MISSION: IMPOSSIBLE -- ROGUE NATION

Rebecca Ferguson and Sean Harris

MISSION: IMPOSSIBLE -- ROGUE NATION (2015). Writer/director: Christopher McQuarrie.

"Join the IMF. See the world. On a monitor. In a closet." -- Benjy

The Secretary of State (Alec Baldwin) disbands the IMF (Impossible Missions Force) because he feels that the success of its missions is mostly due to luck. In the meantime IMF leader Ethan Hunt (Tom Cruise) is made aware of a sinister organization called the Syndicate that seems comprised of supposedly dead agents from around the world. [In an interesting touch the message Hunt gets that gives him his assignment is actually from the Syndicate and blows up!] Ethan repeatedly encounters a woman named Ilsa (Rebecca Ferguson) who seems to be working for the Syndicate but saves Ethan's life on more than one occasion. An excellent scene occurs at the Vienna State Opera when a hit is planned on the Austrian chancellor during a performance of "Turandot" (Puccini's music is more effective as a backdrop for this than one might imagine). Later Ethan and his gang, including Benjy (Simon Pegg of Star Trek into Darkness) and Luther (Ving Rhames), invade a stronghold to acquire a ledger with important information -- in an underwater, underground vault where Hunt is rapidly running out of air -- and later must kidnap the prime minister of England to prevent disaster! The performances in this are good, although there's some overacting from Cruise and others at times, and it's interesting to note that the star seems to surround himself with better but less prepossessing actors. Ferguson, Pegg and Sean Harris as the evil Lane are all quite good. MI -- Rogue Nation has some outstanding and exciting sequences, but oddly, no real climax. As usual the movie respects the original TV series by more or less remaining true to its origins, which is more than you can say about The Man from U.N.C.L.E. and others.

Verdict: Memorable action thriller. ***.

IT'S A PLEASURE

Michael O'Shea and Sonja Henie

IT'S A PLEASURE (1945). Director: William A. Seiter.

Figure skater Chris Linden (Sonja Henie) has a hopeless crush on hockey player Don Martin (Michael O'Shea). When Martin gets fired off the team due to bad behavior, he is importuned by Chris and boss "Buzz" Fletcher (Bill Johnson) to join their ice show. Chris and Don get married but his drinking -- and Buzz' predatory wife, Gale (Marie McDonald of Guest in the House) -- cause problems for their marriage. Poor Henie [Thin Ice] can't really act to save her life, but the other cast members are swell. After a painful break-up, Henie displays all the emotion of someone who's been told by a waiter that they're all out of roast beef. Bill Johnson was really a stage actor and singer who made few film appearances, and played Doc in the original Broadway cast of Rodgers and Hammerstein's "Pipe Dream" -- he had a wonderful voice and died much too soon. Johnson has a particularly good moment in this when he pantomimes his sad reaction to the realization that his wife is not in love with him. It's a Pleasure is the kind of movie in which characters make supposed sacrifices for love that only leave the one they love worse off than they were before. Iris Adrian adds a little spice as the oldest figure skater in the world. This was associate-produced by Don Loper, the fashion designer who appeared on I Love Lucy. O'Shea and Adrian also appeared in Lady of Burlesque.

Verdict: This actually isn't much of a pleasure. **.

POISON CANDY

POISON CANDY: The Murderous Madam: Inside Dalia Dippolito's Plot to Kill. Elizabeth Parker and Mark Eber. Benbella Books. Dallas; 2014.

The subject of this book, Dalia Dippolito, tried to hire a hitman to kill her husband, didn't realize she was actually speaking to an undercover cop, who had the whole scene videotaped, and then claimed she was just auditioning for a reality show without a shred of evidence to prove this was true. Poison Candy was written by the prosecutor on the case (with Mark Eber, who generally keeps the book somewhat readable) and there are a few inside details, but nothing that would make this must-reading, and I'm not sure it would make a particularly good TV movie; the story was covered by Dateline. Because "beautiful" women somehow add an element of eroticism and mysticism to a (would-be) murder case, Dipploti is constantly described as beautiful when she's actually rather homely; she's "sexy" if sexy means "available." The basic trouble with Poison Candy is that there's no real mystery or suspense to the story; the "characters" -- a rather dumb sociopath, alleged femme fatale and her even dumber ex-con husband -- are uninteresting. The case was fine for a Dateline episode, but this should have been an article, say, in Vanity Fair (except it would have been too down-market for them), not a whole book.

Verdict: Some prosecutors should just prosecute and let it be. **.

SHADOW OF SUSPICION

Marjorie Weaver and Peter Cookson

SHADOW OF SUSPICION (1944). Director: William Beaudine.

Jewelry store manager Frank Randall (Pierre Watkin) receives a visitor named Northrup, who claims to be working out of the firms' security office. Meanwhile the real Northrup (Tim Ryan) shows up and Randall suggests he work closely with the fake Northrup to see what he's up to. Surely it has something to do with the arrival of the fabulous Stonehaven diamond necklace? The fake Northrup is actually Jimmy Dale (Peter Cookson), who romances Randall's secretary Claire (Marjorie Weaver of Fashion Model) while spying on everyone else. Just who is the real bad guy in this? And does anyone give a damn? Shadow of Suspicion is a true Monogram stinker, so poor that you have to wonder why they even bothered releasing it. The acting is professional enough, although Ryan wears out his welcome early on and isn't the least bit funny; Weaver demonstrates little appeal of any kind, including sex appeal; and Watkin is as professionally bland as ever. [The prolific Watkin is not one of those beloved character actors whose presence always graces a film like, say, Eve Arden, nor was he quirky enough to have the "appeal" of a Percy Helton.] The only cast stand-outs are Peter Cookson, who has the looks, charm and suaveness to have a major career which never materialized, and Clara Blandick [Shopworn], as "Mother," the elderly leader of a gang of jewel thieves. For an alleged comedy, this has no laughs.

