Ride in the Whirlwind (1966) **

Another attempt at a fresh take on the Western falls short despite the beautiful photography. Feels padded even at 82 minutes.

Elton John: 'They wanted to tone down the sex and drugs. But I haven’t led a PG-13 life' | Global | The Guardian

We were very close right at the start of our career together, but we’re completely different people. He comes from the wilds of Lincolnshire, I come from the suburbs of London. He lives in Santa Barbara and he’s literally won competitions for roping cattle. I collect antique porcelain and the only way you’d get me on the back of a horse is at gunpoint. Neither of us can write if the other is in the room. But there’s a weird bond between us that I felt the minute I opened the envelope – I could just write music to his words straight away, without even thinking about it – and it’s lasted over 50 years.

We’ve had arguments – you don’t want to get him started on the subject of some of my more outlandish stage costumes, or indeed the subject of Don’t Go Breaking My Heart, a song he’s loathed from the minute it was finished and continues to loathe to this day – but we’ve never fallen out, despite all the ridiculous crap we’ve been through.

Queen of the Desert (2015) **

Watchable biopic but it never gets to the heart of the subject. I know the credits say directed by Werner Herzog but there's nothing on the screen to indicate that.

Claire's Camera (2017) ***

Impeccably photographed series of conversations in and about Cannes with the inimitable M. Huppert as our guide.

Five (1951) ***

Features several superbly directed sequences and an overall unsentimental and matter-of-fact tone that allow you to overlook the stupidity of the characters and the overuse of the closeup. Falters in the middle, but has such a good start and finish. Made on a shoestring, the first post nuke apocalyptic flick.

The Fallen Idol (1948) ***

Fine, tasteful adaptation of a Graham Greene story about (what else) an affair, lies, death and guilt. Good script, actors, direction.

Who's Afraid of Virginia Woolf? (1966) **

Good showcase for some fine actors. Could have been trimmed to a more palatable length though.

Wine Country (2019) **

Watchable dramedy about female friendships. Maybe has a couple too many in the ensemble. Suffers from not enough Maya.

Pushover (1954) ***

Nifty noir about a cop on a stakeout who starts to fall for the bank robber's moll. Introduces a stunning Kim Novak.

Doris Day Dead at 97 – Variety

It was also significant because of the ambiguity of certain scenes that could be interpreted as meaning that the central characters slept together before marriage — a first for a Day character and interesting at a time when comedians were calling her the world’s oldest virgin. She was offered the role of Mrs. Robinson in “The Graduate,” which could have gone a long way to modernizing what had become a square image, but turned it down because she thought the sexual relationship was exploitative.

Peggy Lipton Dead: ‘Mod Squad,’ ‘Twin Peaks’ Star Was 72 – Variety

At the height of her popularity in 1968, she released a self-titled album and had a hit in 1970 with a cover of Donovan’s “Wear Your Love Like Heaven.” In her 2006 memoir “Breathing Out,” she describes being abused as a child by an uncle and suffering several abusive relationships. Lipton was romantically linked to Paul McCartney, Sammy Davis Jr. and Elvis Presley.

Bonjour Tristesse (1958) ***

Fantastic Riviera locations enhance this melodramatic look at the love lives of the rich and famous. Mylène Demongeot is a delight.

Muriel, or the Time of Return (1963) ***

Vibrantly photographed examination of how memory, reality and truth get mixed up with time. A puzzle picture that needs multiple viewings.

Fists in the Pocket (1965) **

Bizarre story about a wealthy Italian family and a son with too much time on his hands. Hard to tell if it is a black comedy or straight horror flick. Gorgeous scenery of the hills of northern Italy.

The Biggest Loser | DCReport.org

The story of Trump’s taxes is the story of a man whose lying, cheating, stealing and continual need for cash to sustain the image of a multi-billionaire has made him vulnerable to kompromat. It is the story of a known tax cheat who has taken an oath to uphold and defend our Constitution but ignores that oath, violate that oath.

It is a story whose most salient financial circumstances and connections remain hidden. And they will remain hidden unless we demand transparency not from Trump, who will never be open, but from our Congress.