MUSIC IN MY HEART

Tony Martin and Rita Hayworth

MUSIC IN MY HEART (1940). Director: Joseph Santley.

"The bicarbonate interferes with the brandy."

Wealthy Charles Gardner (Alan Mowbray of Dante) considers himself engaged to the beautiful Patricia O'Malley (Rita Hayworth), but despite Gardner's kindness she might have other plans, especially when she runs into handsome Robert Gregory (Tony Martin), who ingratiates himself with her family. To break up the budding romance between those two, Gardner's butler, Griggs (Eric Blore of Swiss Miss), comes up with a nasty scheme to separate them by employing a fake newspaper article. Will true love find a way? The cast is game, the plot is thin, the songs by Wright and Forrest are unmemorable, but there are some bizarre developments at the very end. Tony Martin [Here Come the Girls] looks great, is not a bad actor, and has a very, very good voice; he should have had a much bigger career in pictures.

Verdict: Easy to take Columbia musical that you'll forget five seconds after it's over. **1/2.

THREE SMART GIRLS GROW UP

Bob Cummings with the three smart girls.

THREE SMART GIRLS GROW UP (1939). Director: Henry Koster.

In this inferior sequel to Three Smart Girls, the "girls" are now young ladies with romantic problems. Their parents (Charles Winninger; Nella Walker) are back together and Joan (Nan Grey) is happily affianced to Richard (William Lundigan of Andy Hardy's Double Life). Unfortunately sister Kay (Helen Parrish) has fallen in love with Richard herself, a rather interesting situation that, unfortunately, never becomes entertainingly melodramatic. Sister Penny (Deanna Durbin) keeps throwing Harry Loren (Robert Cummings) in Kay's direction, to take her mind off Richard, but Harry rather rudely makes it clear that his interest is strictly in Penny. Durbin [It Started with Eve], the sole name to appear above the title, showing how her status had grown, gives a good performance, as does Winninger, and the rest are all more than competent.

Verdict: Pleasant if forgettable. **1/2.

HOMICIDE FOR THREE

Audrey Long and Warren Douglas

HOMICIDE FOR THREE (1948). Director: George Blair.

Lt. Peter Duluth (Warren Douglas) and his wife Iris (Audrey Long) haven't seen each other in a year and have yet to have a honeymoon. Unfortunately, after they check into a hotel hoping for a night of bliss, they are constantly interrupted by a series of strangers -- and murder. Based on a novel by Patrick Quentin, this has a fairly engaging plot concerning a series of slayings, some of which Peter tries to prevent without success. Long [Desperate] and Douglas are attractive and charming, and Lloyd Corrigan makes an impression as the mostly inebriated Emmanuel Catt. A Great Dane who shows up late in the film nearly steals the picture. Strange Awakening was also based on a Patrick Quentin "Peter and Iris Duluth Mystery," although the hero in that film was rechristened Peter Chance. Douglas had a small supporting role in Cry Vengeance, and amassed 63 credits; Long did about half as many films.

Verdict: Amiable minor mystery with some suspense. ***.

HOME TOWN STORY

Alan Hale Jr. with the Adorable One

HOME TOWN STORY (1951). Writer/director: Arthur Pierson.

When Blake Washburn (Jeffrey Lynn of The Law of the Tropics) fails in his reelection bid for his senatorial seat, he returns to his home town in Illinois where he is editor of the local paper. He is accused of using the paper to mount a campaign to get himself back into the Senate by attacking the winner, Bob McFarland (Hugh Beaumont of Money Madness). Will Blake allow his political ambition to get the better of him, and will anybody care? Home Town Story is a fairly dull, slight drama that plays more like a TV pilot than a theatrical movie. Lynn is not bad in the lead, and Alan  Hale Jr. [The Cruel Tower] scores as his associate on the newspaper, as do Donald Crisp as McFarland's father and Barbara Brown as Blake's mother, but the movie's chief interest is in the brief appearances by the "Adorable One," Marilyn Monroe, as a secretary. Marjorie Reynolds, Richard Crane, and Byron  Foulger are also in the cast.

Verdict: An early glimpse of the Adorable One, who had presence from the first. **.

AND SOON THE DARKNESS

Karl Urban in a tense moment

AND SOON THE DARKNESS (2010). Director: Marcos Efron.

"You think a 'relationship' is when you get the guy's last name."

In this remake of 1970's And Soon the Darkness, two young American women go on a bicycle trip through Argentina and encounter death and danger. Blond Stephanie (Amber Heard) and brunette Ellie (Odette Annabel) run into the wrong people when they go to a bar and the latter encourages the interest of a sleek would-be lover boy. They are rescued by Michael (Karl Urban of The Loft), who claims that he is searching for his missing girlfriend, but whose behavior can be considered odd. When Ellie disappears from an isolated spot where she wants to sunbathe, Stephanie desperately contacts a strangely disinterested police officer, Calvo (Cesar Vianco). And Soon the Darkness goes in its own direction from the original film, has some interesting twists, and basically changes into a chase film for the final quarter. The performances are good, with Heard and Vianco being especially notable. Pretty theme music.