Verdict: Why Monogram has a bad reputation. *1/2.

SOLITARY

Amber Jaeger and Kieron Elliott

SOLITARY (2009). Director: Greg Derochie.

Sara (Amber Jaeger) is having a lousy day, to put it mildly. She begins to suffer from panic attacks and can't leave her house, a victim of agoraphobia. Then her husband Mark (Kieron Elliott) disappears, but the police tell her he hasn't been to work for six months. Then she thinks things keep appearing and disappearing each time she turns her back; discovers she might be an heir to two million dollars; and sees Mark surreptitiously dodging around the back yard at night and even inside the house. She doesn't trust her shrink, and suspects her sister is sleeping with Mark, and becomes completely paranoid. What the hell is going on here? Some viewers might find the ending incredibly moving -- Andrew Keresztes' music certainly helps in that regard -- but others might find it irritating, a below-Twilight Zone level cop-out (and also a mite science-fictiony). In the lead role Amber Jaeger is competent enough, but she's not always up to the demands of the part. Elliott as her husband, Kristine Sullivan as her sister Gena, and Andrew Johnson as Dr. Reznik, Sara's psychiatrist, make a somewhat better impression. Brian Spangler and B. Anthony Cohen are fine as the cops on the case, and Dalton Leeb makes for a quirky repairman.

SPOILER ALERT: Dr. Reznik and Gina talk about the choices Sara has as she lays in a coma. In other words, should she wake up and face the pain of a tragic death in the family, or opt to simply pass away and avoid the anguish? Since Sara seems to be at best in her early thirties or even younger, the choice she -- and the film -- make is rather irresponsible.

Verdict: A quasi-religious suspense film that is reminiscent of Jacob's Ladder. **1/2.

ANOTHER WOMAN

Gena Rowlands

ANOTHER WOMAN (1988). Writer/director: Woody Allen.

"I accept your condemnation."

Marion (Gena Rowlands) takes an apartment to work on her latest book in peace but discovers she can hear conversations in the next-door psychiatrist's office through a vent. One particular patient stands out in her mind, Hope (Mia Farrow), whom she eventually meets. In the meantime she has encounters of varying kinds with her partially estranged brother, Paul (Harris Yulin); her aged father (John Houseman); an old friend-actress (Sandy Dennis of That Cold Day in the Park), who tells her their long separation was deliberate on her part; and her husband Ken (Ian Holm), who seems strangely disinterested in love-making. There are also flashbacks to her conversations with such as Larry (Gene Hackman), a friend of Ken's who fell in love with her. Another Woman is extremely well-acted, has excellent dialogue, is handsomely photographed by Sven Nykvist, and certainly holds the attention, but it may not deliver the pay-off the viewer is expecting. Perhaps the movie, which is apparently meant to look at the life of a woman who keeps her feelings too much in control, is too subtle to have major impact. Rowlands [The Skeleton Key] gives an outstanding performance, however, which is most of the film's pleasure, and there are also excellent performances by Sandy Dennis (her confrontation with Rowlands in a bar is one of the best scenes in the movie) and a wonderful John Houseman [Murder By Phone]. Betty Buckley has a well-played bit as Ken's ex-wife, who shows up in the middle of a party. and causes an understandable scene. Allen has created real characters, but that doesn't mean his characterization is always incisive, and we really don't get to know any of these people, including Marion, well enough to give a damn about any of them.

Verdict: The acting puts this over and it is certainly absorbing despite its flaws. *** out of 4.

THEATER OF BLOOD

Diana Rigg and Vincent Price

THEATER OF BLOOD (1973). Director: Douglas Hickox.

"A mumbling, incoherent boy who can barely grunt his way through a speech" -- Edward Lionheart.

"It's Lionheart all right. Only he wold have the temerity to rewrite Shakespeare." -- Devlin.

Actor Edward Lionheart (Vincent Price) supposedly committed suicide after losing the coveted Critics' Circle Award, but it turns out that he is still alive and killing off those same critics -- with the help of his daughter, Edwina (Diana Rigg) -- in ways related to Shakespeare's plays. Theater of Blood followed Price's Abominable Dr. Phibes and Dr. Phibes Rises Again and is similarly gruesome and playful -- not to mention revenge-motivated --  although perhaps not as much fun as the other pictures. Price is terrific as Lionheart, ably supported by Diana Rigg as his daughter. even if she isn't given much of a character to play. There are more than its share of over-the-top moments in this: a grotesque beheading sequence (from Cymberline) is an example of the blackest of black comedy; and the death of flamboyantly gay Meredith Merridew (Robert Morley), forced to devour his own "babies" (actually, beloved poodles) until he chokes on dog meat, as in Titus Andronicus, is unbelievably sadistic (not to mention rather homophobic). Speaking of gay stereotypes, the closeted Price has fun playing a campy hairdresser named "Butch" who fatally spit- curls critic Chloe Moon, played by Price's then-wife Coral Browne [The Legend of Lylah Clare], in a salon. Ian Hendry, Jack Hawkins [Land of the Pharaohs], Arthur Lowe, Michael Hordern, Robert Coote and Dennis Price [Your Past Is Showing] are all notable as assorted victims, as is Milo O'Shea as the baffled police inspector on the case, and Joan Hickson as the wife who wakes up with a headless corpse in her bed. One has to wonder: was Lionheart really as mediocre an actor as everyone says, or were the critics out to get him for one reason or another?

