the film is low-key. Emphasis is placed on small moments. And not only the words exchanged, but the silences between the words. There is an understated elegance.

The character who first breaches the cultural gap is Dina (Ronit Elkabetz), owner of a small eatery. Elkabetz's performace is remarkable: so nuanced.

I heartily recommend this film to anyone. And I learned that the film was adapted into a musical that was very successful on Broadway. I hope to see a version of the musical some day.

With this film, director Stanley Donen delivers a musical that has a pleasantly comfortable feel to it, perhaps because many of its songs are ballads. Some of the music is delivered on stage and some is integrated into the story. "How Could You Believe Me When I Said I Loved You When You Know I've Been a Liar All My Life?" is a notably upbeat exception and a film highlight that reminds me of the "We're a Couple of Swells" duet from "Easter Parade": delightful.

Fred Astaire and Jane Powell play siblings who are a musical team, Tom and Ellen Bowen. He is a confirmed bachelor, and she is an incorrigible flirt. Their agent (Keenan Wynn) books them on a London stage during the week of the much-ballyhooed wedding of the queen.

Ellen meets Lord John Brindale (Peter Lawford) on the ship over, and Tom meets Anne Ashmond (Sarah Churchill) on the day of their arrival. It doesn't take long for love to blossom.

Astaire gets to show his ability to dance with props, and to perform one of the most celebrated dance numbers in film, where he dances on the ceiling. Powell is a competent dancer and a strong singer, though her coloratura soprano might not be as appreciated as, say, Garland's voice in a musical. Despite their thirty year age difference, Astaire and Powell work well together. She said that she was intimidated by Astaire, but on film she sells the sibling relationship very well.

Donen's dance experience results in wonderful camera work, framing the dance numbers for maximum appreciation.

This film is an adaptation of the novel written by Kathleen Winsor. And it certainly feels very literary, as if a large tome were condensed into a film slightly over two hours long. In its day, it was compared in many ways to "Gone With the Wind", but GWTW was given nearly four hours to interpret Margaret Mitchell's saga. So, the filmic story of "Forever Amber" feels peripatetic.

Set in the 17th century, the central story is filmed against the backdrop of historical events in and around London. Amber (Linda Darnell) begins as a foundling who is raised in a strict, Puritan family. Frustrated by the constraints of her religion, she leaves her country home at age sixteen and makes her way to London, where Charles II has regained the throne.

There are two central themes. Firstly, she develops an obsessive love for an adventurer who becomes a privateer named Bruce Carlton (Cornel Wilde). Through all her misfortunes she maintains her goal of wedding Bruce, while he displays mere affection for her. Secondly, she will do whatever it takes to advance through the levels of society, presumably to reach a station worthy of Bruce's affection.

Darnell is just as strikingly beautiful as the script requires. Men fall at her feet, and it is quite believable. Wilde, on the other hand, feels miscast. In fact, there are a number of actors in this film that could more believably portray the object of her lifelong fascination. It has been said that Wilde was not thrilled with being in this film, so that may have been a factor.

Still, the film was a huge success. And other actors delivered strong performances, like Leo G. Carroll, who believably portrayed Amber's foster father. And Anne Revere, who plays a dangerous gang leader named Mother Red Cap. And George Sanders, who is wonderful as the multifaceted Charles II, who danced while London burned.

One cannot help but wonder what might have been if Tyrone Power had given life to Bruce Carlton. And despite a solid performance by Linda Darnell, considering Lana Turner in the lead role is an interesting idea.

Patton Oswalt hosts this quiz show, which has 100 contestants vying for money.

The questions posed to the contestants get progressively more difficult. Missing a question means elimination, as the pot grows larger. The difficulty of the questions is determined by testing them on groups beforehand. But these are not questions of fact or tests of knowledge; they are designed to test one's abilities of perception and logic.

The major problem is that it is very difficult to design the wording of such questions without any ambiguity. For instance, one question asks the contestants to imagine that some letters are turned 45 degrees, but it does not say on what axis. And it uses the terms "left" and "right", but a clockwise orientation might be more accurate. This might not matter as much if contestants had a minute to consider their answers, but they only get about 20 seconds, which doesn't allow for much trial and error or testing of hypotheses.

The banter with the contestants is hit or miss. Sometimes it is interesting, but mostly it is boring, especially when Oswalt asks a contestant why they missed a question and they are embarrassed, so they give senseless excuses for their answers.

Like many on this site, Bethany Joy Lenz is one of my favorite actresses in Hallmark romances. In this film, she plays the part of Ella Weber, a corporate burnout who is ready to change her life. On a whim, she walks out of the office and hops a flight to Paris, where she particularly wants to indulge in the cheeses. In no time at all, she is in a fromagerie, where the proprietor is dubious of her American sensibilities, but she obtains a slab that delights her.

Her living accommodations for the weeks she will be there are the posh digs of Clotilde Aubergel (Manon Azem). Clo helps Ella learn the ways of the French and encourages her adventurous spirit. She also introduces Ella to her cousin, Gaston (Ben Wiggins), an attractive man who is younger, but oh so charming. As we all know, "No one's slick as Gaston/No one's quick as Gaston", so she falls under his spell despite the warnings she gets about Gaston's reputation as a lothario.

