HAPPY THANKSGIVING!

HAPPY THANKSGIVING!

Give thanks for all the great movies out there and watch out for those turkeys!

PIT AND THE PENDULUM

PIT AND THE PENDULUM (1961). Producer/director: Roger Corman. 

Francis Barnard (John Kerr) arrives at the castle of his brother-in-law Don Medina (Vincent Price) and his sister, Catherine (Luana Anders), after hearing of the supposed death of his own sister, Elizabeth (Barbara Steele). Medina is the son of a notorious torturer of the inquisition, and the cellar is full of the sinister implements that he used in his work. As Kerr struggles to find the truth from Don Medina and Catherine, there are disturbing indications that Elizabeth may still be alive. Richard Matheson's screenplay doesn't really have much to do with Edgar Allan Poe's excellent short story upon which this is very loosely based, instead being a tale of marital and familial discord and mental illness with a dollop of "The Fall of the House of Usher' [which Corman had previously filmed] thrown in. (Corman apparently liked the basic plot of this film so much that he used it again for Premature Burial.) This is a handsomely appointed production with superior art direction and scenic design by Daniel Haller and an effective score by Les Baxter. Price is also effective as Medina, borderline hammy but dramatic and fun. For some reason Barbara Steele is dubbed. Kerr is fine, as is Anthony Carbone as Dr. Leon, and Luana Anders scores in a very different role from the one she played in Dementia 13. Not much is done with the "pit," but the sequence with the deadly pendulum is very well done and the best thing in the movie. Great ending! 

Verdict: Don't expect much Poe, but on its own terms this is quite vivid and entertaining. ***1/2.

THE COSMIC MONSTERS

THE COSMIC MONSTERS (1958/aka The Strange World of Planet X and The Cosmic Monster.) Director: Gilbert Gunn. 

"Insects! Oh mon dieu -- No!" 

 Gil Graham (Forrest Tucker) and sexy French computer expert Michele Dupont (Gaby Andre) suspect that something is going wrong with an experiment by a colleague who is altering the molecular stability of metals with a field that is expanding far beyond the confines of the laboratory. Boy, are they right! -- which is confirmed by a visitor from outer space (Martin Benson) who warns them of their potential destruction. The field not only drives men mad, but has mutated all manner of yucky insects into slavering, hungry giants! The best scene has Ms. Dupont caught in a giant spider web even as pretty new teacher Miss Forsythe (Patricia Sinclair) is trapped in the school house by crunching, aggressive creepy-crawlies. The Cosmic Monsters is talky at times and very low-budget, but it has a certain unsavory zest in its insect scenes and is generally well-acted. Based on a novel by Rene Ray. 

Verdict: You can't beat those bugs! ***.

HONEY WEST

HONEY WEST (1965) ABC-TV series.

This series about a female private eye only lasted one season and thirty episodes, but it could be very snappy stuff. The TV incarnation of Honey was introduced on an episode of Burke's Law. The show was based on a series of exploitation novels by G. G. Fickling (a husband and wife writing team) with the emphasis on sex. Things are toned down a bit for the TV show, although the emphasis remains on Honey's shapely charms, as personified by actress Anne Francis. Although occasionally on the "cutesy" side, Francis is pretty much perfect as Honey, and John Ericson is similarly excellent as her partner, Sam Bolt. Honey inherited the detective agency from her father, and Sam -- who used to work for the old man -- now works for her, although in general they function as a team that now and then has a prickly relationship (this was in the days before "sexual tension" was coined). Most of the episodes were fun and well-acted, with plenty of action in a compact half hour minus commercials. There were only a couple of clunkers and even these episodes aren't really awful. The best episodes include "The Swinging Mrs. Jones" (a blackmail ring preying on wealthy married women); "Whatever Lola Wants" (a sinister society hostess); "Little Green Robin Hood" (Edd Kookie Byrnes as a crazy thief, with Allen Jenkins and Eleanor Audley -- who was the voice of Malificent in Disney's Sleeping Beauty -- also in the cast); and "An Eerie, Airy Thing" (a man out on a ledge wants to talk his wife, unaware that she's been murdered). Irene Hervey shows up now and then as Honey's likable and helpful Aunt Meg.

Verdict: Honey with some spice and humor to it. ***.

IRON MAN 2

IRON MAN 2 (2010). Director: Jon Favreau.