Verdict: One of the most diabolical and gruesome of revenge thrillers with many darkly amusing moments. *** out of 4.

CRACK IN THE WORLD

Kieron Moore and Janette Scott

CRACK IN THE WORLD (1965). Director: Andrew Marton.

Dr. Stephen Sorenson (Dana Andrews) and his team have developed a way to bring magma to the surface for a variety of energy needs, but an atomic bomb must be shot down into the core for it to work. Dr. Ted Rampion (Kieron Moore) is opposed to the idea, sure that it will cause massive earthquakes and severe structural damage to the earth. Guess who's right? A fissure is formed in the Mercedo trench which threatens to stretch at 3.5. miles an hour and could literally tear the world apart. Complicating matters is the fact that Rampion used to be the lover of Sorenson's wife, Maggie (Janette Scott), herself a scientist. Crack in the World sets up an exciting premise but has too low a budget to do it justice, relying on stock footage and only really coming alive in the final few moments. The performances are fine, however, with the under-rated Dana Andrews [Where the Sidewalk Ends] giving another good account of himself, and Moore [Satellite in the Sky] and Scott [Paranoiac] on top of things. Alexander Knox is also fine as Sir Charles Eggerston, who heads the committee that determines whether or not the rocket should be fired. Most of the film's excitement comes from the score by John Douglas. The love triangle business isn't especially convincing.

Verdict: An early disaster film that didn't start a trend. **1/2.

THE GIRL FROM 10TH AVENUE

Bette Davis and Ian Hunter

THE GIRL FROM 10TH AVENUE (1935). Director: Alfred E. Green.

Geoff Sherwood (Ian Hunter) has been tossed over by his fiancee Valentine (Katharine Alexander) for a wealthier man, John (Colin Clive of Bride of Frankenstein). On her wedding day Geoff gets good and drunk and encounters the sympathetic Miriam (Bette Davis), who eventually imbibes with him and winds up getting married to him that very night. Miriam agrees that he can end the marriage whenever he wants to, but she sticks to him as the weeks go by. Then Valentine, dissatisfied with her marriage to John, comes a'calling ... The young Bette Davis appeared in many forgettable movies but The Girl from 10th Avenue is actually not a bad picture. Davis is terrific and luminescent as Miriam, and she not only has credible support from Hunter [Call It a Day] and an excellent Colin Clive, but a very good playmate in Alison Skipworth [The Devil is a Woman] as her landlady, Mrs. Martin. The best and funniest scene in the movie has Miriam telling off the rather horse-faced Valentine in the dining room of the Waldorf-Astoria. John Eldredge and Phillip Reed also have small roles as Geoff's friends, and Mary Treen shows up briefly as well.

Verdict: Not bad early Bette. ***.

DESTINATION MURDER

Stanley Clements and Myrna Dell

DESTINATION MURDER (1950). Director: Edward L. Cahn.

Jackie Wales (Stanley Clements) is hired by club owner and mob boss Armitage (Albert Dekker) to murder a man named Mansfield. His daughter Laura (Joyce Mackenzie) witnesses the hit, recognizes the shooter, and tries to get more on him for the police by working at Armitage's club as a cigarette girl. Meanwhile Wales thinks nothing of dating the daughter of the man he murdered in cold blood. Wales and Armitage's girlfriend, Alice (Myrna Dell), who actually has a hankering for the club manager Stretch Norton (Hurd Hatfield), have cooked up a very dangerous blackmail scheme. Destination Murder is a snappy and happily unpredictable B crime thriller that just misses being really special. There are good performances by Clements, Hatfield and Dekker [Middle of the Night]; John Dehner as a suspect and potential victim; James Flavin as the Inspector on the case; and especially Myrna Dell [The Lost Tribe] as the calculating and hard-hearted Alice. Dekker takes a belt to Clements' face at one point, and there are other interesting sequences. Hatfield of The Picture of Dorian Gray is quite effective as a gangster type.

Verdict: Absorbing crime thriller with some good and unexpected twists. *** out of 4.

THE MANSTER

Tetsu Nakamura

THE MANSTER (1959). Directors: George P. Breakstone; Kenneth G. Crane.