Verdict: So-so remake of superior British thriller. **1/2.

CAN'T HELP SINGING

Deanna Durbin and some spectacular scenery

CAN'T HELP SINGING (1944). Director: Frank Ryan.

When Caroline (Deanna Durbin),  a senator's daughter, learns that he disapproves of the man she loves and hopes to marry -- the opportunistic Lt. Robert Latham (David Bruce) -- she runs off into the wild west after him. Along the way she runs into some colorful characters, as well as a new romantic interest in the form of Lawlor (Robert Paige). Can't Help Singing has some pleasant tunes by composer Jerome Kern (especially the title tune), and Durbin and Paige [Fired Wife] make a very good team. Durbin, whose voice seemed to get even better as she got older, also became a bit double-chinned and puffy, but was still attractive. The handsome production boasts beautiful photography [Elwood Bredell and W. Howard Greene], and some good performances from the leads, along with Ray Collins [Hideout] as Durbin's father; Akim  Tamiroff (out west!) and Olin Howlin/Howland as two likable scoundrels; Bruce as the lieutenant; and Jay Novello [Atlantis, the Lost Continent] as a "sucker."

Verdict: One of the better Deanna Durbin musicals. ***.

JAILHOUSE ROCK

Judy Tyler and Elvis!

JAILHOUSE ROCK (1957). Director: Richard Thorpe.

"Without money you might as well be dead."

Vince Everett (Elvis Presley) delivers one punch too many to an obnoxious guy in a bar, and winds up in stir for a year for manslaughter. There he meets aging country singer "Hunk" Houghton (Mickey Shaugnessy of King of the Roaring 20's), who gives him musical advice and signs him to a contract. Vince has a massive chip on his shoulder that puts up barriers between himself and the people he meets, including a woman, Peggy (Judy Tyler), who is in the recording industry and helps him get started. Becoming successful, insolent Vince plays around on Peggy. Then Hunk, newly out of jail, arrives and reminds him of that contract ... Jailhouse Rock is an entertaining flick that features a pretty good performance from Presley, whose hip-shaking movements remind one, oddly, of Rita Hayworth! Shaughnessy and Tyler are excellent, and we also have a bizarre scene between Presley and Percy Helton -- "bizarre" because of the juxtaposition of these two very different individuals --  with the latter playing a bar owner. Dean Jones has a brief appearance as a friendly DJ who dates Peggy. Movies like Jailhouse Rock aren't to be taken seriously, but the movie so glosses over details about the recording industry that it seems like a fantasy at times! S. John Launer, who plays the judge who sentences Vince, often played a judge on Perry Mason. Judy Tyler was an attractive and talented woman who starred on Broadway in Rodgers and Hammerstein's musical Pipe Dream the year before this picture. She was killed at age 24 in a car accident before Jailhouse was even released. Whatever you think of Presley, there is no denying the man had presence in spades!

Verdict: The "Jailhouse Rock" production number is a hoot! *** out of 4.

AL PACINO IN FILM AND ON STAGE

AL PACINO IN FILMS AND ON STAGE is your humble blog-owner's new tome on Al Pacino. This book from McFarland has been greatly expanded, revised, and updated, with twenty more years of Pacino's life, loves, movies, directorial assignments, and stage appearances.

One of our most passionate and gifted actors, Al Pacino has been riveting audiences for decades with performances in everything from The Godfather to Angels in America to Danny Collins. He has also appeared on the stage, tackling such difficult roles as Richard III, King Herod and Shylock, along with parts in contemporary dramas like Glengarry Glen Ross. Pacino has also directed two documentaries and two feature films.

Aspects of Pacino’s private life and film choices can be controversial. Often accused of a lack of subtlety or of “chewing the scenery,” his mesmeric intensity galvanizes fans and divides critics, as do his Shakespearean interpretations. In its second edition, this book critically reevaluates his many onscreen and onstage roles. Pacino is an actor who cannot be ignored.

Verdict: If you like Pacino, Buy this book!

HOWARD THE DUCK

The "Dark Overlord" about to strike

HOWARD THE DUCK (1986). Director: Willard Huyck.