Antony Stark (Robert Downey Jr.) returns as the armored hero in this sequel to Iron Man. The plot doesn't really matter, but Stark mixes it up with the Black Widow (Scarlett Johansson), Whiplash (Mickey Rourke), and Justin Hammer (Sam Rockwell), all of whom first appeared in the Iron Man comic books. The Widow pretends to be an employee of Stark Industries, Hammer has a sinister plot afoot involving dozens of Iron Man clones, and Whiplash is really Ivan Vanko, a Russian scientist who uses electronic whips to slash automobiles in half. However, the best sequence has a drunken Iron Man [Stark is a reformed alcoholic in the comics] battling his pal Rhody (Don Cheadle) as the latter is dressed in his own armor as War Machine. Iron Man 2 is colorful and has some exciting sequences, although it's too long and drags at times. Downey is fine as Stark; ditto for Gywneth Paltrow as his assistant Pepper Potts [whom he makes head of Stark Industries] and the rest of the supporting cast. Mickey Rourke looks fairly grotesque but he nearly steals the picture with his intense portrayal of Ivan Vanko. Nice theme music by John Debney.

Verdict: Noisy and splashy and at times entertaining. ***

GEORGE HAMILTON: DON'T MIND IF I DO

DON'T MIND IF I DO. George Hamilton and William Stadiem. Touchstone; 2008.

George Hamillton has always come across as a vaguely likable if decidedly superficial personality and he's pretty much true to form in this entertaining memoir. You read about his trips to this country and that and his friendships and dalliances with famous people, but you won't read much about culture or anything of real substance. Hamilton started out as a highly promising actor with a strong and sensitive performance in Home from the Hill, but he didn't build on that promise, more interested in being the suave if old-fashioned playboy than a serious actor. [Yet I have never once heard anyone say they thought Hamilton was "hot." But nobody says that about Hugh Hefner either.] Hamilton writes a lot about his colorful mother and gay brother, Bill, both of whom seem more interesting in some ways than Hamilton. Hamilton does get points for honesty, as he doesn't gloss over some of the bad movies he's made as most other actors do, but has fun writing about them. [Oddly, he doesn't mention such creditable film projects as The Power.] Don't Mind if I Do can also be very witty, and is well-written by Stadiem. All in all, this is a bit of fluff like the actor himself but not without its charms.

Verdict: Not a bad read if you're so minded. ***.

TEENAGE DOLL

TEENAGE DOLL (1957). Producer/director: Roger Corman.

A young lady is thrown off of a roof and killed, precipitating a series of events among some tough and not-so-tough slum gals. Female gang leader Helen (Fay Spain) is convinced that the killer is a vague young woman named Barbara Bonney (June Kenney) and is out to wring a confession from her come hell or highwater. Barbara has an upright father and a bizarre mother (Dorothy Neumann) who wears pigtails and looks demented. Another of Roger Corman's "bad girl/juvenile delinquent"films, similar to Sorority Girl, with its own twists, but, if anything, much duller. June Kenney was introduced in this film; she later wound up in Earth vs the Spider and similar low-budget films in addition to other Corman productions; she's not bad at all. In general the actors are much better than the material. John Brinkley [as bad boy Eddie] and Barboura Morris [as Janet, who hopes for a better life] display genuine acting ability and charisma, as do most the actors, in fact. But the script is entirely forgettable. Screenwriter Charles Griffith generally did much better with Corman's horror items.

Verdict: Watch Corman's Attack of the Crab Monsters -- also written by Griffith --instead. *1/2.

ARCH JOHNSON OR GENE EVANS

Arch Johnson [on the right] or Gene Evans [on the left]?

It happens all the time. I'll be watching an old TV show or movie and I'm convinced that the actor I'm looking at is Gene Evans, who starred in The Giant Behemoth, Samuel Fuller's Park Row, Devil Times Five, Steel Helmet, Fixed Bayonets, and many others and when I look at the cast list it will turn out that "Evans" is really an actor named Arch Johnson, who could be his brother. [Keep in mind that in these two pictures Evans is much younger than Johnson. When they were the same age they looked even more alike.]

Evans and Johnson not only resembled one another, but they were born on the same year, 1922. Johnson lived until 1997 and Evans died just a year later. Evans, who won a purple heart as well as the Bronze star in WW2, arguably had the higher-profile career, appearing in many more movies than Johnson, including Donovan's Brain and Walking Tall, but Johnson was no slouch. In the sixties and afterward, both actors appeared primarily in television productions, and both had long, busy careers appearing on one TV show after another. Evans appeared in the film Operation Petticoat and Johnson appeared in the TV show based on the movie.