Dr. Robert Suzuki (Tetsu Nakamura) is a mad scientist who experimented -- with their foolish permission -- on his wife and brother, with hideous results. Now he decides to surreptitiously give a formula to Larry Stanford (Peter Dyneley), a foreign correspondent located near Tokyo. The first thing to change is Larry's attitude, as he cruelly blows off his visiting wife, Linda (Jane Hylton), takes up with Suzuki's sexy assistant Tara (Terri Zimmern), and pretty much turns into a highly disagreeable drunk, much to the consternation of his boss, Ian (Norman Van Hawley). What's worse, one of his hands turns gross and hairy, but in the film's most startling scene, Larry sees an eyeball peeking out of his shoulder! Seems there's another creature growing right inside of Larry's body (shades of The Manitou). This is not a dubbed Japanese film despite the setting and many of the cast members, but an American-Japanese co-production spoken in English (at least in this version). The Manster is also an interesting and atmospheric horror flick with some laughable moments to be sure, but also a fair amount of creepiness and suspense. Dyneley amassed 86 credits and Hylton 75. Nakamura appeared in a number of Japanese horror and monster films, including The H Man. This was the only film credit for both Zimmern and Van Hawley.

Verdict: Watch out for that peeping eyeball! *** out of 4.

IT'S A WONDERFUL LIFE

Jimmy Stewart as George Bailey

IT'S A WONDERFUL LIFE (1946). Producer/director: Frank Capra.

"Youth is wasted on the wrong people."

Facing what he sees as the worst crisis of his life, suicidal George Bailey (James Stewart) attracts the attention of an angel, Clarence (Henry Travers of Dark Victory), who reviews his past history while up above, then descends to earth to show George what life would have been like for everyone if he had never been born. This fantasy comedy-drama is a wonderful if imperfect picture with a terrific performance from Stewart and a marvelous supporting cast. Bailey is certainly a flawed hero, which makes him more interesting -- and perhaps less sympathetic -- as a character. If, to paraphrase, the measure of a man isn't what happens to him him but how he reacts to it, then George certainly fails the test. When $8000.00 disappears and George realizes he and his business can be ruined, and he might even face criminal charges, he takes it out on his wife and children, and even screams at some poor teacher on the other end of the phone when he goes home. In real life people have faced worse situations and still kept their heads, but poor George simply becomes hysterical. Part of this, of course, is because George never wanted to stay in the little town of Bedford Falls and take over his father's business, Bailey Building and Loan, in the first place; and his frustrations have finally caught up with him [it's possible that not quite enough is done with this aspect of the story]. One could also wonder why, if George no longer exists, and no one in town can recognize him, they can still see and talk to him. The business with George's wife, Mary (Donna Reed) turning into a stereotypical old maid (if he was never born) complete with glasses and drab hair is unintentionally comical, and most of the business with Clarence, especially the prologue in heaven, is rather tiresome. Still the movie is well-made, very well-directed by Capra, beautifully photographed [you must see the crisp new digitally remastered version to fully appreciate this], and has several superior performances in addition to Stewart's. Thomas Mitchell is excellent as Uncle Billy, who misplaces the money and is cruelly treated by his nephew. Lionel Barrymore is the cackling personification of hate and greediness as Mr. Potter (who never does get his comeuppance). H. B. Warner [City of Missing Girls] scores in his sad portrait of the druggist, George's employer, who is mourning his son and nearly makes a fatal error. There are also nice moments from Lillian Randolph as the wise Bailey maid, Annie; Robert J. Anderson as young George; and Todd Karns [Andy Hardy's Private Secretary] as George's brother, Harry. The movie is full of interesting touches, such as the menagerie Billy keeps in his office, including that persistent crow, and the squirrel that climbs on his shoulder as if in sympathy.

Verdict: That ending is pure fantasy all right, but if you take it with a grain of salt this is still an entertaining and admirable picture. ***1/2.

VIOLENT ROAD

Dick Foran and Ann Doran

VIOLENT ROAD (1958). Director: Howard W. Koch.

A runaway missile explodes in a small town, causing many deaths, necessitating the move of the local company that fired the missile to another location. Rocket fuel, which is comprised of many dangerous and acidic chemicals which can "burn a man alive," has to be transported over difficult terrain, and six men are chosen to be the drivers. These include George (Efrem Zimbalist, Jr.) whose family was lost in the blast; Frank (Dick Foran), who has a tragically bitter quarrel with his wife (Ann Doran) before leaving; Manuelo (Perry Lopez of The Steel Jungle), who needs the money from the trip to become an engineer; the world-weary Ben (Arthur Batanides); and Mitch (Brian Keith), a foot-loose adventurer without much of a past.  Ken Farley (Sean Garrison), the sixth driver, replaces his sad, drunken brother (John Dennis) when he's too hungover to drive. Along the way there are harrowing incidents, such as a runaway bus, brake failures, tumbling rocks, and acid spills, as well as flashbacks that tell us more about these individuals. Violent Road is clearly an unacknowledged rip-off of the far superior French film The Wages of Fear -- which was also remade as Sorcerer -- but it has its moments if taken on its own terms. One stand-out sequence is a tender and tragic moment between Frank and his wife, with an outstanding performance from Ann Doran [Meet John Doe]. Dick Foran is also excellent, and Keith also makes his mark, as does John Dennis in the early scenes. Sean Garrison also makes an impression as the handsome and cocky Kenny. If there's any problem with the movie it's that it seems to lack a real climax and ends much too abruptly. Peter Brown has a small but effective role as a marine, and Merry Anders is fine as a woman who picks Mitch up on the road.

Verdict: Not that explosive, and highly unoriginal, but tense and absorbing nonetheless. *** out of 4.

JENNIFER (1953)

Ida Lupino

JENNIFER (1953). Director: Joel Newton.