Due to experiments involving a "laser spectroscope" conducted by Dr. Walter Jenning (Jeffrey Jones), an innocent fellow named Howard (Ed Gale, Chip Zien and others), who lives on a world where ducks are intelligent and capable of speech, is sucked out of his universe and into ours. There he tries to find his way in a strange new world of "hairless apes" while befriended by rock singer Beverly (Lea Thompson) and observed by wannabee scientist Phil Blumburtt (Tim Robbins of Mystic River). Unfortunately Jenning tells them all that his laser beam has also swept up a horrible creature called a Dark Overlord of the Universe, who takes over Jenning's mind even as it hopes to take over the world. Will anyone survive? Well ... Howard the Duck is based on a satirical Marvel comic book and it could easily be dismissed, as it was, as utter schlock were it not for the fact that it has some genuinely amusing moments, good FX, and some good acting from the principals, especially Jones in a funny turn as the possessed, hostile Jenning. The first half of the film, once you get used to the main character being a little guy in a duck outfit, has some minor whimsy to it (as well as a cute scene when a job counselor tells Howard she'll get him a job no matter how weird he tries to look), there's a fairly exciting sequence with Howard and Phil trying to fly off in an odd homemade contraption with wings, and the stop-motion effects [Phil Tippett of Starship Troopers 2] of the giant, slithering, creepy, scorpion-like Dark Overlord are excellent. Unfortunately, this just doesn't add up to a very good movie, and it's often more loud and busy than entertaining. Jorli McLain has a nice bit as a waitress in a diner. John Barry's [Goldfinger] score, including a memorable heroic theme, is better than the movie deserves. Howard was created for the comics by writer Steve Gerber.

Verdict: You want to like it but ...  **.

AND SOON THE DARKNESS (1970)

Pamela Franklin and Clare Kelly

AND SOON THE DARKNESS (1970). Director: Robert Fuest.

Two young British women, Jane (Pamela Franklin of The Third Secret) and Kathy (Michele Doutrice) are on a bicycle trip through the countryside of France. Kathy is intrigued by a handsome stranger at one cafe, and refuses to go any further with the less-free-spirited Jane; the two have a fight and go their separate ways. Still, when Kathy disappears Jane tries to surmount the language barrier and find out what happened to her friend. To make matters worse, she learns that a young woman was murdered in this town two years earlier and her killer was never caught. Suspects for her disappearance and the earlier murder include the aforementioned stranger, Paul (Sandor Eles of The Evil of Frankenstein), who claims to be working for the Surete; a couple, the Lassals (Hana Maria Pravda and Claude Bertrand) who run an inn; a mentally-disturbed veteran; a British schoolteacher (Clare Kelley); and others. John Nettleton appears as a sympathetic Gendarme. And Soon the Darkness is not without flaws -- to create suspicion in the audience's mind over anyone and everyone, some of the characters behave much more weirdly than they might have -- but it is a very creepy and intensely suspenseful film that has good performances (although Franklin underplays too much), an effective score by Laurie Johnson (with the exception of the awful opening theme), and excellent widescreen photography of lonely, sinister vistas by Ian Wilson. There's a wonderfully macabre sequence involving a closet and a corpse late in the picture. Jane never asks Paul for his I.D. Very well directed by Robert Fuest [Dr. Phibes Rises Again]. Remade in 2010.

Verdict: Handsome and disturbing thriller. ***.

HE FOUND A STAR

Not a man in drag: Sarah Churchill

HE FOUND A STAR (1941). Director: John Paddy Carstairs.

With the help of his secretary, Ruth (Sarah Churchill),  Lucky Lyndon (Vic Oliver) opens his own talent agency and hopes for the best. He decides to take clients who are going nowhere fast, exploit their often minimal assets, and turn them into winners, such as an old baritone who is turned into a novelty act called the One-Man Band. Meanwhile Ruth is carrying an inexplicable torch for Lucky, who seems to have a thing for an utterly mediocre singer named Suzanne (Evelyn Dall), supposedly a big star. Sarah Churchill (the daughter of Winston Churchill) is a very adept and charming performer, but she's photographed so badly in this that her somewhat masculine features may make you think at first that she's Rex Harrison with heavy make up and dressed as a woman! Oliver is quite good as Lucky, and there are good turns from Robert Sansom as Hargreaves, Robert Atkins as Frank Forrester, and especially Jamaican singer-actor Uriel Porter, as George Washington Brown, who does a wonderful rendition of "I'm Gonna Walk All Over God's Heaven."

Verdict: British version of a Republic musical with somewhat higher production values. ***.

ALIEN RESURRECTION

Isn't she pretty: an alien-human hybrid

ALIEN RESURRECTION (1997). Director: Jean-Pierre Jeunet.

"I used to be afraid to dream, but no more. No matter how bad the dream gets, when I wake up it's worse."

"I should have known -- no human being is that humane."