Elle's ete d'amour is filled with new experiences and her senses are filled with the sights, sounds and tastes of Paris and its cheeses. The owner of the fromagerie, named Serge, eventually warms to her and he becomes the steward of her burgeoning knowledge of cheese.

As in many Hallmark romances, there is a misunderstanding that must be overcome: a phrase lost in translation. But Elle negotiates that obstacle and extends her stay: a jete dans ete. After all the montages de fromage, the fun fashions, and the views of the Tour Eiffel, Elle's future begins to take shape, if only she can commit to it.

There is a lot to like about this film, from the Parisian scenery to the beautiful actors. Another thing that works well, though it could have been an annoyance, is the use of thought bubbles to reveal Ella's inner thoughts while providing translations of some French phrases. As usual, Bethany Joy's energy drives the narrative; her enthusiasm in this role feels genuine.

This "B" movie fails to rise above its budgetary restrictions, but still entertains. In essence, it gives you a villain you love to hate.

Margie Foster (June Havoc) loses her job and becomes desperate to make ends meet, especially if she wants to be a good girl. She runs into a woman named Pearl (Iris Adrian), who shows her how to make money via theft. Margie then tries to turn her life around, leaving San Francisco for Los Angeles, where she finds a job waitressing. She makes some good friends and builds a stable life.

Then she meets Mitch Moore, played with delicious unctuousness by Cesar Romero. She fails to see through his façade of caring and pays the price. Besides Romero's solid performance, Lon Chaney, Jr. Is very watchable as Mitch's sidekick, Gus.

This is no noir classic, but it is like watching a train wreck. The viewer can anticipate almost every development. Most of the film is told in flashback, to explain how Margie comes to her final condition. And it is done seamlessly.

However, some of the acting lacks verisimilitude. And the film's score is melodramatic, intrusive and overcooked---more like what you might expect in an episode of "Dragnet".

I found this Hallmark romance to be a little disappointing.

They always say: (regarding film) don't tell us, show us. And in this film, whatever chemistry is supposed to exist between the leads, it is not demonstrated much. Also, the story revolves around an island that is purported to be so beautiful, so it could have been shown more.

Claire (Leah Renee) is on a mission to protect a local island from development when she meets Tom (Chris McNally), who owns a boat. The two do not really connect emotionally until he commits to helping her on her quest to save the island. During this period, Claire attends three weddings, which serve as backdrop for much of the narrative.

Two things I did enjoy were shots of the harbor and the lighthouse location, which was an inspired setting for one of the wedding ceremonies.

Leah Renee's performance was very quiet, which made it difficult to generate energy, romantically or otherwise.

When the production of a film suffers fits and starts, and changes of style, it can be difficult to overcome the confusion that results. "Reckless" has some wonderful actors doing their best, but it falls short due to such turmoil. In the early going, the dialogue often seems silly, and the narrative is disjointed.

William Powell plays Ned Riley, a sports promoter who loves to gamble. Jean Harlow is Mona Leslie, a star of Broadway. Though Harlow had singing and dancing skills, this film---which sometimes uses the voice and body of stand-ins---manages to undermine those talents. So much of the story seems tacked on, like the huge stage production in the beginning that is so overblown it derails the narrative. When the story does get back on track, we find that the two long-time friends are dedicated to each other, but Ned hides his love for Mona, while she is content to remain friends.

Despite the overedited scenes and the overwritten dialogue, this is a story about love: unrequited love, misunderstood love, false love, tragic love, and true love.

When Mona marries Bob (Franchot Tone), a rich man who lavishes her with attention and fine living, Ned is left alone, trying to disguise his genuine feelings. The ending is melodramatic, but an improvement over the early scenes. There is actually a story here that might be the basis for a great film, with the right actors and some editing. As it is, we can appreciate the talents of Powell and Harlow, those real-life lovers, and imagine what might have been if their performances were part of a well-managed production with greater vision.

This is one of my favorite Hallmark romances. Not only does it feature a good love story, but it shows off the beauty of Malta. And I learned some things about Maltese history and apiology (or mellitology).

Austin (Andrew W. Walker) is an American archaeology professor who visits Malta. There he meets local Eva (Margaret Clunie) who is an apiologist. Circumstances bring them together, then they mutually discover a hidden fresco which might be a map. Thus begins their adventure and their relationship.

For the most part, the relationship develops smoothly, without too much drama. But they both know Austin will be returning to the U. S., so neither foresees anything serious developing, despite their attraction.

Forgive the pun, but this is a sweet story, with an appealing tone. For my money, Margaret Clunie seems like an actress who could handle almost any role. Here, she gives off a pleasant energy that binds the story together.

This Hallmark romance is an autumnal story, and Hallmark knows how to frame a season.

The two leads, Kelly Rutherford as Amy, and Cameron Mathison as Noah, project a laidback attitude that is complementary and fits in nicely with the feeling of the film.

