The family McGregor must have decided that a dad/daughter road movie was just what we all needed, so Ewan and Clara set about manufacturing this really rather unremarkable and tedious drama. We gather from fairly early on that their's is a strained relationship and he has a lot of ground to make up with a daughter who has just emerged from the ER but a few hours earlier. Of course all the details of that duly unfold and the usual smattering of entirely predicable familial baggage is also unpacked for us as this trundles along. Luckily (for us) their truck breaks down and that offers us a chance to meet the entertaining tow-truck driver (Kim Zimmer - easily the highlight of the whole enterprise) and as it's fixed, un-named daughter sneaks a few snifters with "Kip" (Jake Weary) before dad saves the day and on they travel. She's a bit prone to toilet stops, and on one she unknowingly encounters a little spider that leaves quite an agonising gift in her nether regions. Luckily, again, we have a local hooker on hand who knows just how to apply the ice and yep, more tarmac and white lines.... Road movies work if you care about the passengers. I can honestly say that I didn't at all here. I'm a bit weary of these stories that just show us yet another dysfunctional relationship being played out against a background of desertion or addiction or adultery or just plain boredom, and I am afraid that much of the tortuous and over-delivered dialogue did little to engage me further. It didn't need a big budget, the production is fine - but the story and both performances here are just yawn, yawn, yawn. Sorry.

When "Layla" (Bilal Hasna) dons the full drag regalia to perform at a corporate launch for some ready meal company and they pay her in vouchers, she isn't best pleased and so makes a speech annoying just about everyone in the room except the guy from the marketing company. He's "Max" (Louis Greatorex) and it's quite clear that there's a little chemistry between the two after a brief conversation on a stairwell. It's not long before they've hooked up and what's clear is that both are attracted to the other, but that both have their identification issues that might prove difficult for the other to reconcile. The question for each of them is the extent to which they can love each other and still be who they are, want or need to be. Now perhaps it's the old romantic in me, but I hated the ending. That may be, though, because it is truthful and didn't take any easy routes out of what is quite an interesting story of human nurture, nature and personality. The former man is from Surrey, but has Arab roots whilst "Max" is as white as chalk and way more conforming to the more standard British norms of dress and family. Both are openly gay so that's not the issue, it's much more about breaking free from those linear and societal boundaries and being true to themselves. If I'm honest, I didn't much care for the drag friends. They seemed determined that "Max" was always going to be an interloper, and most of us know that embryonic relationships - platonic or sexual - can often thrive or fail depending on the reaction existing friends provide. There's quite a bit of selfishness around here and that annoyed me a little. Both performances are honest, playful and at times quite visceral and though comparisons are bound to be made with "Femme" and/or "Unicorns" from last year, this has quite an unique take on issues that are specific to those two characters here, but needn't be looked at in isolation.

Murder Company is a very basic, moderately watchable, WWII action flick.
In spite of the presence of Kelsey Grammer, this is very much "B grade" material. The bare bones story offers little lead in or resolution. The narrative and characterisations follow the same, simple trajectory.
That's not to say its not watchable. Taken for what it is, its a fun, exposition driven action romp, that mostly, gets it right (not sure why German ammo crates would have English written on them?...oh well...).
In summary, Murder Company is a B grade WWII action flick. Its not dreadful just don't expect any Saving Private Ryan moments and you'll be fine. One for a slow afternoon or evening.

FULL SPOILER-FREE REVIEW @ https://movieswetextedabout.com/mother-couch-review-a-surreal-journey-through-family-dynamics-and-existential-conflict/
"Mother, Couch challenges the viewer to dive deeply into complex themes of family, grief, and acceptance.
Niclas Larsson adapts the source material with a mix of dark humor, ambiguity, and symbolism, creating a narrative that's as surreal as it's thought-provoking. With superb performances from the entire cast, especially Ewan McGregor, the film openly and contemplatively explores family dynamics and unresolved conflicts that linger over the years.
While it may not be entirely accessible to the general audience, it offers a rich experience for those willing to interpret its multiple layers and meanings."
Rating: B