Hundreds of years after the events of Alien and Alien 3, a crew of rather rambunctious technicians bring a certain sinister cargo to a humongous U.S. military medical research vessel, where the Army has taken over research into the strange alien species that so bedeviled Ripley. The "cargo" turns out to be kidnapped humans who are deliberately exposed to the alien parasite in an attempt to create more monsters that the military can control. But they make one big mistake: when some of the aliens turn against one of their number, tearing it apart, its acid-blood burns through the floor and releases the aliens! Now it's a fight for survival for the cloned Ripley (Sigourney Weaver), who turns out to be part-alien; General Perez (Dan Hedaya); and the technicians, including Call (Winona Ryder); Johner (Ron Perlman of Pacific Rim); Elgyn (Michael Wincott), among others; the nasty Dr. Wren (J. E. Freeman); and the terrified Purvis (Leland Orser of The Guest), who is one of the poor souls with an alien egg implanted within him. Now the ship is about to crash land on earth with all those nasty critters on board! There is not much attempt to create any kind of realistic "future," with the characters using twentieth century slang, and there are other borderline campy moments and dumb dialogue that work against the movie -- no wonder, the screenplay was written by Joss Whedon [Marvel's The Avengers], who did the silly Buffy the Vampire Slayer -- and the pic is terribly cold-blooded to put it mildly, but it is also suspenseful and exciting. The acting is very good from all concerned. Relentlessly downbeat even to the infinitely bleak conclusion. Attempts to create erotic tension between Ripley and the alien queen don't really work.

Verdict: Can't keep those aliens down! ***.

THE ROBE

The stunning scenic design of The Robe

THE ROBE (1953). Director: Henry Koster.

After angering Caligula (Jay Robinson), tribune Marcellus Gallio (Richard Burton), son of a senator (Torin Thatcher), is sent off to Jerusalem with his proud slave, Demetrius (Victor Mature). Marcellus is one of several men ordered to crucify Christ by Pontius Pilate (Richard Boone). Marcellus wins the robe of dead Christ in a game of dice but finds he is unable to wear it, then Demetrius runs off with it. Ordered to get it back by Emperor Tiberius (Ernest Thesiger), so the "bewitched" item can be destroyed, Marcellus encounters a group of devout Christians and begins to see things their way ... The Robe, the first film shot in CinemaScope, is often rather spectacular to look at, thanks to Leon Shamroy's superb cinematography and the splendid scenic design, but it can hardly be called a "great" movie. It's a given that the film's religiosity might seem oppressive to some viewers, but the film begins to lull about halfway through and never quite recovers -- it's when the quite pious Justus (Dean Jagger) shows up, along with the crippled and beatific singer Miriam (Betta St. John). However, the film does boast several good performances, especially Burton as Marcellus, with good (if unexceptional) turns from Jean Simmons as our hero's lady love, Diana; Thatcher as Marcellus' father; Robinson as a screechingly effective Caligula; Thesiger as the elderly emperor; and Michael Rennie as Peter. Three actors worthy of special mention are Victor Mature [Kiss of Death], who is excellent as Demetrius, even if his performance consists mostly of expressive pantomiming; Michael Ansara [Dear Dead Delilah] in a striking turn as Judas; and Jeff Morrow [The Giant Claw] who certainly scores as the centurion, Paulus, and who figures in an exciting sword fight with Marcellus. Jay Novello, Percy Helton and Thomas Browne Henry are also good in bits as a slave trader, wine merchant, and physician, respectively. Alfred Newman's score washes the whole movie in dramatic overtones. Followed by Demetrius and the Gladiators.

Verdict: Certainly well turned out for what it is. **1/2.

ALIEN 3

Alien checks out Sigourney Weaver

ALIEN 3 (1992). Director: David Fincher. NOTE; This review is of the special expanded edition/assembly cut.

After the end of Aliens, Lt. Ellen Ripley (Sigourney Weaver) escaped from LV-426 with the child, Newt, and Corporal Hicks. Unfortunately, it turns out that there was an alien on board, and the ship crash lands on Fury 161, a closed prison planetoid whose inhabitants have chosen to remain on this dismal world. As if she hadn't enough heartbreak, Ripley learns that Newt and Hicks have died, and discovers something even more horrifying about her medical condition. The company is still after a specimen of that dreadful alien species, and nothing else seems to matter, leading Ripley to make a moving sacrifice to save the lives of millions. Not overly loved at the time of its release, and with undeniable flaws, Alien 3 is actually a very good horror sci-fi flick with some excellent performances, interesting psychological elements, and adroit characterizations in the screenplay by Giler, Hill and Ferguson. The supporting characters include the medical officer, Clemens (Charles Dance), who has his own secrets; Dillon (Charles S. Dutton), who has turned the other cons into religious converts; the crazy Golic (Paul McGann), who sort of "bonds" with the alien; Aaron (Ralph Brown), a kind of warden who only wants to get back to his wife and kids; and others, who are vividly brought to life both by the script and the performances. Some creepy and suspenseful sequences as well. Elliot Goldenthal contributed an effective score; a nice touch is the way the 20th Century Fox fanfare at the opening ends on an ominous, sinister and sustained down-note. Followed by Alien: Resurrection.  Fincher also directed Gone Girl and Zodiac.

