Cassandra's Dream (2007) ***

At times the seams are showing in this neo-noir but the two leads are terrific and worth watching.

Caught by the Tides (2024) **

Cleverly constructed, well paced study of life and love in modern China. Almost a silent film with some startling images particularly at the finale.

The Plot Against Harry (1971) ***

This peek into late 60's NYC Jewry and the city itself is a low budget gem that proves talent is better than dollars. Top notch production. Funnier and more insightful than other big budget films of the day.

After Dark, My Sweet (1990) ***

Terrific neo-noir has a taut script and a stellar cast. Some slight directorial missteps but beautifully shot and produced. Peak Rachel Ward.

Time After Time (1979) **

Interesting concept and McDowell and Warner provide strong turns but it could have used some trimming. Nice 1970's SF location shots.

Return from the Ashes (1965) ***

Nifty thriller with a sharp script, three superb leads and lovely b/w shooting by the reliable Chris Challis.

The Sandpiper (1965) **

Gorgeous Big Sur locations and Liz & Dick undone by glacial pacing and an extremely wordy, not to mention ham-fisted, screenplay. Eva Marie stands out.

The Split (1968) **

A terrific cast in a brutal heist flick hampered by subpar direction and an awkward Jim Brown in his first lead role.

The Marseille Contract (1974) **

Terrific 70's France location shooting and Sir Mike make this otherwise hokey bad cops with good intentions murder for hire thriller watchable. Liked this exchange: SHE: I can read you like a book. HE: Don't tell me how it ends.

Misericordia (2024) ***

Beautifully shot and designed with fine performances, it plays like a Highsmith novel adapted by Lanthimos. Very offbeat and bizarre picture.

The Phoenician Scheme (2025) **

Gorgeously designed (of course) and Wes has slowed the pace a bit which helps. But it's very difficult to follow and care about what happens on first viewing. Del Toro seems miscast.

Il Grido (1957) **

I'm sure film critics and students consider it a masterpiece and it is certainly well made and acted. As a movie going experience however it is soporific.

Ten Little Indians (1974) *

Watchable for the unusual and well photographed settings and Ms. Sommer and Ms. Audran. Ineptly directed otherwise.

The Satan Bug (1965) **

A gorgeously filmed "B" thriller has an astounding pedigree from writers Alistair Maclean/James Clavell to director/dp the greats John Sturges/Robert Surtees and a capable cast of character actors. It needs to be trimmed to 90 minutes and it sure could have used a star in the lead role. The title is terrible.

Gun Crazy (1950) ***

Outstanding direction lifts this low-rent lovers-on-a-crime-spree flick to cinematic heights it might not deserve. A number of long POV takes are stunning.

Hugh Grant - The Talks

What did you like about playing the baddies?

It’s more fun. Actors prefer being baddies! Audiences prefer the baddies, and it's a very interesting question of why that is so. My personal belief is that it's the antagonist, the bad guy, who represents our true selves. And that is thrilling. I think it's thrilling to experience our true selves through that character. I think we are vicious, violent, selfish, unpleasant. And that's why good characters are quite difficult, because the good characters are the superficial, civilized veneer that we put on our true brutish self. It's less interesting.

...

Is that how you’d like to be remembered as an actor? Through the myriad of different kinds of roles you’ve played?

Oh, man. Well, I hope when we die, it's the same as before we were born. No one's really frightened of that enormous, infinite blackness before we were born. No one sits there thinking, “Oh, God, how awful. I was nothing.” So I don't really see why we should be frightened of that after we die, as long as it is black. I really don’t want to be up there on a cloud playing a harp, meeting some of the people I’ve hated in my life. I can’t imagine a greater nightmare. That would be hell, in fact.

Only the River Flows (2023) **

Atmospheric modern Chinese police procedural/whodunnit maintains interest but a little too ambiguous for the genre.

Dutchman (1966) **

The two leads are terrific, but allegories don't do well in film unless there's some basis in reality viewers can grab onto. This one is too out there.

Johnny Got His Gun (1971) **

Well intentioned and nicely put together but full of Symbols and not emotionally engaging. We get the point.

Middle of the Night (1959) ****

Superb kitchen sink drama is tops all around but especially Fred March, a stunning Kim Novak and a marvelous Chayefsky screenplay.