The story here - a sort of Cain and Abel style topic that causes no end of pain for Jennifer Jones ("Pearl") is gorgeous to look at, gritty and very well put together. It is also, however, far too long and for the most part devoid of much pace. Joseph Cotton ("Jesse") and Gregory Peck ("Lewt") are both the sons of ruthless senator "McCanles" (Lionel Barrymore) the former a decent, if rather weak sort of character, the latter much more of a lethal loose cannon - but both vie for the love of the beautiful, sultry "Pearl". When the railroad arrives, wanting to cross the old man's land, "Jesse" sides with them alienating his father and his brother, and so is soon isolated as the young woman vacillates between him and his much more visceral and enticing brother - now the story really begins to smoulder. There are also an engaging series of appearances from Lilian Gish as the boys' mother - a lady who lays the blame for her sons errancy squarely at the door of their father. A fine supporting cast offer richness to an already complicated human story - Herbert Marshall, Charles Bickford amongst them. At it's best the film is effective - challenging views on race, loyalty, sexism, it looks at the pioneering spirit of those who want to take their country forward and the reticence of those who are scared of anything new, or of altering the status quo - and the last ten minutes are pretty unique amongst the films of this genre. There is too much padding, which does allow us to inhale the grand cinematography, but does deflate the potency of the narrative just a bit too much, a bit too often. Still - a fine piece of cinema well worthy a big screen with a sound system that can immerse you in Dimitri Tiomkin's rousing score.

Pearl, you're curved in the flesh of temptation.
Duel in the Sun is predominantly directed by King Vidor and is produced and written by David O. Selznick who adapts (with help from H.P. Garrett & Ben Hecht) from Niven Busch's novel. It stars Jennifer Jones, Joseph Cotten, Gregory Peck, Lillian Gish and Lionel Barrymore; with a huge support cast list that contains the likes of Herbert Marshall, Walter Huston, Charles Bickford & Harry Carey. The plot centres around Pearl Chavez (Jones), a half Indian girl who is orphaned after her father kills her mother and her lover. Pearl is sent to live with an old sweetheart and friend of her fathers, Laura Belle McCanles (Gish), here she becomes involved in prejudice and forbidden love that turns the McCanles family inside out.
David O. Selznick had hoped to recreate, even surpass, the success he had had with Gone With the Wind 7 years previously, only in a Western setting. Plagued with controversy both on and off the screen, the film, in spite of poor reviews, was a box office hit. Tho it's believed that due to high production costs and a cash driven advertising campaign, that the film ultimately only broke about even. The controversy on the screen stemmed from the sexual nature of the story, something that earned the film its famous "Lust In The Dust" nickname. Yet were it not for the Hays Code censors and religious review boards, the film would have been far more controversial, out went rape and a downplaying of the overt sexuality that existed prior to the cuts. Off screen controversy came in the form Selznick's relationship with Jones, a coupling that would break up both their respective marriages. The role of Pearl was originally meant for Hedy Lamarr, and even Teresa Wright was lined up too, but both women fell pregnant. Thus Selznick got the chance to shoehorn in his love and push her to the forefront of the movie with almost tyrannical urgings. 8 directors, 3 writers, 3 cinematographers & 4 editors would ultimately be used (that we know of). While bad weather, strikes and illness to Jones would also plague production. It's a wonder the film got finished at all.
It's an odd film in many ways, but one that appears now to have been very harshly treated by the critics of the day. That's not to say it's a masterpiece of classic Oater cinema, because it's not. But if viewed as a fun Horse Opera with Selznick getting away with as much as he can, then it's not half bad at all. Certainly the cast seem to be playing it as a fun piece of work, especially the wonderful Huston as OTT minister man, The Sinkiller. So viewed without expectation of serious melodrama, Duel In The Sun delivers some fun entertainment. Granted not all of it is intentional; the ending for one is preposterous and mirthful when really it shouldn't be. But the fact remains that the film is entertaining. Action wise it scores well, with stand out scenes including Jones on a runaway horse, hundreds of mounted horsemen riding to defend grumpy Jackson McCanles' (Barrymore) land against railroad incursion, and Peck (playing a sexual rebel type) taming a sex crazed stallion (even the horse knows what is expected of it here!).
Then there's the vast scope of the Western vistas, that are in turn dripping with lurid Technicolor. The terms beautiful and sordid spring to mind, now that is surely two words that aptly apply to the film as a whole? For the best performances one needs to look into the support cast, where Bickford, the afore mentioned Huston, Gish and the always enjoyable Butterfly McQueen, all deliver stoic like performances. Jones is a touch miscast, saddled with being the epicentre of the film (and Selznick's attentions), she at least deserves credit for trying to make the so-so writing work. She certainly looks beautiful and in the more quiet moments for her character the good actress threatens to break out. Peck, in a role originally meant for John Wayne-who balked at the sexiness of the plot, gives it gusto supreme, but whilst acknowledging it being an unusual role for him-so thus a brave choice, he never once convinces as a sexual dynamo. Cotton gets the short straw in that the role is badly underwritten, which when one considers that the story is essentially a Cain & Abel based story; he deserved better. While Barrymore is solidly doing what he does best and his only failing here is to not be as good as his on screen wife. Musically, Dimitri Tiomkin provides a competent if unmemorable score.
Fun, sexy and with little snatches of daring in the plot, Duel In The Sun is better than some would have you believe. But maybe, just maybe, it needs to be viewed with a glint in the eye and the tongue firmly planted in cheek? 7/10