So remember, the next time you're watching an old movie or show, if you think it's Evans it's probably Johnson -- and vice versa!

CLORIS: MY AUTOBIOGRAPHY CLORIS LEACHMAN

CLORIS: MY AUTOBIOGRAPHY. Cloris Leachman with George Englund. Kensington; 2009.

Ms. Leachman -- with the help of ex-husband Englund -- writes pleasantly of her life and career in this memoir done in the style of Bette Davis' This 'n' That: instead of proceeding chronologically, Leachman jumps around from subject to subject on her whim, but she manages to cover most of the bases. One senses, however, that she could have had a lot more to say about her life with, and divorce from, Englund, the father of her children, as well as about some of her co-workers. Leachman writes of how -- despite having perhaps [in my opinion] one of the worst names in show business -- she became successful on Broadway, in films and on television, garnering a host of Emmys, Tonys and an Oscar along the way. She also describes her devastation at the death of one of her sons to drugs. Then there are amusing stories of awkward things that happened on live television. At times Leachman comes off as dithery as her character "Phyllis," especially when she relates how Ed Asner basically stopped speaking to her because of her public references to his weight -- but she repeats the anecdote he hated in the book! When she writes of ex-husband Englund -- "I'm number one with him. He has a girlfriend now .. [who] takes wonderful care of him, and he loves her. But I'm still the one" -- you have to wonder if this is enduring friendship of ex-spouses or the words of a woman who just won't let go. In any case, the book is entertaining, and Leachman remains a very gifted actress.

Verdict: Easy to take. ***.

ALFRED HITCHCOCK PRESENTS SEASON THREE

ALFRED HITCHCOCK PRESENTS Season 3. 

The delightfully droll Hitch introduces 39 more half hour episodes of mayhem, mischief, murder, and macabre comedy. The two best episodes are "Reward to Finder" in which a husband and wife [Jo Van Fleet and Oscar Homolka, both of whom are superb] battle over the cash that was found in a lost wallet; and "Return of the Hero," an ironic item about a soldier (Jacques Bergerac) who apparently wants to bring home a disabled friend who saved his life, and is surprised at his family's negative (and ultimately heart-breaking) reaction. Other memorable episodes include: "Heart of Gold" [an ex-con "adopted" by his cell mate's family]; "Together," with Joseph Cotten locked in an office with his dead mistress; the famous "Lamb to the Slaughter," with Barbara Bel Geddes using an unusual weapon on her unfaithful husband; "Post Mortem" [sweepstakes ticket on a corpse]; "The Canary Sedan" [Jessica Tandy in a tale of a psychic]; "The Impromptu Murder" [a very ironic tale in which Hume Cronyn murders an old lady]; and "Little White Frock," in which an actor (Herbert Marshall) "auditions" by telling a very tall tale. 

Verdict: One of the most entertaining TV series ever. ***.

CELL [SOON TO BE A MOVIE]

CELL Stephen King. 2006; Pocket.

King has come up with a creepy thriller in which cell phones are used to mount a massive attack against the human race. One afternoon a signal goes out that drives everyone on a cell phone mad in an instant, turning them into homicidal maniacs and mindless drones to some cyber-intelligence. People unaffected immediately pick up their cell phones to call for help and also get zapped by the pulse. The only ones unaffected are those who don't have cell phones at all, including graphic artist Clayton Riddell, who hopes to be reunited with his wife and son; a gay man named Tom; and a teenage girl named Alice; the three team up to try to survive and find out what happened. Cell is one of King's best books, with an irresistible [and chilling] premise, and lots of suspense, harrowing action, and pretty good characterization. A page-turner to be sure. Cell is being made into a TV film that will probably debut in late 2010 or 2011. It should make a gripping film if it's directed well and handled with some intelligence and sensitivity.

Verdict: Stay off the friggin' cell phone!

AGAINST TYPE: THE BIOGRAPHY OF BURT LANCASTER

AGAINST TYPE: THE BIOGRAPHY OF BURT LANCASTER. Gary Fishgall. 1995; Scribner.

