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…
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The Klansman (1974)
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 (1957)
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.
Bells Are Ringing (1960)
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.
Wait Until Dark (1967)
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.
Warner Archive: The Winning of Barbara Worth (1926)
When it came to attracting the eye of some of the biggest silent screen legends, Vilma Bánky had no peer. After acting in a few films in her native Hungary, producer Samuel Goldwyn spied her in 1925 and persuaded her to come to Hollywood. She agreed, and became an immediate sensation. First paired with Ronald…