Reviews

I found this Hallmark romance to be a little disappointing.

They always say: (regarding film) don't tell us, show us. And in this film, whatever chemistry is supposed to exist between the leads, it is not demonstrated much. Also, the story revolves around an island that is purported to be so beautiful, so it could have been shown more.

Claire (Leah Renee) is on a mission to protect a local island from development when she meets Tom (Chris McNally), who owns a boat. The two do not really connect emotionally until he commits to helping her on her quest to save the island. During this period, Claire attends three weddings, which serve as backdrop for much of the narrative.

Two things I did enjoy were shots of the harbor and the lighthouse location, which was an inspired setting for one of the wedding ceremonies.

Leah Renee's performance was very quiet, which made it difficult to generate energy, romantically or otherwise.

When the production of a film suffers fits and starts, and changes of style, it can be difficult to overcome the confusion that results. "Reckless" has some wonderful actors doing their best, but it falls short due to such turmoil. In the early going, the dialogue often seems silly, and the narrative is disjointed.

William Powell plays Ned Riley, a sports promoter who loves to gamble. Jean Harlow is Mona Leslie, a star of Broadway. Though Harlow had singing and dancing skills, this film---which sometimes uses the voice and body of stand-ins---manages to undermine those talents. So much of the story seems tacked on, like the huge stage production in the beginning that is so overblown it derails the narrative. When the story does get back on track, we find that the two long-time friends are dedicated to each other, but Ned hides his love for Mona, while she is content to remain friends.

Despite the overedited scenes and the overwritten dialogue, this is a story about love: unrequited love, misunderstood love, false love, tragic love, and true love.

When Mona marries Bob (Franchot Tone), a rich man who lavishes her with attention and fine living, Ned is left alone, trying to disguise his genuine feelings. The ending is melodramatic, but an improvement over the early scenes. There is actually a story here that might be the basis for a great film, with the right actors and some editing. As it is, we can appreciate the talents of Powell and Harlow, those real-life lovers, and imagine what might have been if their performances were part of a well-managed production with greater vision.

This is one of my favorite Hallmark romances. Not only does it feature a good love story, but it shows off the beauty of Malta. And I learned some things about Maltese history and apiology (or mellitology).

Austin (Andrew W. Walker) is an American archaeology professor who visits Malta. There he meets local Eva (Margaret Clunie) who is an apiologist. Circumstances bring them together, then they mutually discover a hidden fresco which might be a map. Thus begins their adventure and their relationship.

For the most part, the relationship develops smoothly, without too much drama. But they both know Austin will be returning to the U. S., so neither foresees anything serious developing, despite their attraction.

Forgive the pun, but this is a sweet story, with an appealing tone. For my money, Margaret Clunie seems like an actress who could handle almost any role. Here, she gives off a pleasant energy that binds the story together.

This Hallmark romance is an autumnal story, and Hallmark knows how to frame a season.

The two leads, Kelly Rutherford as Amy, and Cameron Mathison as Noah, project a laidback attitude that is complementary and fits in nicely with the feeling of the film.

Amy is an accountant and very organized. She is also a widow. When she travels from LA to Oregon to drop her daughter off at college, she meets Noah, who she assumes is a groundkeeper at the school. They exchange light banter, then meet again later through a coincidence (of course).

Now with an empty nest, Amy is at a crossroads in her life. She decides to stay in Oregon to direct the local harvest festival for six weeks. Noah, who has a history of changing jobs, is actually a professor of agriculture. He may be leaving soon for a job in Australia. During the course of planning the festival, they spend time together and grow closer (of course).

They are afraid to express their burgeoning feelings and put themselves out there, where fears of rejection reside. In fact, they might not ever truly connect if not for some of cupid's helpers. But all ends well (of course).

Watch for gymnast Gabby Douglas in a small role as the roommate of Amy's daughter. And the music at the end of the film is enjoyable.