When is something sinful, and when is it not? It’s hardly a clear-cut matter; what someone might see as perfectly acceptable is utter heresy for someone else, despite the fact that the same issue is up for debate in each of those cases. And it’s this question that’s explored in writer-director Marwan Mokbel Elessawi’s second feature outing about an Egyptian-American gay couple who visit the homeland to handle a family emergency and end up undergoing a frightening, unexpected supernatural experience. One of the partners, Mo (short for Mohammed) (Junes Zahdi), who has spent most of his life in the US and has had little contact with his family for years, is unaccustomed to the lack of tolerance he experiences compared to his life in America. Yet, despite sincere efforts to maintain a low profile, he soon discovers that there may be those who know about his “sinful” secret – and who seek to inflict evil deeds upon him for his allegedly wicked ways, experiences that prompt Mo to question his own behavior. But aren’t those gestures perpetrated against him innately as evil as what he’s supposedly guilty of? While these acts are served up in the guise of witchcraft, the narrative draws upon them as metaphors for the narrow-mindedness of fanatical religious fundamentalism. These incidents thus place the beleaguered protagonist in a position of having to assess his beliefs about himself and what’s unfolding around him, issues that hearken back to his youthful upbringing and prompting him to examine his current behavior. The result is an admirably ambitious effort at exploring the key question raised above. Unfortunately, the picture doesn’t address it as clearly as it might have. While this offering starts out strong and finishes well, it stumbles in the middle, getting caught up in an array of confusing story threads that go on too long and ultimately yield more muddle than riddle. Although the film provides a detailed look at the rites and practices of Egyptian witchcraft, there’s a definite TMI quality about this that doesn’t allow the narrative’s symbolic elements to come across as unobstructed as they might have otherwise. I appreciate the sentiment that this one was going for, but it’s regrettable that it didn’t carry it off as well as it might have. It really is true that less can be more.

Caro Drake (Rose Reid) is a typically dedicated student who arrives at Oxford University, on a scholarship, determined to succeed, make her family proud and leave with her PhD. She's naturally quite shy and reserved but is no shrinking violet - useful, as her charismatic neighbour is Edward (Louis Landau) - and he's a bit of a Lothario. Caro does make a few friends and finds, largely despite herself, that she is drawn to the charmingly enigmatic "Kent" (Ruairi O'Connor). He is an interesting character who lives his life according to some strong Christian tenets that seem intent on ensuring that their relationship cannot really develop further. What now ensues is the beginnings of a love story set against the beautiful colleges of Oxford. There are a useful series of scenes featuring the college dean (Phyllis Logan) that help us to put some meat on the bones of this initially rather shallow individual; Simon Callow pops up to instigate some serious theoretical debate and Mark Williams proves to be the honest, inspiring - and quite sarcastic - lecturer that well needed at this stage in our educational lives. There's actually quite a decent degree of on-screen chemistry between Reid and O'Connor and though it does border on the introspective now and again, is quite an engaging observation of a true story of two people finding each other, their priorities and making their way in life. Not what I was expecting, and worth a watch. PS: there is a Q&A around which I'd strongly suggest you avoid til after the film!

This reminded me a little of the “Quant” (2021) documentary as it took us on a career retrospective of a woman who did take the world by storm in the 1960s. Using an extensive array of archive and some contributors who avoided the pitfalls of adulation, we get not just a sense of just how successful she was, but of the scope of an industry that was brutal, fickle and lucrative - if you got the luck and stayed the course. She is an engaging lady who does have a look about her that reeks of appreciation. She knows that she was in the right place at the right time and has worked hard ever since to stay at the top of a global game that’s not for the feint hearted. Former fellow model Dame Joanna Lumley adds some insight into just how tough it was, and there is added input from more recent treaters of the catwalk, as well as a few industry insiders (though not, curiously, Dame Anna Wintour) to add a bit of soul to a story of a woman not without her ups and downs as she moved from modelling to acting - on film and on stage, most notably “The Boyfriend” in 1971; singing and she even had her own peak-time television series a bit like Lulu. She comes across as quite an humble and down to earth character and with ninety minutes of nostalgia from just about every media there is to augment this biography, it’s well worth watching and remembering the clothes we wore, the cars we drove and some of the films we watched and wished we hadn’t.