Verdict: A highly interesting mix of genres and characters with some fine performances. ***1/2.

THE WICKED LADY

 Faye Dunaway having a Horrible Hair Day

THE WICKED LADY (1983). Director: Michael Winner.

In this remake of The Wicked Lady, Caroline (Glynis Barber) is about to marry the wealthy Sir Ralph Skelton (Denholm Elliott), when along comes her cousin Barbara (Faye Dunaway) who steals away Skelton, marries him, and retains poor Caroline as her domestic. When Barbara loses a treasured heirloom in a card game to witchy sister-in-law Lady Kinsclere (Prunella Scales), she decides to disguise herself as a highwayman and steal the jewelry back. Barbara realizes that she finds great excitement as a robber and decides to continue her career, meeting up with the notorious Jerry Jackson (Alan Bates) ... This is not quite a black comedy version of the original, but it does border on the burlesque, especially with the portrayal of Dunaway during one part of her campaign to come off like a drag queen having a Hideous Hair Day. There is no subtlety whatsoever to Dunaway's performance, but then no one comes off that well under Michael Winner's direction, despite some of the noted players. Barber makes little impression as Caroline, and even the great John Gielgud as the pious servant Hogarth can't hold a candle to Felix Aylmer in the original. It's hard to believe that Caroline would prefer Ralph as portrayed by Elliott over Kit Locksby (Oliver Tobias). That being said, The Wicked Lady retains its great story and those who are unfamiliar with the Margaret Lockwood-James Mason version may at least find it entertaining. This is almost a scene-by-scene remake but it adds a kinky, gratuitous cat fight between Barbara and Jackson's girlfriend (Marina Sirtis), with the former taking a whip to the latter's naked breasts at a public hanging. Alan Bates [Georgy Girl] does what he can with the Jackson role, but he hasn't that perfect style of Mason. Dunaway is almost photographed as badly in this as she was in The Eyes of Laura Mars.

Verdict: Unless you like seeing bare breasts being whipped, skip this and stick with the far superior original. **1/2 out of 4.

THE HOLLYWOOD BOOK OF BREAKUPS

THE HOLLYWOOD BOOK OF BREAKUPS. James Robert Parish. John Wiley and Sons; 2006.

This absorbing tome looks into the lives, loves and break-ups of both old and new, very familiar names in movies and on television: Woody vs. Mia; Aniston vs. Pitt; DeMaggio vs. Monroe; Cruise vs. Kidman; Hughes vs Peters; Eastwood vs Locke; and so on, going all the way back to the days of Mary Pickford and Douglas Fairbanks Sr., while stopping to revisit the likes of Madonna vs. Sean Penn and Sonny vs. Cher along the way. There are also chapters on Petter [sic] Lindstrom's bitter split with Ingrid Bergman over lover and film director, Roberto Rosellini; Ted Danson's bizarrely appearing in blackface during his involvement with Whoopi Goldberg; the bad marriage of Cary Grant and Barbara Hutton; and dozens more. Throughout its pages, the book documents one basic Hollywood truism: that relationships in La La Land are often based more on career advancement than "love." It is amusing how people who break up relationships via affairs justify their infidelity. Anne Heche, who discarded Ellen DeGeneres as she had Steve Martin before her, seemed to blame DeGeneres for her affair because Ellen didn't trust her, but considering that Heche had an affair with a cameraman while everyone was filming a documentary about Ellen, it seems DeGeneres' fears were thoroughly justified!

Verdict: Excellent look at the bizarre nature of Hollywood relationships and the disasters they often incur. ***1/2.

CRY VENGEANCE

CRY VENGEANCE (1954). Director: Mark Stevens.

Former cop Vic Barron (Mark Sevens) comes to Alaska in search of mobster Tino Morelli (Douglas Kennedy), whom Barron feels is responsible for the death of his wife and child as well as his own facial disfigurement. Searching for the man and plotting his revenge, he encounters bar owner Peggy Harding (Martha Hyer) and old girlfriend, Lily (Joan Vohs). Barron is so understandably intent on getting even that he even contemplates harming Morelli's little girl, Marie (Cheryl Callaway). But before he can get to Morelli, he has to deal with a nasty blond hit man named Roxey (Skip Homeier). Homeier [Stark Fear], Hyer and Vohs [Lure of the Swamp] give the best performances in this; striving for a depiction of single-minded intensity, Stevens, who also directed, plays it all in one note. Mort Mills, the cop in Psycho, has a small role, as does Richard Deacon [The Birds] as a bartender.

Verdict: Acceptable if minor-league film noir. **1/2.

THE CREEPING TERROR

Vic Savage

THE CREEPING TERROR (1964). Director: "A. J. Nelson" (Vic Savage).