A solid bio of Lancaster, who had a long and interesting career [more interesting than you might imagine, as this book reveals] and made many movies, including Trapeze, Sweet Smell of Success, Elmer Gantry, Birdman of Alcatraz, and many others. Fishgall describes how Lancaster got his start as a kind of acrobat, and used this early training for flamboyant performances in certain pictures. There may not seem to be enough personal detail in the book, but that's probably because Lancaster was, unlike some actors, rather private, and that, like many other stars, his career was essentially his life. Fishgall goes a bit into allegations of physical brutality against women and bisexuality [not to compare the two] -- more out of inclusiveness than sensationalism, one suspects -- but the evidence is too scanty to arrive at any conclusion, especially in the latter case. Against Type is well-written, well-researched and rather absorbing, not only a good bet for Lancaster's fans but for movie fans in general.

Verdict: Substantial bio of a star of long-standing. ***1/2.

X2

X2 (aka X-Men 2; X2: X-Men United/2003). Director: Bryan Singer.

This sequel to X-Men is another winner. Seems a bad guy named Willam Stryker (Brian Cox) had a mutant son named Jason, and his experiences with him so embittered him that he now wants to wipe out all mutants. To do this he intends to use Professor Xavier (Patrick Stewart) and the professor's Cerebro machine (which detects mutants and connects Xavier to everyone's minds). Professor X is given God-like power in this, but his opposite number, Magneto (Ian McKellan) is along for the ride and then some. X2 has some terrific sequences: Magneto using the iron in a guard's bloodstream to make his escape from prison; Pyro's (Aaron Stanford) fiery assault; the X-Men's plane being pursued by missiles. Jean Gray (Famke Janssen), Roque (Anna Paquin), and Wolverine (Hugh Jackman) all get plenty of screen time, as does Alan Cummings, who is as good as the others as Nightcrawler/Kurt Wagner. The entire cast, including Shawn Ashmore as Iceman, play with conviction, and the direction, photography [Newton Thomas Sigel] and musical score [John Ottman] are of a high order.

Verdict: Exciting, amusing, and moving. ***1/2.

THE OTHER MAN

THE OTHER MAN (2008). Director/screenwriter: Richard Eyre.

"Losers are brilliant at making things pretty."

Peter (Liam Neeson) is convinced that his wife Lisa (Laura Linney) is having an affair, so he goes to Milan to confront the other party, an Italian man named Ralph (Antonio Banderas). Meanwhile Peter's daughter Abigail (Romola Garai) tracks him down and thinks he should just come home -- you wonder why she seems to treat the matter so casually. The Other Man plays fast and loose with time so that you won't see the final twist coming, but the main problem with this male variation of wife-meets-mistress is that the characterizations are insufficient. You want to like it better but Eyre doesn't make it easy. The acting is professional, acceptable, but one senses there's not really enough meat for the cast to chew on.

Verdict: A little bit different but ultimately routine. **1/2.

SPEED RACER

SPEED RACER (2008). Directed by Andy and Lana Wachowksy.

This bizarre movie is an updated, live-action version of a Japanese [shown in America] cartoon show of the sixties. "Speed Racer" [the creditable Emile Hirsch] is obsessed with racing from an early age, and becomes a racer despite the alleged death of his older brother on the race track [the sub-plot about whether or not the brother is still alive makes little sense]. The plot has Speed turning down an offer for corporate sponsorship because he feels that corporate attitudes have corrupted racing. Naturally the fairly repellent bad guys have to go after him. The actual races are depicted almost entirely through computer animation, so that the movie mostly resembles a cartoon in which live actors have been inserted literally into the driving seat. This makes the races more "fantastic" -- and impossible -- than suspenseful and exciting. John Goodman and Susan Sarandon, who once had decent careers, have somehow been cast as Speed's parents. The movie has interesting scenic design, highly vivid color schemes, and is stylish but stupid. There are some cute little kids, an adorable chimp, and some nasty animated piranhas. Matthew Fox appears as "Racer X," whom Speed suspects is actually his "dead" brother. It's hard to imagine who the audience was for this film.

Verdict: For Nascar fans on acid? **.

THE GIRLS OF PLEASURE ISLAND

THE GIRLS OF PLEASURE ISLAND (1953). Director: Alvin Ganzer.