I read the book that the movie is based on a long time ago back in the times when books by definition where made out of paper. I honestly do not remember much from the book except that I thought it was a good enough book. I also generally like Robert Shaw as an actor so when I saw that this movie was given on Paramount Channel I decided to record it for a rainy day. Well, yesterday was not a rainy day but there was not really anything else on that I felt like watching so I put this one on.
It is a fairly good movie. At least up until the end. It is a pretty much standard political thriller with the rather common basic story of a couple of terrorists planning a terrorist strike on US soil and a couple of good guys trying to stop them. Of course one of the good guys are a foreign operative with less restrained ideas about how to achieve the desired outcome. There is nothing hugely inventive about the story, although I guess it might have felt a bit more fresh in 1977 when the movie was produced, but it is mostly well implemented.
I do like that the movie, as is all to often the case, does not try to “explain” the terrorists and justify their actions, at least not too much. Compared to many movie of this type (and that is why I generally do not like these movies) this one is rather neutral in terms of political sides. There are a few outbursts of “why” but in general the movie focuses on the preparations and the chase.
As I wrote, in general the movie is well implemented. The acting of both Robert Shaw and Marthe Keller, who plays the female terrorist, is not at all bad. Maybe not Oscars material but definitely not bad and, as I also wrote before, I do like Robert Shaw. For most of the movie we get to follow the preparations of the terrorists and the work of the good guys trying to unravel the plot and stop it. A few sporadic outbursts of action breaks the otherwise not so fast pace of the movie. Classical thriller material and quite enjoyable to watch.
Unfortunately by the time we come to the ending it appears like the classical Hollywood I-do-not-have-clue-but-lets-throw-in-some-action people took over and it drags down an otherwise fairly well-made movie. Once the plan is uncovered the movie turns into just another let’s-spot-the-faults Hollywood B-movie. For instance, once it is clear that there is a severe threat, why is the stadium not evacuated? At least they should have gotten the president out. Given the situation why did they not have an officer or agent on the blimp in the first place? Why did Kobakov have to run all over the stadium to talk to the TV-guys, there should have been someone with communication in their hut already? And then we have the blimp chase. There was a potential threat to the president and all they could muster was a single police chopper that got shot down and another chopper that they hijacked? Kobakov laying on the blimp fumbling to get hold of the hook was also dragged out in absurdum.
As I wrote I do not remember much details from the book but this ending sure dragged down the movie for me. It is at least a star off for the ending. Still, most of the movie was enjoyable.

This movie felt dated, like it belonged to a time long before my own. When a film feels old, it can often lead to a monotonous and frustrating experience, akin to being stuck in an airport with no end in sight. The slow pace and lackluster plot drove everyone watching to the brink of irritation.
It seemed like a film meant for nostalgic viewing rather than showcasing actors who haven't graced the screen in years. The attempt to recapture a bygone era of cinema with David and Meg Ryan fell flat, failing to reignite the spark that once existed between them. The romantic comedy love story that once captivated audiences in the 90s seems to have lost its charm, and it appears we have moved on from that era.
To rejuvenate such a storyline, perhaps introducing a new generation of actors could breathe life into the narrative. Without a fresh perspective, it's challenging to revive the magic of past cinematic glory.

Do not expect to see the old Meg here. In fact if you liked Meg Ryan, best not to watch this one. I wish i hadn't.
It is sad to see people try so hard. When the spark is gone only a shell remains and taints the memory of something that once was truly great.
The subtitle was probably not meant as a pun, but "they missed their connection" really is very accurate. They really have no connection, our two characters, and are each in themselves barely relate-able. Conversation is stilted, forced, topics are trivial. Both actors had very funny movies (The Deal for Meg, Connie and Carla for David) but here we just see tiredness in action. A real tragedy

Trapped in an airport by a meteorological "snowbomb", we are introduced to two people with the same name - "W. Davis". One, "Willa" (Meg Ryan) is trying to get to Boston with her rainstick; the other "Bill" (David Duchovny) is heading for a meeting with his new whizzkid boss in Austin. Why do we care? Well - in theory because the two used to date twenty-odd years ago and so after a little tentative, polite, conversation they decide to reminisce and drag us along for the ride. In practice - we ought not to care at all. Right from the start this has the look of a stage play to it - and not a very interesting one at that. The two are all we have to concentrate on as their narrative becomes more and more uninteresting, their characters become less and less engaging and were it not for the very occasional interventions of the airport voice - some sort of omnipotent diviner of truth and reconciliation, we might all be just plain bored. Essentially, this is simply an over-written and underwhelming 1¾ of contrived melodrama that includes just about every tragic emotion known to man, all a whilst surrounded by the least convincing CGI snow storm I think I have ever seen. There's little, or no, chemistry on display and it ends about four times more times that it needed to... If I ever met two people like this at an airport, I think I would need a very large bar! Trading on the names of two people very, very, far from their peak and I suspect it'd be more likely heads banging on the table this time...