Sheriff Martin Gordon (Vic Savage, who also directed) discovers that a spaceship containing two very weird creatures has landed in his figurative backyard. One of these creatures, who resembles a shambling carpet with vacuum hoses on top, shuffles around devouring people whole, victims who never seem  to have the common sense to just run away from the slow-moving alien.  Martin and his wife, Brett (Shannon O'Neil) are newlyweds who would rather be spending their time alone but Martin and his deputy Barney (Brendon Boone), as well as Dr. Bradford (William Thourlby) and Colonel Caldwell (John Caresio), must investigate all of the disappearances. The creature attacks a dance at a gymnasium and seems to consume virtually all of the souls there (at least the film might have suggested the victims were hypnotized). There is some minor suspense at the end when the protagonists try to stop the alien ship's computer from broadcasting info about earthlings and their weaknesses back to the home planet. Much of the soundtrack to The Creeping Terror was lost, which is why the movie is practically narrated. It's by no means a good movie, but it has a workable plot and might have amounted to something had it been directed by Roger Corman. Savage and the making of the film were examined in the docudrama The Creep Behind the Camera. Some of the actors in Terror actually went on to have decent careers.

Verdict: Oy vey! *1/2.        

THE CREEP BEHIND THE CAMERA

Josh Phillips as Vic Savage

THE CREEP BEHIND THE CAMERA (2014). Writer/director: Pete Schuermann.

Art Nelson (Josh Phillips) struggles to finance and put together a terrible monster epic called The Creeping Terror, in this docudrama about the making of the film and the life of its director, who was actually named Vic Savage. The film "savages" the late director's reputation with real-life scenes of his widow talking about how he was a wife-beater, psychopath, and a pedophile and god knows what else, but this embittered woman seems to be the only source of these horrible stories -- there is no real research into the veracity of these reports at all, but then the film has to live up to its title. There are also on-camera interviews with other people involved with the movie, some of whom are played by actors during the fictionalized segments. Josh Phillips gives a good performance as "Nelson," as do Jodi Lynn Thomas as his wife, Lois; Bill LaVasseur as actor/producer William Thourlby; and Mark Lee as FX man Jon Lacky, but the style of the film is off-putting and disorganized, and it needs a much better script. It seems the most unforgivable thing in Hollywood is to make a cheap and lousy movie.

Verdict: A burlesque in more ways than one. **.

SUMMER HOLIDAY

Mickey Rooney and Marilyn Maxwell

SUMMER HOLIDAY (1948). Director: Rouben Mamoulian.

In this musical adaptation of Eugene O'Neill's "Ah, Wilderness!" Mickey Rooney plays Richard Miller, the teen son of a solid Connecticut family. Richard is always trying to stir the pot with his radical political ideas, even as his Uncle Sid (Frank Morgan) hopes to gain the hand of Cousin Lily (Agnes Moorehead) in marriage. Richard has a girlfriend in Muriel (Gloria DeHaven ) but out on the town with a friend he encounters hooker-hard showgirl, Belle (Marilyn Maxwell). Unfortunately, none of this leads to anything very interesting and eventually the flick becomes quite tiresome. Rooney is as good as ever, as are Moorehead, and Walter Huston as the boy's father, and Maxwell makes a minor impression as the showgirl. The songs by Warren and Blaine might be the type that need to grow on you, but on first hearing they don't linger in the mind. This is Eugene O'Neill as filtered through Andy Hardy! The same play was also turned into a Broadway musical by Bob Merrill called "Take Me Along" with Jackie Gleason playing Uncle Sid.

Verdict: Scene by scene this might mimic O'Neill, but there's something missing. **.

NICE GIRL?

Franchot Tone, Deanna Durbin, Robert Stack

NICE GIRL? (1941). Director: William A. Seiter.

Small-town girl Jane Dana (Deanna Durbin) has a perfectly swell, handsome boyfriend in Don Webb (Robert Stack of The Tarnished Angels), but wanting to appear more sophisticated, she makes a flagrant play for an older man, Richard Calvert (Franchot Tone of Honeymoon), which only makes her seem like an idiot. That's basically the plot of this dull movie that hasn't enough drama or laughs to make it even worth sitting through -- not even Durbin's singing can save it! There are some good actors in it, including Robert Benchley [The Bride Wore Boots] as Jane's father; Helen Broderick as a housekeeper, Cora; and Walter Brennan (almost looking young) as a mailman who has a hankering for Cora. Ann Gillis and Anne Gwynne play Jane's younger sisters, and we've also got Elisabeth Risdon from the Mexican Spitfire movies and Kenneth Howell from the Jones Family series in much smaller roles.

Verdict: This picture is so slight it hardly seems to exist. *1/2.

ALIENS

Sigourney Weaver and Michael Biehn

ALIENS (1986). Director: James Cameron. Extended edition/director's cut.