Two teams of five face off in a multiple-choice quiz show that lasts five rounds. In each round there are six answer choices, but the number of correct answers decreases by round. If you choose a wrong answer, you are unceremoniously clobbered by a large inflated ball that knocks you into a dunk tank. The team that accumulates the most money and survives the five rounds gets the opportunity to compete for a $100,000 prize.

I found the questions to be legit. Not everyone will know all the correct answers to a question. And the difficulty of the question varies. Teams can walk away with significant cash, but the final question may be a high hurdle for most contestants.

Host Jay Pharoah contributes some energy, but his role is mostly explanatory. Those who enjoy watching others get clobbered, and there are plenty of those people, may find this a hoot.

This is a strong drama about two people of unswerving principles. George Brent plays Mack Hale, an engineer tasked with building the Golden Gate Bridge. Kay Francis plays Lynn Palmer, a woman sensitive to the emotional needs of others. When they meet, sparks fly, but they soon realize they cannot compromise their values for a relationship, and theygo their own ways. Besides, he really does not value her work.

Mack is faced with dire problems. There are those who would like him to fail, no matter the collateral damage. He has to fight crime while taking on the dangerous project.

The film has a clever theme and the writing is dynamic and thoughtful. I looked to see if Ayn Rand had a hand in the script (she didn't), because the story feels like something she might write, and its uses some themes common to her novels: the value of good workers, the value of doing good work, a principled approach to life, and the mob versus the individual.

Since the Golden Gate was built between 1933 and 1937, stock footage augments the narrative, providing authenticity. Safety really was an issue during construction, and the film uses that real concern to magnify the drama.

I grew up listening to the music of Rodgers and Hart. A film about their lives has plenty of entertainment potential. But film bios are notorious for departing from the truth, and this one is no different. The narrative of "Words and Music" departs from reality so much that it is best to disregard its story and focus on the music. Plenty of their hits are covered here, and that is the film's strong suit.

Rodgers and Hart are played by Tom Drake and Mickey Rooney. Rooney's performance is strong, showing moments of subtle emotion.

Lena Horne sings "The Lady Is A Tramp"---one of the best performances in the film. Judy Garland also shines in two numbers. And Mel Torme sings "Blue Moon" as only he can.

Watch for young Perry Como and Janet Leigh. Cyd Charise also appears, but her dance number fails to display her extraordinary talents.

Among the many R&H tunes in the film, two of my favorites are "Mountain Greenery" and "Thou Swell", both of which demonstrate the clever turns of phrase for which Lorenz Hart was famous.

This may be the funniest episode. When Sheldon banishes Penny from their apartment for infractions of his rules, it initiates a war of tit-for-tat. Both of them promise the other will be sorry, then begin trading clever pranks designed specifically to most annoy the other.

Very funny. It could have gone on longer and racheted up the humor even more. Often, Penny plays second fiddle to the other characters, but here she gets her due, and the result is pure gold. That she matches Sheldon, who fancies himself the most intelligent and most strategic, is delicious fun.

It ends with an intervention by Leonard, who thinks outside the box.

Barbara Stanwyck once again proves her versatility, this time playing an invalid alone in a house. The story develops slowly, allowing the viewer to gradually learn about poor Leona Stevenson and her situation. We learn that she is well to do, that she is rather demanding, and that her emotional stability may be in question. Then she overhears a phone conversation.

The suspense increases as we understand how isolated she is, and how vulnerable she is in her situation. In flashbacks, we learn about her marriage and her strange relationship with her father, who is a rich businessman. There may be a plot afoot. Her husband, who is mysteriously absent, may be in trouble. A woman from her past becomes involved. The story feels Hitchcockian, reminiscent of "Rear Window", as Leona tries to piece together bits of information to understand what is happening in the world outside.

Burt Lancaster plays her husband, Henry Stevenson. It is one of his early roles. Many of the characters in the film seem threatening, and Ed Begley, who plays Leona's father, is adept at such roles, though we see how he melts under the manipulations of his daughter.