A true rom-com for grown-ups.
You'll have to forgive me for the length of this. I'd written a solid 500-ish words explaining everything about this and then one errant cat step on a mouse and here we are: a new tab with the old review gone for good.
This feels like it's from an alternate reality where Gerard Butler didn't kill of rom-coms in American cinema in the 2010s and, instead, the field got to thrive like its 90s heyday.
Duchovny and Ryan are charming as hell, which is to be expected in a movie that's literally just three credited people. The two of them, plus the person voicing the airport's PA system.
Given this is a rom-com directed by Meg Ryan, queen of the 90s rom-com, and it's dedicated to Nora Ephron, even the simple premise of "two people who used to love each other are snowed in at a regional airport" is given a little heightened reality juice.
While Ryan is not above getting cheesy with it (the airport is basically sentient in how the 'magic' of the day keeps both characters together), the movie also shows some truly adult restraint. It doesn't just give you what you expect from a rom-com for free. There's a maturity to it all.
I think the best compliment I can give this movie is it's like a good play where the actual sets seem to melt away. As you learn more about both characters, the more they tell stories, and because it's frigging Meg Ryan and David Duchovny they have the chops to capture you into those stories to the point you feel like you saw it happen in a flashback.
An absolute blast to watch. I hope it performs well enough to show trimming the fat off a budget and just making a damned good romantic comedy is both possible and profitable. A solid 9/10. I can't wait to get a physical copy, put it on a shelf, and treat myself to a rewatch every few months when the genre winds blow in the right direction.

**_Mitchum carries this moody Film Noir Western set in turn-of-the-century New Mexico_**
An adopted son at a ranch (Robert Mitchum) is haunted by something that happened in his childhood as he goes off to fight in the Spanish-American War. Upon his return, he romances Thorley (Teresa Wright) while dealing with the love-hate relationship of his brother (John Rodney). Meanwhile there’s the specter of a one-armed man in the background (Dean Jagger).
“Pursued” (1947) is a well-produced B&W Western with a huge reputation and infamously known for being the film Jim Morrison watched the night he perished on July 3, 1971. Mitchum was 29 during shooting and his towering, brooding presence makes the flick worthwhile, along with Raoul Walsh’s Orson Welles-influenced direction.
Unfortunately, there’s some bad writing, such as the poorly developed character of Adam, not to mention Thorley’s sudden emotional pendulum swings (Why Sure!). But I like the sad theme of adopted children never being as loved and trusted as biological ones.
It runs 1 hour, 41 minutes, and was shot in northwest New Mexico at Gallup and nearby Red Rock Park in Church Rock (the ranch), as well as Warner Bros. Ranch in Calabasas, which is 10 miles west of the Hollywood Sign, plus stuff done at the Burbank studio.
GRADE: C+/B-

This is quite an enjoyable film-noir from Fritz Lang that sees wealthy department store owner "Morris" (Harry Carey) use his position to try and help ex-convicts get back on their feet. For many of them it's a catch-22. If they don't have a job they don't get parole and vice versa - so he gives them jobs. Is he just being overly optimistic of might he really be making a difference? Well his benevolence is to be sorely tested when "Joe" (George Raft) appears on the scene. He takes an immediate shine to "Helen" (Sylvia Sidney) and they get married - except, well, she's on parole too so can't get married and that narks "Joe" back into his old habits - and a robbery of the store is planned. Will they get away with it, though? The crime caper elements of this aren't so important, really. This is more a gentle character study of nature and nurture with a little benign opportunity thrown in for good measure. There's a fun scene with "Helen" trying to explain to the would-be thieves just how the economics of crime at their (low) level of the criminal food chain might work which does raise a smile and there's a good chemistry between Sidney and a Raft who's left his menacing hat at the stage door this time. The ending is a little bit twee, but we've some entertainment and the tiniest bit of engaging moralising to keep it going along nicely until the - as well as a few ditties from Kurt Weill and Sam Coslow.

