Pascali's Island (1988) **

Well produced tale of intrigue and betrayal in the Greek islands, gorgeously shot by the great Roger Deakins. Needed more Helen.

Discussing Christopher Nolans' Odyssey with Daniel Mendelsohn

Having watched Mr. Mendelsohn's "seminar" on Nolan's film, I was surprised he made the very same criticisms, almost verbatim, that Emily Wilson made in her LRB review. Yet Ms. Wilson's review is called "scathing" by The Guardian and causes even Joyce Carol Oates, no less, to run to Nolan's defense. No one bats an eye at Mr. Mendelsohn's pan of the film nor when he himself mentions Ms. Wilson's review and ALSO calls it "scathing"!

So you have two people saying pretty much the same thing in the same way and one is characterized as "scathing" and "a take down" and the other is an even-handed critical assessment. Misogyny is not going away apparently, not for a long, long time.

Men Are Such Fools (1938) *

It's supposed to be a rom-com but it's more like a case study of toxic masculinity. I would hope that even in 1938 this kind of thing was at least looked down on. I have my doubts. Not a good flick.

A Kiss Before Dying (1956) **

Bizarre and beautiful thriller goes overboard with the soundtrack and somehow the men have longer hair than the women. Bob Wagner does a good job as the Ripley-esque killer but everybody else seems over the top.

The Intruder (1962) ***

Serious look at American racism is a necessary time capsule and reminder of how little things have changed in 65 years. The central premise that it's outside agitators that cause the trouble is faulty however. Bill Shatner is very good as the agitator. The ending is a nice fairy tale unfortunately.

Violent Saturday (1955) **

A gorgeously produced soaper/thriller hybrid that unfortunately has to tie up all loose ends in the cornball finale. Cast is excellent.

The Creation of the Humanoids (1962) **

Serious sci-fi is as well produced as can be with a miniscule budget and the actors do their best with the tons of expository prose, but this would have been better served as an episode of The Outer Limits.

I Walk Alone (1947) **

The cast (Burt, Kirk, Wendell) makes this feeble melodrama watchable.

Parachute Jumper (1933) **

Plenty of pre-code touches gives this breezy flick a modern feel even though it's over 90 years old. Some great aerial stunt work.

A Handful of Dust (1988) ***

Splendid production with a top notch cast led by the lovely Ms. Scott Thomas who was never better.

The Painted Veil (1934) **

Garbo vehicle is formulaic but a terrific Herb Marshall is a nice extra.

Sleep, My Love (1948) **

Decent noir thriller is well made and features a terrific Hazel Brooks as the femme fatale.

Last Embrace (1979) ***

Early Jon Demme hommage to Hitch has enough quirks and surprises to survive the narrative flaws. Strong work from Roy Scheider and the criminally underused (and sadly gone too soon) Janet Margolin.

The Day the Earth Caught Fire (1961) **

Interesting doomsday flick is played straight to its benefit. Ed Judd looks (and acts) like a poor man's Dick Burton, and the lovely Janet Munro lends much needed charm.

The Reckless Moment (1949) **

Fairly successful noir thriller as the protagonist chain smokes her way through a gauntlet of problems. The great James Mason takes the fall.

Destination Moon (1950) **

Trying to be the 2001 of 1950, this earnest space procedural is light on actual physics but was influential in many respects. Well produced by the great George Pal.

Our Man in Havana (1959) **

It's a top of the line production and its pedigree is impeccable but nearly everbody is miscast. Genteel spy spoof never really takes off.

Rushmore (1998) ****

Anderson's best film, made before he abandoned the idea of portraying human beings and switched to moving dioramas.

The Devil Wears Prada 2 (2026) *

Completely forgettable. At least it is lit well. Ms. Blunt steals the picture and I realize that may be damning with faint praise.

The Elephant Man (1980) ****

Despite being a "work for hire" this is unmistakably a David Lynch picture. Superb cast, the great Freddie Francis manning the cameras, all aspects of the production top notch. Shows the gamut of human behavior from the horrible to the sublime. Might be Lynch's most hopeful picture.