In this strange suspense film, Agnes Langsley (Ida Lupino) gets a job as caretaker at an abandoned estate because, for some reason, she wants to be alone. In spite of this she meets and keeps company with Jim Hollis (Howard Duff), who owns the general store in the town near the estate. When Agnes learns that the last caretaker, a young woman named Jennifer who was the cousin of the house's current owner, simply vanished one afternoon, she's intrigued enough to investigate, but seems more obsessed than merely curious. There are vague hints of the supernatural or something weird going on, especially in the ending, but nothing much is made of it. One supposes this is why Lupino plays the role like she's compelled for some reason to seek out the truth about Jennifer -- it's a strange performance, frankly, but not a bad one -- and the mystery of who Agnes is and why she's buried herself away is never quite resolved. (There's also the fact that Agnes never actually seems to do anything in her role as caretaker.) One could argue that the mystery over Jennifer isn't, either. Still, this is fairly absorbing, not badly acted, and has some creepy sequences, such as a search for Jennifer's body underground. The movie does get across the impression that there's something just out of sight, and the obtuse conclusion is borderline chilling. Robert Nichols plays Hollis' clerk, Orin, Mary Shipp is Agnes' employer, Lorna, and singer Matt Dennis plays himself in a lounge sequence. He sings and also composed the memorable tune, "Angel Eyes." James Wong Howe was the director of photography and also co-directed The Invisible Avenger. Lupino [The Bigamist] and Duff [Spaceways] got married two years before this film was made, and didn't divorce until 1984.

Verdict: Oddly compelling sort of mystery. **1/2 out of 4.

THE BRIGHTON STRANGLER

John Loder and Michael St. Angel

THE BRIGHTON STRANGLER (1945). Director: Max Nosseck.

Reginald Parker (John Loder of Old Acquaintance) has made a name for himself playing Edward Grey, the notorious Brighton Strangler, on the London stage. When he is hit on the head during the blitz, he loses his memory, is presumed dead, and imagines he really is Edward Grey, with highly unfortunate results. "Grey" takes the train to Brighton where -- between murders -- he is befriended by April (June Duprez of The Thief of Bagdad) and her family. April has a secret husband in Bob Carson (Michael St. Angel), who begins to suspect that there's something wrong with the pleasant Mr. Grey. The Brighton Strangler is a minor thriller, but it does have moments of genuine suspense and several interesting sequences, the best-handled of which is the murder of Inspector Allison (Miles Mander) in his own home. The performers all give competent if second-rate performances. Although Rose Hobart [Conflict] isn't bad as Dorothy, the playwright and Parker's girlfriend, there is one especially tense sequence in which Hobart -- "Dorothy" having learned that Parker is not only alive but may be strangling people -- registers all the emotion of someone ordering dinner in a restaurant. Ian Wolfe plays the ill-fated Brighton mayor. Michael St. Angel also appeared in The Velvet Touch using the name Steven Flagg.

Verdict:  Stay out of Brighton. **1/2.

STOLEN: ONE HUSBAND aka I WANT HIM BACK

Valerie Harper

STOLEN: ONE HUSBAND (aka I Want Him Back/1990 telefilm). Director: Catlin Adams.

"I don't want what's rightfully mine -- I want what's his!"

Martin Slade (Elliott Gould of Ocean's Thirteen), married for over twenty years to wife Katherine (Valerie Harper), enters into an affair with his daughter's mentor, Samantha (Brenda Bakke), who is much younger of course, and eventually asks Katherine for a divorce. Katherine at first seems to blame her daughter, Jennie (Julie Warner) and spends her time stuffing her face with junk food. Then she and her best friend Lisa (Brenda Vaccaro) begin a harassment campaign against Martin and Samantha, but this begins to backfire when she finds herself legally locked out of her house ... Stolen: One Husband is a very entertaining and quite well-acted (especially by the wonderful Harper) made-for-TV dramedy that explores the situation of middle-aged women who have been cast off by their husbands but still love them. The movie does enter the world of pure fantasy when Katherine is told by an attractive and personable cosmetic surgeon, Peter (Bruce Davison of X-Men), that not only does she not need surgery (which she doesn't), but even asks her out to dinner -- sure, that happens to cast-off wives all the time! Valentina Quinn is fun as Imelda, the housekeeper, and Paul Joseph McKenna has a nice bit as the sympathetic and romantically-inclined bartender, Joe. The main problem with the movie is that Martin treats both women in his life so horribly, never considering their feelings, that it's unlikely that Katherine would ever consider taking him back. The ending makes a good point about divorcees realizing that they don't have to make the husband the center of their existence.

Verdict: Watch out for younger bimbos! *** out of 4.

AFTER MIDNIGHT WITH BOSTON BLACKIE

Al Hill (?) and Chester Morris

AFTER MIDNIGHT WITH BOSTON BLACKIE (1943). Director: Lew Landers.