Director Anatole Litvak presents a dark, isolated world, aided by the score of Franz Waxman. It is all intended to place the viewer in the same situation as Leona. Though the narrative is sometimes confusing, the suspense increases throughout. In fact, some confusion may actually contribute to the viewer's identification with Leona, who struggles to fully understand her situation, and to regain control.

In its time, "Sweet Charity", the film, was a financial flop. The critical reviews were mixed. Anyone who saw the stage production probably regards that version as better.

Bob Fosse, choreographer and first-time director, certainly is responsible for the film. As a neophyte, he might have been intrigued by the new possibilities of film, and over-directed. The result is an inharmonious story about a young woman who is free-spirited and full of optimism, to her own detriment. She can only see the good in others, even when others are up to no good.

Regarding the choreography, it is very stylized, which is a Fosse hallmark. And he can be given credit for a superior troupe of dancers. The precision of the dances suggest a tremendous rigor, for which he should also be credited.

Oddly enough, one of the main shortfalls of the production is the undermining of the dance numbers by the director's style. One would expect Fosse to be well aware of how a dance should be filmed (Astaire certainly knew), but he employs too many cuts, shortchanging the beauty of the choreography. And too often he fails to show the full figure of the dancer---like a director filming an inadequate dancer---which is a shame.

Fosse created some wonderful, memorable choreography during his career, so it is disappointing that some of the choreography in "Sweet Charity" is derivative. Watch Ann-Margret in "Bye Bye Birdie" or "Viva Las Vegas" to see some of the same moves used in "The Aloof" and other sections that, for some reason, are titled.

Another shortcoming is the sound, which seems to be overdubbed in a coffee can.

Shirley MacLaine, who plays Charity, gives a mixed performance. I don't know if she was the best actress for the role, but the direction can only be considered a handicap to overcome for any actress. When I watch the film, I wonder what it could have been if Streisand had starred (with less dancing).

For better dance, see "West Side Story". For a better film adaptation, watch "Cabaret".

I enjoyed the ending. Charity is a romantic who is always looking for a guy to rescue her, but there is redemption after all.

This is one of the best episodes, primarily due to the wonderful writing. Set on Halloween, the episode has the main characters dressing as their heroes, per Frasier's instruction, so that they might play an original game of his devising. Frasier's preconception of what they game will be like, when played, is nothing like it turns out to be. He foresees pompously meaningful tributes, rife with psychological insights, but what he gets is some down-to-earth portrayals of blue collar heroes and one superhero. Those who adopt accents in their portrayals do so with mixed success, adding to the humor.

Clever writing abounds. There are laugh out loud moments, touching moments, and poignant moments that turn on a dime to hilarious laughs. Much of the humor arises from the chosen costumes, but the dynamics of the Crane family set up some typical "Frasier" humor. Finally, there is an overriding bit about Old Man Crane that is genius.

It might seem that this episode was easy to write, but that is the sign of good writing: they make it look easy. It is mostly a one-set piece, adding further difficulty in devising a script.

In her first film role, Anne Hathaway hints at the depth of talents she commands. She plays Mia Thermopolis, a teenage girl who is mostly unseen by her classmates except when they target her for ridicule. She lives in a converted fire station with her mother, and devotes herself to her one friend, Lilly Moskovitz (Heather Matarazzo), whose life revolves around countless causes.

When Mia's grandmother tells her she is the legal heir to the throne of Genovia, she is caught off-guard, but she agrees to a series of training exercises designed to refine her carriage and her manners (a la "My Fair Lady"). At the end of the training, she is to announce her decision---whether to become the princess or not----at a ball.

This is not a complicated story. There is the popular boy she has eyes for. And the boy with better intentions. And she must make a decision that will transform her life, just as they are trying to transform her. The viewer might hope that Mia could reinvent the princess role instead of it reinventing her, but that remains for the final act.

