Flamingo Road (1949)
Joan Crawford is Lane Bellamy, a hoochie dancer with a heart of gold, who runs the gamut from fallen woman to girl trying to make good to rich society dame, with all the requisite melodrama that entails.
Torch Song (1953)
If you had to pick one best thing about the camp classic Torch Song (1953) — as if it’s even possible to do so, but let’s pretend — it’s that Joan Crawford’s Broadway diva Jenny Stewart is a stone cold monster.
Demon Seed (1977)
Demon Seed, previously available only on DVD, is now also available in Blu-ray from Warner Archive. It’s a heady mix of frightening and campy, the kind of film that would do equally well in a double feature with Alien or with Terrorvision (go go Gerrit Graham film marathon!)
Finian’s Rainbow (1968)
Finian’s Rainbow wasn’t a box office smash, but it’s a fun film, family friendly, the songs are unabashed standards, and it’s part of Hollywood history.
Phaedra (1962)
Jules Dassin’s Phaedra, a sexy, noirish reworking of the Greek tragedy Hippolytus, is one of his lesser-known and least understood films.
A Game of Death (1945)
A Game of Death, RKO’s remake of their 1932 classic The Most Dangerous Game, was one of Robert Wise’s earliest directorial efforts, and was praised by critics on its release.
The Yakuza (1974)
The Yakuza is a strange little mash-up of neo-noir and yakuza-eiga. It didn’t do well at the box office, but has become a cult classic in the years since.
The Last Best Year (1990)
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 …
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.