"Diamond" Ed Barnaby (Walter Baldwin) gets out a jail and reunites with his grown daughter, Betty (Ann Savage of What a Woman), and tells her he has some diamonds set aside for her future. He tries to leave town for his own protection but is murdered before he can do so. Betty comes to Ed's old friend Boston Blackie (Chester Morris) for help, which he is eager to provide. Boston tries to find the diamonds, discover who murdered Ed, protect his daughter, and stay out of the way of Inspector Farraday (Richard Lane) and his associate Mathews (Walter Sande), who still think Boston is some kind of hoodlum despite many evidences to the contrary. Cy Kendall is competent but typically uninteresting as an obese crime lord. Dick Elliott [Up in the Air] and Lloyd Corrigan are also in the cast. A sub-plot has Boston's pal, the Runt (George E. Stone) engaged to a bubble dancer, Dixie Rose Blossom (Jan Buckingham), whose wedding keeps being interrupted.

Verdict: A standard, mildly entertaining BB adventure. **1/2 out of 4.

MEGA PIRANHA

Paul Logan 

MEGA PIRANHA (2010 telefilm). Writer/director: Eric Forsberg.

Down in Venezuela genetics scientist Sarah Monroe (Tiffany), for utterly unaccountable reasons, has helped create a species of "sturdier" piranha fish. Naturally, these fish escape from the lab and begin to wreak havoc along the Amazon. Worse, the fish keep getting bigger and bigger -- at one point they're large enough to take down a battleship! -- and it develops that they can live in fresh water as well, letting them rampage in the ocean and attack Miami. Secretary of State Bob Grady (Barry Williams) assigns Jason Fitch (Paul Logan) to track down and destroy the piranha which, understandably, takes some doing. Although mostly played straight, Mega Piranha is a zany, somewhat amusing monster flick with competent acting, cheesy FX, and a degree of suspense, and you have to see a host of giant piranha literally leaping out of the water to believe it. On the other hand, there's a little too much running around by the principles, mostly consisting of scenes of Monroe and Fitch being chased by angry Venezuelan authorities, and the pace -- which is generally pretty fast -- begins to drag. David Labiosa is fine as Colonel Antonio Diaz, however, and the movie is fun in a limited way. While gruesome at times, it is never as vomitous as its obvious inspiration, Piranha 3D. There is no real attempt at characterization in the movie -- no surprise given the Syfy Channel's usual offerings.

Verdict: You can't keep a good piranha down! **1/2.

ENCHANTMENT

David Niven and Evelyn Keyes

ENCHANTMENT (1948). Director: Irving Reis.

During the London blitz an elderly man, Rollo (David Niven of The Pink Panther) thinks back on his life after he meets his niece, Grizel (Evelyn Keyes), who is an ambulance driver. Flashbacks tell the story of how Lark (Teresa Wright) came to his house in childhood after her parents were killed in an accident. A grown-up Rollo and Lark fall in love, but there is interference from Rollo's jealous sister, Selina (Jayne Meadows). Rollo tries to convince Grizel not to turn away from love with a soldier, Pax (Farley Granger), just because she was once hurt, sparing her his fate. I wanted to like Enchantment but somehow this romantic movie just doesn't work for me for several reasons. The going back and forth from the past to WW2 becomes tiresome, the characters never seem that dimensional, and Lark's actions and subsequent fate are slightly mystifying. The acting isn't bad, although Jayne Meadows plays her character like an all-too-obvious villainess. Gigi Perreau (introduced in this picture, although she'd appeared in several earlier films) and Peter Miles [Possessed] are excellent as Lark and Rollo as children. Miles was Perreau's brother and was also in The Red Pony and The Betty Hutton Show. Sherlee Collier is also good as Selina as a child; she died at only 35.

Verdict: Star-crossed but unconvincing love story. **.

3000TH POST

Yep, we've reached 3000 posted reviews/articles on GREAT OLD MOVIES. Many thanks for reading, and for your comments and emails.

Coming up soon: a week's worth of dinosaur movies; B movie series; jungle pictures; and more -- plus more reviews of old movies -- great, bad and in-between (everything from Gone With the Wind and Casablanca to those cheapie creepies we hate to love) -- along with book reviews; commentaries on stars and trends; and so forth. And other fun stuff as well!

Everyone have HAPPY HOLIDAYS and a great 2016!  -- Bill Schoell

FOLLOW THE BOYS (1963)

Russ Tamblyn and Paula Prentriss

FOLLOW THE BOYS (1963). Director: Richard Thorpe.

Liz (Janis Paige) and Bonnie (Connie Francis) are "sea gulls" who follow their Naval husbands around from port to port, grabbing what moments of intimacy they can. Bonnie is a newlywed married to Billy (Roger Perry of Count Yorga, Vampire), while Liz's husband is a Lt. Commander (Ron Randell of Most Dangerous Man Alive). who hopes to become admiral. Unfortunately, Liz is more interested in settling down with him and starting a family. In the meantime Toni (Paula Prentiss), a wealthy woman, shows up claiming she is engaged to playboy Lt. Langley (Richard Long); her parents hope to make a strictly business match that will increase everyone's coffers. Finally Michele (Dany Robin) is anxious to meet up with Langley herself, although for unexpected reasons. Assigned to escort Michele, seaman Smitty (Russ Tamblyn) winds up falling for Toni and vice versa. The actors are all professional, with Tamblyn [The War of the Gargantuas] and Prentiss making an appealing couple, and while the movie threatens to become another Connie Francis Movie it never quite gets there, despite a couple of song numbers. Francis is too self-consciously "cute" by far in this, and while it has some good scenes and entertaining moments, Follow the Boys eventually becomes an effort to sit through. The most interesting thing about the movie is Langely's recipe for a Torpedo: one part each of rum, vodka, brandy and creme de menthe, with a maraschino cherry, cucumber slice, lemon peel, a piece of orange, and bitters added for good measure. Having two of these beforehand may definitely make this or any other movie more entertaining!