Hathaway is a skilled actress. It is fun to watch her as her talents are being honed. Julie Andrews plays the Queen grandmother, and is well suited for the role. Mandy Moore, in a non-singing part, plays Lana, the head mean girl who torments Mia. And Hector Elizondo plays Joe, the Queen's right-hand-man and confidante. As in "Pretty Woman", he is one of the bright spots in this film.

This is a terrifically well-cast and well-written film. The story is off-beat, meaning out of the ordinary. The action centers around a butter sculpting competition in Iowa, where the wife of the 15-year winner squares off against a butter-sculpting super fan, a stripper, and a young girl.

Ty Burrell plays the part of Bob Pickler, the butter carving king who has been asked to step aside so that others might have a shot at winning. His wife, Laura, is played by Jennifer Garner. She is a type A personality who wants to parlay butter sculpting into a political career, as people do. The stripper, Brooke, is played by Olivia Wilde. And the young girl, Destiny, is played by Yara Shahidi.

Garner and Wilde have the meatiest roles, and they make the most of them. Laura Pickler might remind you of the aggressive, southern cheermothers depicted in other films. Brooke is a wily, in-your-face woman for whom everything has its price, though she seems to offer daily specials.

The comedy of the film is mostly satire, and there is plenty to poke fun at. Destiny is the counterpoint to the Picklers. A lifetime victim of the foster care system, she longs for normality and consistency, never unpacking her suitcase when she moves to a new home.

The viewer might perceive many targets for lampooning, from butter sculpting itself, to government bureaucracy, to religious conventions (A subtitle could be "Praying as a Competitive Sport"). Whatever the target, this film does entertain.

Inspired by true events, this is the story of Sam (Chris Pine), a wheeler dealer who reluctantly returns to his childhood home when notified of his father's death. While there, he is given a package on the final instructions of his father, a man he never really liked. Much of the film revolves around the aspects of their strained relationship.

When Sam learns he has a half sister, he starts pulling at the strings of the past, and a story slowly unravels. Emotions are high as each relationship, old and new, is tested and the past comes into focus.

Elizabeth Banks plays the half-sister, Frankie. She is a powerhouse in this role, which is very meaty. Her son, Josh is played by Michael Hall D'Addario---another substantial role. In a smaller role, Michelle Pfeiffer plays Sam's mother with depth and nuance.

I highly recommend this film, which has one of the most rewarding endings.

Billy Wilder and Jack Lemmon join forces to deliver this comedy that falls well short of their other offerings.

Shirley MacLaine plays the title character, a Parisian prostitute who sort of decides she might want something else out of life after Nestor Patou (Lemmon), a policeman who falls for her, continuously tries to make her see the alternative.

The comedy relies on two things: Jack Lemmon's mugging, and a plot point that involves him playing two roles. If you like really broad humor, say on the level of "The Pink Panther", this might appeal to you. As for the two-role joke, it grows old quickly.

Neither main character is very endearing. This is in contrast to their characters C. C. Baxter and Fran Kubelik, in "The Apartment".

Perhaps there is a moral to be imparted? If so, it is well hidden under the wink-wink, nudge-nudge focus of the story.

There is one clever bit at the end, where Nestor comes up with a strategy for clearing his name with the police, but it is too little too late.

This film feels like the smarmy ramblings of an emotional 8-year-old, replete with indulgent fantasies a la Walter Mitty. The action revolves around its main character's (Richard Benjamin) perpetual, neurotic obsession with all bodily fluids and his dysfunctional family.

Richard Benjamin is perfectly cast as Portnoy, an uninteresting bundle of neuroses.

Overall, the film has as much charm as an episode of "Love American Style" written and directed by a foul-mouthed boy with a dictionary of vulgar words at his elbow. I can't imagine that anyone associated with this film was forever proud of his/her part in it.