Towards the end of WW2 a contingent of marines come to a small island to build an air field. Among the island's inhabitants are a man named Roger Halyard (Leo Genn) and his three nubile daughters. Halyard is afraid his girls will get involved with one or more marines, but nature will have its way... If only this movie were the riotous, sexy romp that the poster suggests [pictured]. Instead it's a mildly pleasant and not-very-entertaining light romance that never rises above a superficial level and isn't even very funny; maybe songs would have helped. Elsa Lanchester is cast as the dithery housekeeper and alleged comedy relief. Don Taylor isn't bad as a marine who romances daughter, Hester (Audrey Dalton, who is better in this, her second screen appearance, than in several subsequent pictures) and Gene Barry of War of the Worlds, Burke's Law and Amos Burke Secret Agent fame, puts in an appearance or two as well. Dalton and the other "sisters" were introduced in Girls as "new Paramount personalities," but Dorothy Bromiley and Joan Elan -- the other two sisters -- had very low profile careers afterward.

Verdict: 1500 marines -- and still not a lot of action! **.

THE MIST

THE MIST (2007). Director: Frank Darabonte.

David Drayton (Thomas Jane) finds himself locked in a living nightmare when he and his son Billy (Nathan Gamble) are trapped in a huge food mart with dozens of other people when a mist containing monstrous, man-eating creatures envelopes the area. It seems that a scientific project has opened a door into another dimension. Based on a fairly cheesey if effective Stephen King novella, The Mist delivers a lot of dramatic intensity and admirably eschews the obligatory campiness and comic relief of most modern-day horror items. The FX work, which includes thick wriggling tentacles that come out of the mist, horrible spider-like creatures, a gargantuan six-legged horror that towers over the landscape, and more, are excellent, and there are some solid performances from Jane, little Gamble, and the rest of the cast as well. Mrs. Carmody, enacted by Marcia Gay Harden with some aplomb, is a chilling portrait of the mindless, compassion-less fundamentalist. Jeffrey DeMunn, an appealing Laurie Holden, Frances Sternhagen, and Sam Witwer as a terrified soldier all give stand-out performances. The ending packs an emotional wallop but is a bit illogical [not to give anything away, but surely anyone trying to escape in a car would have driven directly to a gas station!] More gruesome than the novella, but also a lot better.

Verdict: Unremittingly grim but entertaining in spite of it. ***.

NANCY DREW

NANCY DREW (2007). Director: Andrew Fleming.

The venerable girl detective, Nancy Drew (Emma Roberts), leaves River Heights for California with her father (Tate Donovan) and discovers culture shock, bitchy valley girls, and a mystery involving a famous actress who once lived in the mansion she and her father are renting. Barry Bostwick and Bruce Willis have cameos in the film, which is more light-hearted than the novels and geared for younger viewers. Josh Flitter and Max Thieriot are effective as, respectively, Corky and Ned, the two boys who vie for Nancy's attention. Pat Carroll plays a landlady, and Caroline Aaron is the real estate agent, "Barbara Barbara." Bonita Granville played Nancy years ago in such films as Nancy Drew, Detective and Nancy Drew and the Hidden Staircase. For more on the girl detective as well as the Hardy Boys, click here.

Verdict: Okay for kids but the books are better. **1/2.

HAPPY HALLOWEEN -- AND CONTEST ANSWERS

HAPPY HALLOWEEN!

We've got a round-up of horror-related movies, TV shows, and books this week.

To my great surprise, no one came up with the correct answers for The Exorcist Blu-Ray giveaway.

Here are the answers: Jack MacGowran, who played Burke Dennings, also appeared in the British monster movie The Giant Behemoth as the paleontologist, Dr. Sampson. The connection between Behemoth and the original King Kong is that famed special effects man Willis O'Brien worked on both pictures.

William Friedkin, director of The Exorcist, helmed two controversial films that dealt with aspects of the gay community: The Boys in the Band in 1970 and Cruising with Al Pacino in 1980.

Abby was the 1974 "blaxploitation" film inspired by The Exorcist. It was directed by William Girdler.

THE HAUNTED STRANGLER

THE HAUNTED STRANGLER (1958). Director: Robert Day. 

James Rankin (Boris Karloff), a writer, is fascinated by the case of the presumably long-dead Haymarket strangler. Rankin is convinced that the wrong man was hung for the crimes, and that the real killer disappeared after his surrogate's death. Rankin eventually becomes possessed by the spirit of the true killer and begins a murder spree of his own -- but there's a clever final twist on top of that. The great Karloff is at the top of his form in this very entertaining and well-made horror-mystery, which is completely absorbing and has many effective sequences. Anthony Dawson is Superintendent Burke and Tim Turner is Rankin's handsome young assistant; Elizabeth Allan and Diane Aubrey are the women in Rankin's life.