Amy is an accountant and very organized. She is also a widow. When she travels from LA to Oregon to drop her daughter off at college, she meets Noah, who she assumes is a groundkeeper at the school. They exchange light banter, then meet again later through a coincidence (of course).

Now with an empty nest, Amy is at a crossroads in her life. She decides to stay in Oregon to direct the local harvest festival for six weeks. Noah, who has a history of changing jobs, is actually a professor of agriculture. He may be leaving soon for a job in Australia. During the course of planning the festival, they spend time together and grow closer (of course).

They are afraid to express their burgeoning feelings and put themselves out there, where fears of rejection reside. In fact, they might not ever truly connect if not for some of cupid's helpers. But all ends well (of course).

Watch for gymnast Gabby Douglas in a small role as the roommate of Amy's daughter. And the music at the end of the film is enjoyable.

Two teams of five face off in a multiple-choice quiz show that lasts five rounds. In each round there are six answer choices, but the number of correct answers decreases by round. If you choose a wrong answer, you are unceremoniously clobbered by a large inflated ball that knocks you into a dunk tank. The team that accumulates the most money and survives the five rounds gets the opportunity to compete for a $100,000 prize.

I found the questions to be legit. Not everyone will know all the correct answers to a question. And the difficulty of the question varies. Teams can walk away with significant cash, but the final question may be a high hurdle for most contestants.

Host Jay Pharoah contributes some energy, but his role is mostly explanatory. Those who enjoy watching others get clobbered, and there are plenty of those people, may find this a hoot.

This is a strong drama about two people of unswerving principles. George Brent plays Mack Hale, an engineer tasked with building the Golden Gate Bridge. Kay Francis plays Lynn Palmer, a woman sensitive to the emotional needs of others. When they meet, sparks fly, but they soon realize they cannot compromise their values for a relationship, and theygo their own ways. Besides, he really does not value her work.

Mack is faced with dire problems. There are those who would like him to fail, no matter the collateral damage. He has to fight crime while taking on the dangerous project.

The film has a clever theme and the writing is dynamic and thoughtful. I looked to see if Ayn Rand had a hand in the script (she didn't), because the story feels like something she might write, and its uses some themes common to her novels: the value of good workers, the value of doing good work, a principled approach to life, and the mob versus the individual.

Since the Golden Gate was built between 1933 and 1937, stock footage augments the narrative, providing authenticity. Safety really was an issue during construction, and the film uses that real concern to magnify the drama.

I grew up listening to the music of Rodgers and Hart. A film about their lives has plenty of entertainment potential. But film bios are notorious for departing from the truth, and this one is no different. The narrative of "Words and Music" departs from reality so much that it is best to disregard its story and focus on the music. Plenty of their hits are covered here, and that is the film's strong suit.

Rodgers and Hart are played by Tom Drake and Mickey Rooney. Rooney's performance is strong, showing moments of subtle emotion.

Lena Horne sings "The Lady Is A Tramp"---one of the best performances in the film. Judy Garland also shines in two numbers. And Mel Torme sings "Blue Moon" as only he can.

Watch for young Perry Como and Janet Leigh. Cyd Charise also appears, but her dance number fails to display her extraordinary talents.

Among the many R&H tunes in the film, two of my favorites are "Mountain Greenery" and "Thou Swell", both of which demonstrate the clever turns of phrase for which Lorenz Hart was famous.

This may be the funniest episode. When Sheldon banishes Penny from their apartment for infractions of his rules, it initiates a war of tit-for-tat. Both of them promise the other will be sorry, then begin trading clever pranks designed specifically to most annoy the other.

Very funny. It could have gone on longer and racheted up the humor even more. Often, Penny plays second fiddle to the other characters, but here she gets her due, and the result is pure gold. That she matches Sheldon, who fancies himself the most intelligent and most strategic, is delicious fun.

It ends with an intervention by Leonard, who thinks outside the box.

Barbara Stanwyck once again proves her versatility, this time playing an invalid alone in a house. The story develops slowly, allowing the viewer to gradually learn about poor Leona Stevenson and her situation. We learn that she is well to do, that she is rather demanding, and that her emotional stability may be in question. Then she overhears a phone conversation.

The suspense increases as we understand how isolated she is, and how vulnerable she is in her situation. In flashbacks, we learn about her marriage and her strange relationship with her father, who is a rich businessman. There may be a plot afoot. Her husband, who is mysteriously absent, may be in trouble. A woman from her past becomes involved. The story feels Hitchcockian, reminiscent of "Rear Window", as Leona tries to piece together bits of information to understand what is happening in the world outside.

Burt Lancaster plays her husband, Henry Stevenson. It is one of his early roles. Many of the characters in the film seem threatening, and Ed Begley, who plays Leona's father, is adept at such roles, though we see how he melts under the manipulations of his daughter.

Director Anatole Litvak presents a dark, isolated world, aided by the score of Franz Waxman. It is all intended to place the viewer in the same situation as Leona. Though the narrative is sometimes confusing, the suspense increases throughout. In fact, some confusion may actually contribute to the viewer's identification with Leona, who struggles to fully understand her situation, and to regain control.