A strait-laced published is married to a beautiful woman who is discontented due to his focus on his business. When he confesses there are financial exigencies that require frugality, she abandons him and their son.

Paul Lukas plays the published, Robert Lenhart. And Helen Vinson (soon to be married to tennis champion, Fred Perry) plays the wife, Eve. This is great casting, but the entire cast is impressive in their roles. Madge Evans plays the secretary, Maxine Bennett, whose dedication to her employer, Lenhart, goes well beyond professional consideration. When Mrs. Lenhart leaves, Maxie spends time with little Bill, the son (played by David Holt). In short order, Eve remarries.

Though Robert never stops loving his wife, things stabilize, until Eve's new mother-in-law (May Robson), who controls the purse strings with a gruff dedication to always getting her way, demands that Eve sue for custody of her son. An emotional courtroom scene follows.

Though the story is somewhat plodding in its early scenes, it gathers momentum, and concludes with some wonderful action in its final moments. The production is blessed with some great performances. Watch for Catherine Doucet, who plays the eccentric authoress, Jean Oliver, with great energy. And May Robson puts on a show as the demanding mother-in-law, culminating in a courtroom performance that would steal the film, if not for young David Holt, who himself acts beyond his years in the final scenes.

This is certainly one of my favorite episodes of "Frasier".

When Niles is appointed art critic of a snooty magazine, Frasier's envy ---predictably---gets the better of him, so he seeks a way to match Niles' achievement.

Meanwhile, Eddie is on the lam after terminating a pet hamster that was mistaken for a rat.

And station KACL is visited by Poppy (Katie Finneran), the daughter of its owner, whose intelligence, subtlety, and demure deportment impress no one. Though Ms. Finneran's performance is brief, it is one of the funniest in the run of the series, and she is one of the most memorable characters from any series.

This is not the kind of musical where the leads just start singing and dancing in mid-conversation. Almost all the song and dance occurs as performance on stage. The stage is located in the historic Windmill Theatre, in London, which is called the Music Box in this film. During the London blitz, the theater was known for never missing a performance. The film pays tribute to that record and, more broadly and more importantly, to the spirit of those who braved the blitzkrieg in London.

Released in the first few days of 1945, "Tonight and Every Night" is meant as a patriotic film to rouse spirits. There is a love story, but it is secondary to the larger story.

Rita Hayworth stars as stage performer Rosalind Bruce. She and her coworkers put on five shows a day at the Music Box. Their story is primarily told, in flashback, to a reporter from Life Magazine who is doing a spread about the theater. Janet Blair plays Judy Kane, Rosalind's best friend and fellow dancer. Marc Platt plays the part of Tommy Lawson, the other major dancer. His dance is the highlight of the film. Lee Bowman plays the pilot (Paul Lundy) who wins Rosalind's heart.

Though many scenes are darkened due to the London blackouts, the Technicolor really stands out in some spots. The designers who created the fashions worn by Rita and the others also deserve mention.

Gary Cooper portrays Tom Bradley, a Detroit automotive designer who takes a well-deserved vacation in Spain. There, he encounters a mysterious countess (Marlene Dietrich) who is part of a crime syndicate. She uses him to evade capture during a sophisticated crime scheme, and has to stay near him as a result.

Cooper is perfectly cast as the ingenuous Midwesterner who finds the beautiful countess enthralling. From her perspective, the American is a yokel. Though he falls for her quickly, her attraction is a slow burn. Besides, she has too much at stake to seriously consider Tom as a paramour.

The story is filled with coincidences, but it is easy to overlook them due to the high quality of this production. The camerawork is innovative, the lighting and sets are impressive, and the music is complementary. Most of all, the story is entertaining and the actors do a very good job.

This little-known musical might be considered the Texas answer to (the stage musical) "Oklahoma!" And though things in Texas are supposed to be bigger, this film is smaller in many ways. But the four leads get their moments in the sun: Esther swims, Red mimes, Ann dances, and Howard sings.