Verdict: Highly watchable chiller with an exemplary Karloff. ***.

ALFRED HITCHCOCK PRESENTS SEASON TWO

ALFRED HITCHCOCK PRESENTS Season Two. 

The second season of Hitch's half hour series -- not to be confused with The Alfred Hitchcock Hour although it often is -- presents more interesting stories of the macabre and dark humor with more hits than misses [although the final dozen or so episodes all fall kind of flat despite some interesting premises]. Jessica Tandy gives an excellent performance as a nervous mother with a secret in "Toby." Dorothy Stickney and Carmen Mathews have a "Conversation over a Corpse." "Jonathan" is an intriguing, hard-hitting story about the rivalry between a son (the excellent Corey Allen) and his father's new wife. In The Rose Garden" with John Williams, Patricia Collinge writes a book about her brother-in-law's murder, which certainly upsets her domineering sister. "A Bottle of Wine" pits Herbert Marshall against his wife's lover and "The End of Indian Summer" stars Gladys Cooper as a widow who may be the next target of a con man. Claude Rains offers a superb performance as a desperate actor in "Cream of the Jest." To read about season one of the show, click here. 

Verdict: More black comedy and chills from the Master. ***.

KING KONG COMETH

KING KONG COMETH! Edited by Paul A. Woods. Plexus; 2005.

Published to coincide with the release of Peter Jackson's version of King Kong, this trade paperback presents essays, most previously published, about the original 1933 film, Son of Kong, Japanese Kong movies, Kong rip-offs, the silent Lost World (with stop-motion effects by Kong's Willis O'Brien), which prefigured Kong, and so on. It is similar in some ways to Ray Morton's massive King Kong book [Morton nearly ignores The Lost World, however] but because there are many different authors, a lot of material is repeated and some sections are monotonous. There's an interesting section on the restoration of The Lost World. The most forgettable essays offer pretentious Freudian analyses of what is essentially a very entertaining monster movie and nothing more.

Verdict: If you can't get enough about Kong. ***.

THE ALFRED HITCHCOCK HOUR SEASON 3

THE ALFRED HITCHCOCK HOUR Season 3. 

In its final season, this series remained quite entertaining despite a surplus of mediocre episodes. While even the lesser episodes generally hold your attention, the best stories either have you on the edge of your seat or make you somewhat nervous. "Water's Edge" unites John Cassavetes [as an ex-con] and Ann Sothern [his cell mate's girlfriend] on a hunt for hidden stolen loot. "Power of Attorney" pits con artist Richard Johnson against two ladies played by Geraldine Fitzgerald and Fay Bainter. "The Thanatos Palace Hotel" presents a bizarre resort where people planning suicide come to die. "The Life Work of Juan Diaz" is a truly grotesque affair about a man who can't afford a proper burial while "The World's Oldest Motive" features Henry Jones as a man with a mistress who wants to get rid of his wife, the eternal problem. "Night Fever" is a moody piece with Colleen Dewhurst as a nurse who finds herself falling for a criminal patient played by Tom Wilcox. "An Unlocked Window" -- one of the series' very best episodes -- features two nurses in a mansion with a maniac on the loose; it is both chilling and darkly amusing in equal measure. 

Verdict: All in all, lots of creepy pleasure. ***.

CONTESTS

Don't forget the two GREAT OLD MOVIES contests. So far no one has come up with the correct answers to win a brand-new Exorcist Blu-Ray set so why not give it a try? The answers aren't that difficult. You still have a couple of days left to try your luck and you could win a beautiful 2 disc Exorcist Blu-Ray set with lots of extras! Details here. [U.S. residents only.]

And don't forget to sign up for MovieFlix and a chance to win a six month membership to MovieFlix Plus. Details are here.

Good Luck! And thanks for reading!

TWO LOST WORLDS

TWO LOST WORLDS (1951). Director: Norman Dawn.