After the climax of Alien, Ellen Ripley (Sigourney Weaver) has drifted in space for 57 years. (In a scene omitted from the theatrical version, we learn Ripley had a daughter who grew up and died while she was away, which intensifies her feelings for the little girl, Newt, that she meets later on.) The powers-that-be, including corporate employee, the slimy Burke (Paul Reiser), first "disbelieve" Ripley, but then they learn that a colony that was established on LV-426, from whence Ripley escaped, is no longer in communication with earth. Stripped of her rank, Ripley is promised a promotion if she returns with Burke, android Bishop (Lance Henriksen), and a contingent of marines to LV-426 to see what's up. Naturally they find a whole host of alien monstrosities, along with the sole survivor, Newt (Carrie Henn), and a monstrous mother queen who is laying more eggs on a regular basis. Unlike the first film and in spite of its sci fi/horror trappings, Aliens is more of a war movie/action film than anything else, but on that level it is extremely exciting, although, as in the first movie, there are too many long scenes of Ripley running and running through smoky corridors. One especially good and scary scene has Ripley and the child discovering that a face-hugger (the creature that wraps itself around your face and deposits a parasite) has gotten into their quarters and they're locked inside with it. The acting from Weaver [Tadpole], Reiser [One Night at McCool's], Henricksen [AVP] and Henn is excellent -- I rarely like Weaver in anything but the Alien movies -- and there are also noteworthy performances from Michael Biehn as Corporal Hicks, William Hope as his commanding officer, Lt. Gorman, and especially Bill Paxton as the overtly cocky but understandably terrified Private Hudson, with some nice work from Jenette Goldstein as the tough, Hispanic Private Vasquez. This vision of the future is already dated, and the movie has several illogical moments, but it is very, very entertaining. Followed by Alien 3.

Verdict: Like quite a few people, the aliens have acid for blood. ***.

CARRY ON CRUISING

CARRY ON CRUISING (1962). Director: Gerald Thomas.

Captain Wellington Crowther (Sidney James of Is Your Honeymoon Really Necessary?)) of the Happy Wanderer cruise ship discovers that most of his crew have been replaced and are fairly incompetent. Since Crowther is hoping to gain the command of an ocean liner, he is none too happy with the situations he finds himself in. Other crew members include the snooty first officer (Kenneth Williams); the bartender, Sam (Jimmy Thompson); the cook, Wilfred (Lance Percival); the shy Dr. Binn (Kenneth Connor) and the steward, Tom (Cyril Chamberlain). The passengers include Flo (Dilys Laye) and Gladys (Liz Fraser), two young women with an eye out for eligible bachelors, and the delightful old lady, Mrs. Madderley (Esma Cannon). While Carry on Cruising is a minor picture, it does boast an excellent cast of fine comic actors, and has some very amusing sequences.

Verdict: As "Carry On" movies go, this isn't too bad. **1/2.

CAPRICORN ONE

Sam Waterston, O. J. Simpson, James Brolin

CAPRICORN ONE (1978). Director: Peter Hyams.

Astronauts Brubaker (James Brolin), Willis (Sam Waterston) and Walker (O. J. Simpson) are about to go off on a flight to Mars when they are told by Dr. James Kelloway (Hal Holbrook) that the mission is scrubbed because of a faulty life support system. Kelloway is afraid the space program will lose its funding. so he and his associates decide to film the astronauts on a sound stage and make the world believe they have actually landed on Mars. Brubaker and the others are appalled by what they've participated in, but they really get worried when it is announced that the three "died" during re-entry. Then the chase is on ... Capricorn One has an utterly absurd premise (inspired by the notion that the Moon landing was staged), but it holds the attention and has a terrific, suspenseful climax where a suspicious reporter (Elliot Gould) tries to save Brubaker, and an old-fashioned bi-plane is engaged in a dogfight with two sinister helicopters. As for the acting, Holbrook walks off with the movie, particularly in a long monologue when he tells the three men what's happened and the reason for the hoax they're about to perpetrate. The three lead actors are okay but give perfunctory performances (considering what has happened to them), even Waterston, although he has some good moments out in the desert. Brenda Vaccaro as Brubaker's wife plays the role of "widow" a little too jovially. The script lacks depth but that may be because no one had any real faith in the premise.

Verdict: If you ignore the sheer preposterousness of the premise, the movie is fun. ***.

CALENDAR GIRL MURDERS

Tom Skerritt

CALENDAR GIRL MURDERS (1984 telefilm). Director: William A. Graham.