“The Fabulous Four” suffers from such an identity crisis that it feels like a tale of two movies. The first hour is goofy, lazy, and falls almost completely flat, while the second half redeems itself with a heartfelt sincerity. It’s a sweet story aimed at senior women, and they’re going to love it.
Lou (Susan Sarandon), Kitty (Sheryl Lee Ralph), and Alice (Megan Mullally) have been buddies for a long time. The gang reunites to travel to Key West to be bridesmaids in the surprise wedding of their best college girlfriend, Marilyn (Bette Midler). As with all reunions, some old wounds are opened. But after a few days of laughs, tears, and adventure, even stronger bonds are formed between the women.
The first half of the film is borderline dreadful, breathlessly treading in too-familiar waters. The script is dumbed-down and predictable, with a setup that makes it indistinguishable from many other AARP comedies The humor is hit or miss, leaning heavily on dopey slapstick and over-the-top scenarios and antics that don’t always land. This portion of the film feels incredibly lazy, almost as if director Jocelyn Moorhouse is simply going through the motions, blindfolded, while setting up the real story.
Once the film transitions to its more dramatic elements, it finds its footing. The second half is a heartfelt exploration of friendship, aging, and acceptance, and the themes of rekindling sisterhood and confronting the past are handled with a genuine touch, offering moments of true emotional resonance. This part of the film showcases what could have been if the entire movie maintained this level of quality.
The cast is terrific, and Sarandon stands out with a particularly strong performance. All of these women play well off each other, and they have a natural comedic chemistry. I’ve said it before and will continue to do so, but it is always refreshing to see roles for actors over 60 (particularly females), and all of these women make the most of it. Even better, everyone seems like they want to be here, which isn’t the case with similar films.
Other things to love range from the film’s casual and open acceptance of LGBTQ+ characters to the warm and comforting story of friendship that’s downright irresistible. With the good, of course, comes the bad, like the overt product placement for TikTok and an inexplicably stiff cameo from singer Michael Bolton that is one of the most bizarre appearances in a movie, ever. (He is awkward and unnatural in a way that screams “get me out of here!”).
When it comes to movies about older women, Hollywood still can’t seem to get the recipe just right. In that regard, I guess it’s progress that at least half of “The Fabulous Four” is done well.
By: Louisa Moore / SCREEN ZEALOTS

Matthew Modine is quite effective here as the cycling-obsessed Doug Townsend. By day, he's a sort of hybrid between a prison officer and social worker for young men in various stages of the criminal justice system. He is about to go on two week trip cycling the 700-odd miles to the Grand Canyon but their facility is under constant funding threat and they need something that will make a "splash". He leads a welding class of four disparate lads who each have their own problems and who could pick a fight with Mother Theresa! Then he hits on an idea to get them to make their own bikes. His boss and his colleague "Haddie" (Cynthia Kaye McWilliams) are somewhat sceptical of his next suggestion. He takes them all along on his trip. She had already been involved in a disabling altercation at work, so could drive the supply van whilst the rest cycle. It's risky. They aren't so fit, they might abscond and presently, would cheerily ride over each other before going anywhere! From here on, it's all rather predicable but the underlying messages of inter-reliance, team spirit and friendship evolve quite well with strong contributions from Jahking Guillory - the recalcitrant "Woolbright" and from Jackson Kelly as the weedy "Smink" who has significant dietary issue: he doesn't eat. The photography works well on two levels. The scenery as we travel towards the Canyon itself, and the intensive style of coverage of their journey involving us in the strenuousness of their struggle both physically and emotionally. It's essentially about having purpose, I think. Rudderless people who are abandoned to drift along aimlessly fall into bad habits. Townsend sees that and wants to head off their loneliness and sense of hopelessness at the pass by giving them something to be proud of. To achieve on their own terms. It's a bit long but has some comedy (frequently from or at the expense of McWilliams) and even if the conclusion is pretty obvious from the get-go, it's still a film that has some punch at the end.

Fremont: A Cinematic Tone Poem of Displacement and Possibility
In Babak Jalali's Fremont, cinema becomes poetry — a delicate cartography of human longing mapped across monochrome landscapes. Sahar, an Afghan refugee working in a fortune cookie factory, navigates her new life with a quiet, determined resilience.
Take the moment her Chinese factory owners gift her a deer—seemingly random, until you understand the profound symbolism. Rooted in the Jataka Tales, the deer represents selflessness and courage, a Buddhist parable about sacrifice that reflects Sahar's own journey of transformation. (Sahar: "I worked with the enemy to ensure your security!")
The film breathes in black and white, each frame a stanza of quiet revelation. The film's monochrome enhances the colorless landscape of the poem. When Gregg Turkington's psychiatrist comedically weeps while reading White Fang, or when Salim, the film's Shakespearean witch device, delivers philosophical pronouncements about stars and love's complicated geography, Jalali reveals how displacement is not just a physical journey, but requires an emotional metamorphosis.
Sahar's precise fortune cookie writing is a longing to direct her own fortune. Traveling from Fremont to San Francisco to interact with "another culture" is her desire to integrate somewhere, to belong.
Everything about this film — the script, Jalali's choices, the metaphors, the intimate cinematography, the acting — it all works so well. I get the references to Jarmusch and Kaurismäki, but in my opinion, this film is in the class with Wender's seminal tone poem, Wings of Desire. Fremont is THE cinematic tone poem of the 21st century.
This isn't just narrative. Fremont is fluid metaphor — a poem written in light and shadow, in quiet tone, and in the unspoken languages of emigration and survival.

