Black Moon (1975) *

Ambitious take on Lewis Carroll perhaps, but if you don't get it, there's really not much to maintain interest, despite a game cast and nice cinematography.

The Land of Steady Habits (2018) **

Fairly typical Holofcener film, directed well, featuring very wealthy folks having relationship issues with smart, witty dialogue. Ben Mendelsohn needs to play Tony Bourdain in the biopic.

Friends with Money (2006) **

A lot of disbelief (and disinterest in the 1%) needs to be suspended, but if you can it's an enjoyable, talky look at relationships.

Eva (1962) **

Ms. Moreau dominates with a terrific performance in this examination of male-female power dynamics from director Losey. Hampered by producer meddling that cut 52 minutes. Beautifully shot, mainly in Venice.

The Tall Blond Man with One Black Shoe (1972) **

Droll French comedy is well done, forerunner of Burn After Reading perhaps?

Saint Jack (1979) ***

Greene-ish tale of an American abroad and the things they do to the locals. Assuredly directed, nicely written and acted.

F for Fake (1973) **

Fascinating subject given the usual Welles style, seems to falter in the last third.

The Most Dangerous Game (1932) **

Decidedly "B" level but interesting as the first of the "human as prey" genre. Thankfully short.

Ready or Not (2019) *

Poor attempt at social satire is shot so darkly you cannot tell what is going on half the time. Also, not funny and a waste of the lovely Ms. MacDowell.

Scarlett Johansson Talks Woody Allen, Elizabeth Warren, 'Black Widow' | Hollywood Reporter

But it was Sofia Coppola's Lost in Translation at 19 that cemented Johansson as an actress whose subtlety as a performer matched her youthful allure. As her critical bona fides grew, so, too, did Johansson's box office power. Thanks largely to Marvel movies but also to other hits including the 2014 science fiction film Lucy ($463.4 million worldwide), she is the highest-grossing actress in the world and the third highest-grossing actor, period, with her movies having earned more than $14 billion at the box office worldwide.

Spirits of the Dead (1968) **

Poe anthology featuring three iconic directors displaying their signature styles. Pretty and colorful to look at, uneven.

Divorce Italian Style (1961) **

Droll satire of Italian macho codes, seems dated. I hope it's dated.

Reservoir Dogs (1992) ***

Tarantino at his leanest, much better than the bloated versions.

Tenure (2008) ***

Nicely done comedy about a well meaning prof struggling to make the next level. Plays with cliches, manages to subvert them.

Paper Mask (1990) ***

Suspenseful tale of a Ripley-esque ne'er-do-well posing as a doctor featuring the lovely Amanda Donohoe.

My Neighbor Totoro (1988) ****

Miyazaki's breakthrough film and one of his best. Pared down story, focusing mainly on realism and minimal plot enhances the fantasy.

Robin and Marian (1976) ***

Unsentimental look at the Robin Hood legend from the backend with nuanced, realistic characters. Excellent cast, well directed, as usual, by Mr. Lester.

Justin Hayward Talks About Life During and After the Moody Blues – Variety

There was a great lethargy around that album. Tony Clarke, our record producer, had personal disaster during that album [Octave, 1978] and didn’t finish it. And Mike [Pinder] couldn’t make up his mind whether he wanted to stay or not. I missed him terribly. I played a lot of the keyboards on it. It was in the time when nobody was showing any interest in anybody else’s songs [laughs]. It’s weird to be in a group like that. Graeme [Edge] was always sort of enthusiastic. But in the studio, in the Record Plant in Los Angeles where we recorded it — which, curiously enough, burnt down not long after we recorded it — there was this funny old little Farfisa organ. The track was going nowhere, people had lost interest, and so late one night, I asked the engineer to put it up. I just started playing that [sings organ groove], and then I thought, Hang on, I can just do this three chord thing all the way through the song, in this particular kind of syncopated thing.That’s the bit I like about it most.

Hard Eight (1996) ***

Directorial style in spades, a terrific cast, shot so well it makes Reno look good. The story is nearly there, just falling short of satisfying.

Mickey One (1965) **

Silly tonal swings and one or two "symbols" too many frustrate what could have been a fascinating and compelling Kafka-esque tale. Great art direction and casting.