Cornie the carny (Red Skelton) and his collaborator, Debbie (Esther Williams) run a dunking booth in a carnival, but they are not making ends meet. When Cornie runs into a rich, drunk cattleman Dan Sabinas (Keenan Wynn), who takes a shine to him, Cornie and Debbie leave the midway and head for a posh hotel where Sabinas is supposed to be staying. A case of mistaken identity allows them to reside there indefinitely.

The Sabinas foreman (Howard Keel as the real Slim Shelby) becomes interested in Debbie, and a hoofer named Sunshine Jackson (Ann Miller) sets her sites on Cornie. The rest of the plot is a jumble of unimportant events, including a rough and tumble chuck wagon race that is reminiscent of Ben Hur.

Keel's singing is up to his usual standards, but the songs are not Rodgers and Hammerstein. Ann Miller taps up a storm with choreography by Hermes Pan. Esther Williams swims less than she usually does in her aquafests, but she has a dream sequence that is clever. Red Skelton transforms the entire film, making it more comedy than any other genre.

Credit Helen Rose for the beautiful designs worn by the female leads.

The ending is weak, but the overall production entertains adequately.

Writer and director Barry Levinson takes us to Fell's Point, Baltimore, where six young men are socializing during the Christmas break. Though friends for years, they are a widely divergent group. The action centers around the diner they consider the hub of their lives, where they hang out after their evenings' entertainments.

I can understand why Levinson wanted to memorialize an era and a location from his past, but these characters are, in the main, not very likable. And the story demonstrates very little change in their characters, though there are life lessons to be learned from their experiences.

On the other hand, Levinson has assembled a very talented cast. All the main actors (Guttenbert, Rourke, Bacon, Stern, Daly, and Reiser) are on their way up and will find greater success, usually within a few years. It is entertaining to see them at this early point in their careers.

A young Ellen Barkin steals some scenes as the wife of one character. In 1986, she will deliver a much more mature performance in "The Big Easy".

And Levinson will go on to direct some strong films, including the iconic "Rain Man".

What an episode! The chaos of the mistaken identities plus Todd's faux brogue made for great fun. Nitrous oxide impairment, a lizard, and an unauthorized incursion of the dark web add to the madcap action. The best episode so far. And there was even an interesting case to solve as well.

Is it possible CBS will not renew this series just as it hits its stride? This has become one of my favorite weekly watches. It is hard to believe this show cannot find an audience, with its great cast and its combination of good legal cases and wacky humor via Todd's character. Come on CBS...do the WRIGHT thing!

How appropriate that 20th Century Fox provided this version (since Zorro means "fox") of the tale about an anonymous hero of the common people set in early California. The story might be considered part Robin Hood and part Scarlet Pimpernel.

Tyone Power plays Diego Vega, who returns home to California on the request of his father. He finds that much has changed. A despot has taken his father's role as political leader of the region. With an army behind him, Don Luis Quintero (J. Edward Bromberg) is taxing the locals into poverty. His right hand man is Captain Esteban Pasquale (Basil Rathbone), an expert swordsman who is the real brains behind the operation.

Diego quickly comprehends the situation and adopts a foppish manner, to assist in his plan to remedy the situation. Then he assumes the role of Zorro, a daring swordsman, who seems to appear out of nowhere and thwart Quintero's plans. There is a complication when Diego meets the niece of Quintero, Lolita (Linda Darnell), and falls under her charms.

The quality of swordplay and horsemanship are integral to this genre of film. Here, both are tremendously portrayed. This Zorro is one of the best swashbucklers in film. The heroic persona depends on the disparity between the actual and assumed personalities of the hero. Power does not come close to Leslie Howard's portrayal of an effeminate wastrel (note that he uses an identical lorgnette), but he exceeds in his portrayal of the daring chevalier.

Rathbone i.