This starts off with what has to be slowest, least efficient, example of the industrialisation process that I've ever seen! Those images rather set the scene for what follows as we meet fortune cookie maker "Donya" (a strong performance from Anaita Wali Zada). She was an interpreter for the US military in her native Afghanistan and has arrived in California on a special visa scheme and is awaiting proper settlement. She can't sleep, so manages to inveigle an appointment with the slightly eccentric psychiatrist "Dr. Anthony" (Gregg Turkington) and his rather unorthodox methods manage to illicit some clues (for us) from this rather reticent woman as to what drove and now drives her. Her love life is pretty much non-existent, but a mysterious text message that sends her on a drive might just sort that out - her savvy best pal "Joanna" (Hilda Schmelling) reckons that it might! It's quite hard to describe this film. Precious little actually happens, and the pace is glacial in the extreme - but it still works well as a characterful study of a woman who is having to come to terms with some profound changes to her circumstances and to deal with the loneliness, guilt and frustrations - as well as the opportunities - of her new life in a city where her situation is nothing particularly unusual. It's not a dreary introspective, though. There are moments of dark humour (usually from Turkington) as he uses "White Fang" to a surprisingly innovative effect. The film is an episode in her life, we have some details from her past and we see a glimmer of what might be on her horizon at the conclusion. It's interesting, oddly engaging and well worth a watch. Television will do fine though.

Life can be so confusing at times that we really don’t know where we stand with it, other than having a clear sense that what we’re experiencing isn’t working and that we desperately need direction to help fix it. But who are we to turn to if we have few friends and no family for meaningful, helpful guidance? Peers? Co-workers? A psychiatrist? Such is the fate of Donya (Anita Wali Zada), an Afghan transplant living in Fremont, CA, a distant suburb of San Francisco and home to a large population of her country’s fellow immigrants. Having worked as a translator for the US Army while in Afghanistan, she qualified for a special exit visa program that brought her to safety in America when the US pulled out of the war-torn nation. She now holds what appears to be a reasonably well-paying, decidedly whimsical job as a writer of messages for Chinese fortune cookies, but, beyond that, she doesn’t have much of a life. She often questions (ironically speaking) the good “fortune” from which she’s benefitted compared to many of her countrymen back home, frequently experiencing difficulty accepting it and consequently suffering from loneliness and severe insomnia. But what’s causing these feelings: Guilt? Isolation? An inability to fit in (or even knowing how to go about doing so)? Or is it some of all of the above? Writer-director Babak Jalali’s latest wrestles with these issues from the perspectives of both an isolated immigrant and of a lost twenty-something merely trying to find her way in the world. And, to its credit, the film comes up with some truly brilliant insights in these regards. Unfortunately, there aren’t enough of them to make this an enlightening, finely crafted character study. Much of it meanders (especially in the second half), looking for direction through a series of inconsequentially mundane events and a failure to more fully flesh out the insights that it otherwise successfully manages to nail. The film is also sprinkled with delightfully quirky comic relief, but, again, there’s not enough of it, which is unfortunate given how well it works when it’s successfully and deftly employed. The picture’s fine performances, intriguing character development and stark but gorgeous black-and-white cinematography bolster the elements that do work. But, regrettably, this is yet another example of a film that could have used another round of script revisions and tighter editing to help bring the overall production up to snuff, a problem that seems to be plaguing a plethora of offerings these days. Enjoy what works with this one, but don’t be disappointed if you end up getting the distinct impression that it comes up short.

Being from Windsor, Ontario, Canada, this film has special significance, as there are still survivors from the actual 'Devil's Brigade'. This film was a hoot to watch and greatly enjoyable. Heartily recommended for those enthusiasts of war movies, and had just enough humour to be endearing rather than off-putting. Would make a fine double bill with the similarly-toned 'Three Kings' or 'Kelly's Heroes'.