Richard Trainor (Robert Culp) is the publisher of Paradise magazine. He has just issued a new calendar with shapely naked women in it, when one of those women is shoved off a tenth floor balcony. More murders of models follow. Lt. Dan Stoner (Tom Skerritt of Alien) is assigned the case, but would rather be doing anything else. He is drawn to pretty Cassie Bascomb (Sharon Stone), who wants to have an affair with him despite the fact that he is married. Suspects in the case include everyone from Trainor's assistant Cleo (Barbara Parkins) to comic Nat Couray (Robert Morse). Robert Beltran [Eating Raoul] plays another cop; Alan Thicke is a photographer; and Meredith MacRae plays herself as a TV reporter. Calendar Girl Murders features good performances from Skerritt, Stone, Morse, and some of the others, but it's pretty bad, even dull, like a slasher film that excised all the slashing and suspense. Talented Morse has had a strange, if interesting, career. In the sixties, around the time of How to Succeed in Business, he had a fairly high profile. Some years later he was appearing on sit-com episodes but wasn't even listed as a "special guest-star." But weep not for Morse, as now he is playing the real Dominick Dunne on American Crime Story and all along has had a busy career. This movie is not one of its high spots. Sharon Stone [Catwoman], of course, went on to better (?) things. Despite the success of the big-screen Alien, Skerritt has kept busy mostly on television.

Verdict: Clumsy TV movie looks thrown together with spit and chewing gum. **.

FANTASTIC FOUR (2015)

The supposed Dr. Doom

FANTASTIC FOUR (2015). Director: Josh Trank.

I thought the original Fantastic Four film franchise, which consisted of two films, was perfectly good, but the FF was rebooted with this mediocre, but not totally awful, picture, which fans and critics seemed to hate, to put it mildly.  Fantastic Four does have a number of problems, the first being that the cast appears to be a little too young. As Reed Richards or "Mr. Fantastic," Miles Teller [Whiplash] completely lacks the charm of Ioan Gruffudd in the original films. Kate Mara [House of Cards], as Susan Storm or the "Invisible Girl" looks, as usual, as if she's twelve. [Michael B. Jordan and Jamie Bell play, respectively, the Human  Torch and the Thing.] The origin of the team and how they gained their powers has been changed from a trip to outer space and an encounter with cosmic rays, to a journey to an alternate dimension called "Planet X." The "Dr. Doom" (Toby Kebbell of Dawn of the Planet of the Apes) of this movie only remotely resembles the venerable character from the comic books (admittedly Doom was a bit different in the previous films as well). There are too many military complications in this, and a tiresome plot, but there are some interesting touches, and the film, while disappointing, is not that bad. There's a good score by Marco Beltrami and Philip Glass. As of now Marvel is no longer publishing its flagship title (which first appeared in 1961!), and the failure of this film will probably not change that situation any time soon, for shame. See The Silver Age of Comics for more info on the FF.

Verdict: Better stick with the X-Men. **1/2.

THE HORROR! THE HORROR!

Michael Redgrave in Dead of Night

THE HORROR! THE HORROR! 

This week we've got a round-up of horror anthologies, which have been around for quite some time. Dead of Night is one of the earliest, and we have anthologies from the sixties (Dr. Terror's House of Horrors); seventies (The House that Dripped Blood); and eighties (From a Whisper to a Scream); and others.

If you like horror anthologies, several have already been reviewed on Great Old Movies, including Tales from the Crypt, Vault of Horror, Asylum, Tales that Witness Madness, Trilogy of Terror and the telefilm Dead of Night, which bears no relation to the Michael Redgrave film.

Enjoy!

DEAD OF NIGHT (1945)

Michael Redgrave

DEAD OF NIGHT (1945). Directors: (Alberto) Cavalcanti; Charles Crichton; Basil Dearden; Robert Hamer.

Walter Craig (Mervyn Johns of Edward, My Son) comes to a house to see about a possible restoration, and encounters a group of people that he has seen in a dream. He wants to leave, because in his nightmare things end very badly, but some of the guests tell of their own peculiar experiences. Grainger (Anthony Baird), a racer who nearly died, has a vision of a hearse that warns him of disaster; a young girl, Sally (Sally Ann Howes) discovers the ghost of a little boy (uncredited) during an party in an old house; Peter Cortland (Ralph Michael) is given an antique mirror whose original owner comes to possess him; a triangle over a woman, Mary (Peggy Bryan) and two golf enthusiasts leads to comical, supernatural complications; and Dr. Van Straaten (Frederick Valk of Bad Blonde) relates the tale of a ventriloquist (Michael Redgrave), who is convinced that his dummy, Hugo, is alive and wants a new partner. The best tale by far is the last of the five, and it boasts an intriguing script and a superb performance from Redgrave, whose despair is palpable. The mirror story isn't bad, but the other two aren't that well developed. The fourth story about the golf enthusiasts is pretty stupid and not especially amusing. Georges Auric [Caesar and Cleopatra] has contributed an interesting score. In addition to the ventriloquist story, the most memorable sequence details poor Walter's exacting and delirious nightmare.

Verdict: Redgrave and the dummy make the movie. *** out of 4.