James Arness [billed as James Aurness] plays Kirk Hamilton, who leaves Salem in a clipper ship only to get injured when the ship is attacked by a pirate band. While recuperating, Hamilton falls for Elaine Jeffries (Laura Elliot, pictured), who has a precocious little sister named Janice (Gloria Petroff). When the pirates raid the land, they carry off Elaine, and Kirk -- along with stowaway Janice -- takes off in hot pursuit. They all wind up in the Dutch East Indies, where the principals are seemingly trapped on a volcanic island full of prehistoric animals, all of them courtesy of stock footage from One Million B.C. Pierre Watkin, who played Perry White in Atom Man vs. Superman, is cast as Elaine's father. This odd hybrid movie throws in a "lost world" of dinosaurs only at the very end, and suffers from completely unnecessary narration. Although Two Lost Worlds is perfectly professional, it's also distinctly minor-league. Laura Elliot was also known as Kasey Rogers and did mostly TV work after this, appearing frequently on Bewitched. She had a notable part in her most famous film, Hitchcock's Strangers on a Train (also 1951), and was quite good as Farley Granger's wife, who gets murdered by Robert Walker.

Verdict: Not enough monsters -- boo! **.

CREEPSHOWS: THE ILLUSTRATED STEPHEN KING MOVIE GUIDE

CREEPSHOWS: The Illustrated Stephen King Movie Guide. Stephen Jones. Billboard Books; 2002.

This volume offers an excellent look into the many film, television and cable adaptations of the many works of the prolific Stephen King, from Carrie -- which put the author on the map -- to Rose Red, with a look at [at the time of publication] upcoming projects. The book proceeds chronologically from one film to the next with essays on each film relating its literary origins, how it came to be made, and how successful it was [or not]. Jones on occasion reveals works by other writers that may have heavily influenced some of King's stories. The book concludes with Jones' interesting interview with King. Jones now and then offers up a negative comment on a particularly meretricious work, but by and large this is more of an entertaining overview with behind-the-scenes details than a critical study. The section that offers mini-biographies of actors who have appeared in King adaptations is unnecessary, but on the plus side, Creepshows is loaded with lots of photographs.

Verdict: A must for the King fanatic, and fun for the rest of us as well. ***.

FOXY: MY LIFE IN THREE ACTS -- PAM GRIER

FOXY: MY LIFE IN THREE ACTS A Memoir. Pam Grier with Andrea Cagan. Springboard; 2010.

Actress Pam Grier came to prominence in the seventies when she appeared in a number of popular "blaxpoitation" pictures such as Coffy and Foxy Brown. The only flaw in this otherwise excellent memoir is that she doesn't discuss those films very much [perhaps because they were not exactly cinematic masterpieces] nor her attitude toward the movies that gave black actors jobs but were often considered inherently racist with their stereotypes and negative depictions. Grier prefers to see the movies as depicting empowered [i.e. tough] female characters, but one wishes she had included a few on-set anecdotes and the like. [She does write about working on her early "women in prison" films that were made in the Philippines.] However, Grier does write very compellingly of her childhood and youth [when she was raped by cousins], her work on Jackie Brown [which Quentin Tarantino wrote with her in mind] and on the cable TV show The L Word, about lesbians, in which she played a straight character. She also describes her several unfortunate relationships with men: Kareem Abdul-Jabbar, who expected her to adhere to the outrageously sexist tenets of his Islamic religion; Freddie Prinze, who had a serious drug problem that led to his early death; a black man who virtually abandoned her when she developed cancer; and a white man who claimed his attraction to women of color wasn't a fetish but who ultimately couldn't see her as his wife because she didn't belong to the "country club" set. There are horrifying passages about her sister's painful death; her husband insisted she stick to their religious principals and she wasn't even allowed painkillers -- her 15-year-old son was so upset the poor boy committed suicide. Grier intelligently writes of the need for women to be themselves and make it on their own so they are not hung up by bad choices made by the men who supposedly want to "take care of them." Many books written by "B" or "C" list celebrities aren't worth the paper they're printed on, but Foxy is an exception and is a very worthwhile read.

Verdict: Absorbing and entertaining. ***1/2.

THE SHORTCUT

THE SHORTCUT (2009). Director: Nicholaus Goossen.

It seems there's this shortcut through the woods that most people stay away from since some teens who wandered in there went missing decades ago. The chief suspect in their disappearance is a sinister old man who lives in a house near the woods, and whose family pretty much once owned the town. Now Derek (Drew Seeley) and some friends investigate when a pet disappears in the woods, and Derek's little brother says he found a dead dog with a hostile old man standing over him. The film switches back and forth from the 1940's and 50's and the present day, as we see the background of the main suspect intercut with the modern-day teens' investigations. In many ways this is a typical teen slasher flick, but it does boast some good characterizations, some neat twists that you don't see coming, and decent acting from the cast members, both young and not so young. Not as gory as many other similar movies.

Verdict: Credible, if minor, suspense item. **1/2.