When Jane, a career woman and quiet loner (Bernadette Peters), discovers she has a terminal illness, she has no one to turn to. Her doctor recommends psychologist and friend Wendy Haller (Mary Tyler Moore) to help her come to terms with her diagnosis, and in doing so, helps her open up to others. Soon she…
The Klansman is trash. It just is, and there’s no way around that. But now it’s uncensored, restored trash, and a must for 1970s exploitation aficionados.
Love in the Afternoon is a lesser Billy Wilder film, certainly, but its high points make up for its lulls. Chevalier is fantastic as Claude Chavasse, and in his scenes with Cooper or Hepburn, he elevates their performances noticeably. McGiver is astonishingly good as M. X, and Lisa Bourdin as his wife isn’t given much to do but just exudes charisma. The film is gorgeous to look at and a whole lot of light, fun entertainment.
Even if Holliday wasn’t sure about Martin’s work ethic, it’s undeniable that they made an adorable couple on screen. Martin is pitch perfect as the playboy on the verge of a nervous breakdown, the kind of guy who knows every famous person on stage and screen and yet manages to be the kind of wide-eyed naïf who believes in fairy tales and guardian angels. And Judy Holliday is, well Judy Holliday. She’s amazing.
For those of you who haven’t seen Wait Until Dark before, you are in for a treat, especially from the film’s famous finale, which some reviewers have noted would not work on today’s experienced audiences. I disagree. I said it years ago in a little mini review and I’ll say it again: even if you’ve seen the film before, the finale could very likely give you an infarction! Happens to me every time. Wait Until Dark is a great film, one of the best psychological thrillers to come out of this era.
This print may be gorgeous, but Battleground is grimy. This is a film that is down in the dirt and the snow, eye-level with the foxholes (and, presumably, latrines) as they’re being dug. Everyone is caked in dirt and lord knows what else — in Kinnie’s (James Whitmore’s) case, it’s post-chewed tobacco and saliva. They’re underfed, under-informed, used and abused and forced to wear boots that don’t fit while marching about a thousand miles a day. This may sound strange to say to the uninitiated, but it’s the filth that makes Battleground so great.
Bad Day is mostly known as being an allegory for McCarthyism as well as a statement against the internment of Japanese-Americans during WWII, but it’s also a taut thriller based on good old-fashioned persecution fantasy, especially considering the quiet, amiable Macreedy is such a cipher that the bad guys can’t dig up even one detail on him that he doesn’t tell them himself. It’s also one of the quintessential examples of the overlap between film noir and western genres that produced such great films in the 1950s; listen to the “patriotic drunk” speech and tell me that couldn’t be picked up and plonked right down into a late-40s black and white noir starring Robert Mitchum.
Loophole has tension and suspense, but its best moments are subtle ones: wide-eyed silence over a polite afternoon tea, a banker spending the very money he is lending, the ancient love letters floating in sewage after robbers threw these worthless items away.
This political thriller wears the mask of a cozy murder mystery, the sunny days and party lights and comfortable wool blend sweaters distracting from the high body count. Internecine is the rare film that can justify its light content, withholding explanations because it trusts the audience to be smart, to not need any hand-holding to understand the plot. The Internecine Project is a quiet little film that is long overdue for a reassessment.
It’s difficult, even for a very forgiving fan like me, to not wonder if much of the now-celebrated innovations of Orson Welles’ later-career output weren’t just the manifestation of restlessness and hostility. Macbeth (1948), Welles’ adaptation of the Scottish play, was not the first film of his finished by someone else, but it would be…