Verdict: Torpedo this one! **.

HOUSE OF WOMEN

Jason Evers, Margaret Hayes, Andrew  Duggan, Jeanne Cooper

HOUSE OF WOMEN (1962). Director: Walter Doniger.

Obviously having had a very bad lawyer, Erica Hayden (Shirley Knight) winds up in a women's penitentiary even though she was unaware that her boyfriend was going to commit a robbery as she simply waited in the car. Now she's pregnant, and learns that she'll have to give the child up for adoption if she doesn't get paroled in a certain amount of time. Her fellow inmates include Sophie (Constance Ford), who has a little boy -- children are allowed to stay with their mothers in the prison! -- dizzy former stripper Candy (Barbara Nichols); Addie (Jennifer Howard), a stereotypical lesbian; among others, and the staff consists of new warden Frank Cole (Andrew Duggan); tippling Doctor Conrad (Jason Evers); administrator Zoe (Margaret Hayes); and stern guard Helen (Jeanne Cooper). Other characters include Mrs. Hunter (Virginia Gregg), who serves on the parole board; and Mrs. Stevens (Jacqueline Scott), who is a social worker. Complications develop when Cole falls in love with Erica and he cruelly takes revenge upon her, but the real breaking point comes when the stupid Mrs. Stevens takes away Erica's little girl to foster care a day early -- and just before the child's now-canceled birthday party no less! The situations are awfully contrived in this nonetheless entertaining movie that is basically an imitation of Caged. Duggan, Evers [The Brain that Wouldn't Die], Hayes, Gregg, and others are fine, but Knight [The Couch] underplays terribly; Ford is surprisingly perfunctory during some difficult sequences; and Nichols doesn't quite deliver the goods in her big scene when she makes a speech to the parole board. The movie does boast a suspenseful climax when Ford and the others take over the prison! Walter Doniger also directed The Steel Jungle.

Verdict: If nothing else it's fun -- with some good sequences. ***.

COUNTERPLOT

Allison Hayes

COUNTERPLOT (1959). Director: Kurt Neumann.

Brock Miller (Forrest Tucker) is hiding out in San Juan after being accused of murdering a man in New York who owed him money. He has befriended a boy named Manuel (Jackie Wayne), and has a girlfriend, a singer, named Connie (Allison Hayes). Fritz Bergmann (Gerald Milton) a portly lawyer and apparent owner of the club where Connie works, has knowledge that might clear Brock, but there's interference from the victim's business partner, Ben Murdock (Richard Verney). Spargo (Miquel Angel Alvarez) tries to play both men against each other for a price. It all comes together for a final shoot-out. Counterplot has some good acting in it, especially from the dynamic Milton, and Allison Hayes, the 50-foot Woman herself, is warmer and more sympathetic than usual. Jackie Wayne is a talented and appealing child actor who appeared in the original stage production of "Damn Yankees;" Counterplot is his only movie credit. Milton was mostly a television actor who also appeared in Unknown Terror. Forrest Tucker [Fresh from Paris] basically plays the same dull "Forrest Tucker" character. Photographed by Karl Struss [Sunrise], who did many films with director Neumann .

Verdict: A melodrama that holds the attention but never quite catches fire. **1/2.

THE PHANTOM SPEAKS

Richard Arlen and Pierre Watkin

THE PHANTOM SPEAKS (1945). Director: John English.

A nutty doctor named Paul Rudwick (Stanley Ridges) thinks he can bring back the spirits of the dead, and tests his theory on a convicted murderer, Bogardus (Tom Powers of I Love Trouble), after he has just been executed. It never occurs to this fool that the soul of this extremely dangerous murderer can take over the doctor's mind, which is what happens, with the result that Rudwick starts tracking down and murdering all of Bogardus's enemies. Reporter Matt Fraser (Richard Arlen of Island of Lost Souls) is engaged to Joan (Lynne Roberts of Because of You) the doctor's daughter, while Pierre Watkins plays Fraser's boss, Davis. This is a cheap Republic production that somehow manages to hold the viewer's attention despite the fact that it's pretty much by the numbers, unoriginal, and predictable; if only the basic story had been developed more. Ridges is effective as the decidedly dumb doctor who pays a terrible price for his stupidity and irresponsibility. This is practically a remake of Black Friday, the Lugosi-Karloff film in which Ridges also played a decent man taken over by a hoodlum's consciousness.

Verdict: Republic cheapie creepy has its moments. **1/2.

ANTITRUST

ANTITRUST (2001). Director: Peter Howitt.

Milo Hoffman (Ryan Phillippe) is drafted by Gary Winston (Tim Robbins), head of the NURV technology company, to work on a major new project called Synapse, which will somehow link all communications networks together. Milo has decided to go with a big company while his other buddies still work in their garage, but it's clear they are on to something nonetheless when one of them, Teddy (Yee Tee Tso), is murdered. Was Teddy getting too close to solving the problems with Synapse-like technology  and beating Winston to the punch? A paranoid Milo sneaks around NURV trying to get incriminating information as he dodges the security force and breaks into buildings -- but will he stay alive long enough to learn anything? Antitrust is a minor but entertaining flick with two good lead performances, as well as good work from a supporting cast that includes Claire Forlani as Milo's girlfriend, Alice, and Rachel Leigh Cook as Lisa, a fellow employee who decides to help him. Fittingly, considering the movie's title, the script plays around with exactly whom Milo can trust and whom he can't, and there are a couple of surprises in that regard. The movie is undeniably suspenseful, occasionally tense, and has a very satisfying wind-up.

Verdict: Is Big Brother watching you? *** out of 4.

GOTTA LOVE THAT TARZAN!

Alexander Skarsgard as Tarzan

GOTTA LOVE THAT TARZAN!

It's amazing that Edgar Rice Burroughs' early twentieth century creation is still going strong over one hundred years later. Next summer Alexander Skarsgard is the latest actor to play the Ape Man, and in a blockbuster summer movie, no less. Let's face it, Tarzan is a product of a simpler time, a thoroughly racist and absurd concoction in a highly fictional "Africa" that nevertheless captured the imaginations of millions of readers -- and filmgoers. More recent films have done away with the condescension towards black natives, added black characters, and done their best to counteract the tone of the early movies, although in the novels Tarzan was never that disrespectful of native Africans.

This week we look at Burroughs' first Tarzan novel, as well as selected films in which Tarzan is portrayed by various actors, beginning with Johnny Weissmuller and going on to Lex Barker, Gordon Scott, Jock Mahoney, and Mike Henry.

TARZAN THE APE MAN (1932)

Maureen O'Sullivan and Johnny Weissmuller

TARZAN THE APE MAN (1932). Director: W. S. Van Dyke.

James Parker (C. Aubrey Smith), his daughter Jane (Maureen O'Sullivan), and Parker's associate Harry Holt (Neil Hamilton) are in Africa trying to find the mystical elephants' graveyard where valuable ivory can be appropriated. They find a treacherous way past a certain escarpment, encountering a horde of hippos and hungry gators, then eventually come afoul of a group of mean dwarfs. Tarzan (Johnny Weissmuller) doesn't put in an appearance until 23 minutes into the running time, and naturally helps save the day when Jane and the others are lowered by rope into a pit with a huge and violent ape. While he could never be considered a great actor, Weissmuller's pantomiming in this is highly effective, getting across both his primitive aspects as well as a charming shyness towards Jane. The movie reveals absolutely nothing of Tarzan's background, and doesn't follow the plot of Burroughs' first novel except for the business with Tarzan swinging away with a frightened but mesmerized Jane in his arms. The film reveals its incredible racism in at least one scene, when a native porter falls to his death from a horrifying cliff and Holt wonders first what was in the man's packs, and then says "poor devil." Tarzan never actually says "Me Tarzan, You Jane" but keeps repeating "Tarzan, Jane" as he taps her on the shoulder over and over again, revealing his sense of humor. O'Sullivan [Payment Deferred] gives a good performance, although she does get so whiny at times you wish Tarzan would throw her out of a tree. Smith [Little Lord Fauntleroy] and Hamilton are okay -- the only time I ever really liked Hamilton was when he played Commissioner Gordon on Batman -- and Cheetah, of course, is absolutely wonderful. At one point Tarzan murders a poor native guide as retaliation for Hamilton shooting one of the ape man's pets! A bit slow-paced at times. This was not the first movie to feature Tarzan, but it led into a long series with Weissmuller [Jungle Jim] and then other actors. Tarzan of the Apes must have been pretty strong stuff in 1932, although it was probably eclipsed the following year by King Kong.

Verdict: Compelling if uneven fantasy. ***.

TARZAN'S SAVAGE FURY

Lex Barker and Tommy Carlton

TARZAN'S SAVAGE FURY (1952). Director: Cy Endfield.

Tarzan (Lex Barker) gets a son when he and Jane (Dorothy Hart) find a little orphaned boy named Joey (Tommy Carlton), although the couple don't seem all that sympathetic to his plight in the beginning. Trouble develops when Jane's alleged cousin, actually an impostor named Edwards (Patric Knowles) shows up along with a Russian spy named Rokov (Charles Korvin). The two importune Tarzan and the others to lead them to some diamonds (in one ridiculous scene Tarzan says he doesn't know what a diamond is!), unaware that their purposes are not at all benign. The group encounter cannibals, and one exciting scene takes place on a river when a raft is overturned by a hippo and hungry gators move in for the attack [possibly stock footage]. In this film Tarzan seems to have known his father years ago, although in Burroughs' novel Tarzan's father died in the boy's infancy. Lex Barker [The Girl in Black Stockings] inherited the role from Johnny Weissmuller, who went on to the Jungle Jim series, and speaks in the same dumb monosyllables, but is otherwise okay and looks good. Dorothy Hart, playing Jane with teased hair and lipstick, isn't bad, and little Tommy Carlton is excellent as Joey; this was his only film. The best performance is from Korvin [The Killer That Stalked New York] as the agent and magician, whose tricks awe the natives and others; Knowles [The Wolf Man] is also good. Photographed by Karl Struss and with a nice score by Paul Sawtell. The main problem with the movie is that we never really see any of Tarzan's "savage fury" and in fact the film is relatively tame.

Verdict: Okay Tarzan entry. **1/2.