Teufels Brigade.
The Devil’s Brigade is directed by Andrew V. McLaglen and adapted to screenplay by William Roberts from the book of the same name written by Robert H. Adleman and George Walton. It stars William Holden, Cliff Robertson, Vince Edwards, Harry Carey, Claude Akins, Andrew Prine, Richard Jaeckel, Jack Watson and Jeremy Slate. A Panavision/De Luxe Color production, music is by Alex North and cinematography by William H. Clothier.
Based on real people and incidents, film follows the formation of the 1st Special Service Force (AKA: The Devil’s Brigade), their training and subsequent mission to seize control of Monte la Difensa, a Nazi stronghold during the Italian Campaign in World War II.
Somewhere along the path of war movie history there was a wind of change that saw the all heroic soldier of sincerity replaced by the anti-hero thug! Where misfits, criminals and army bums were thrust into missions that gave them the chance of redemption or a semblance of honour via death. This format reached a pinnacle, arguably, with Robert Aldrich’s Magnificent Macho Movie, The Dirty Dozen (1967). A year later came The Devil’s Brigade, a film strikingly similar to The Dirty Dozen, yet unlike Aldrich’s movie is based on facts, it should also be noted that the novel The Devil’s Brigade was written in 1966.
McLaglen’s movie follows the tried and tested formula, men from all walks of life thrust together and expected to gel as one fighting force. Cue hostilities and suspicions, here in the guise of a crack Canadian army unit joining forces with a platoon of American wasters. The training is as tough as it gets, the men continuing to try and out macho each other, and then that magical moment occurs when they come together as one and realise they actually can get on after all. This comes about in TDB courtesy of a gloriously over the top part of the film where the Yanks and Canadians brawl with local lumberjacks and the military police. Something which greatly makes their leader, Lt. Col Robert Frederick (Holden), very proud. He of course is straight from the “unconventional” line of military leaders.
So it goes, fists fly as much as the jokes, the insults are barbed and the macho posturing never wavers. Frederick butts heads with the suits, his charges forced to prove themselves as an elite fighting force, and then it’s to the big bang mission, where it’s a time for heroes and we know that not everyone will survive the pyrotechnics. Cast performances are just fine, inevitably with such an ensemble piece many of the characters are not fully fleshed, but the main players impact well on the drama. North’s music is delightfully boisterous, the blend of national themes most catchy, Clothier’s photography around the Utah and Lazio locales lurches nicely from the screen, while McLaglen, so often derided for some of his directing assignments, does a bang up good job for the two action sequences that finalise the movie.
It doesn’t break new ground, but for this line of formula war movies it comfortably keeps the fires burning. 7.5/10

**_Western in the Southwest with Dean Martin, Robert Mitchum and Roddy McDowall_**
In 1880, a mysterious preacher (Mitchum) comes to a frontier town a hundred miles south of Denver. That’s when the players of an infamous card game start dying and a smooth gambler (Martin) tries to figure out who’s doing the killin’. McDowall plays the rebellious son of the local mogul rancher.
“5 Card Stud” (1968) is a decent town-bound Western from the late 60s with a quality cast and a good sense of a Western town in the Southwest, but the story is so contrived little of it seems real. It doesn’t hold a candle to Martin’s previous Western “Bandolero!” or even “The Sons of Katie Elder,” although it’s superior to his future “Something Big.”
Blonde Inger Stevens is on hand as the new madam in town; unfortunately, she committed suicide at the age of 35 less than two years after the release of this movie. Meanwhile winsome Katherine Justice was 25 during shooting and a highlight as Nora, although her brunette hair looks fake (she’s actually a redhead).
For anyone who objects to a black man being a bartender out West (Yaphet Kotto), the fictitious town of Rincon is located a hundred miles south of Denver, which means it was in the state of Colorado, admitted to the Union four years earlier. This is decidedly the West, not the South. The story is set fifteen years after the Civil War wherein the Colorado Territory was majority pro-Union. Mama's Saloon was a private business and anyone who didn't want to be served by a black man could take their business elsewhere (at the time, it was the only saloon in town, but a competitor was being built). The fact that George (Kotto) was a muscular 6'4" helped keep racists at bay.
While not on the level of contemporaneous Westerns like “Duel at Diablo,” “El Dorado,” “The War Wagon,” “Hombre,” “Firecreek,” “Hang ’em High” and “The Train Robbers,” it’s cut from the same cloth and worth checking out if you liked those. I’d put it on par with “Young Billy Young,” which came out the next year and also starred Mitchum.
The movie runs 1 hour, 43 minutes, and was shot in Durango, Mexico, with studio stuff done at Paramount in Los Angeles.
GRADE: B-/C+

When he played he played for blood.
5 Card Stud is directed by Henry Hathaway and adapted to screenplay by Marguerite Roberts from a novel written by Ray Gaulden. It stars Robert Mitchum, Dean Martin, Inger Stevens, Roddy McDowall, Katherine Justice, John Anderson, Ruth Springford and Yaphet Kotto. Music is by Maurice Jarre and cinematography by Daniel L. Fapp.
Rincon, Colorado and when a gambler is caught cheating at poker, the rest of the players administer frontier justice and hang the man. All except one man that is, Van Morgan (Martin), who tried desperately to stop the lynching. When members of the card school from that night start being killed off, it's clear that somebody is also administering their own brand of retribution justice. Morgan teams up with the new unorthodox preacher in town, Reverend Jonathan Rudd (Mitchum), to try and crack the case.
I don't think anyone would seriously try to argue that 5 Card Stud is a great movie, but it is a fun picture made by people who knew their way around the dusty plains of the Western genre. Basically a Western take on Agatha Christie's Ten Little Indians, it's a whodunit at the core, but surrounded by Western staples as fights, gun-play, murders, barroom shenanigans and thinly veiled prostitution exist during the run time, while the Durango location photography is most pleasant (TCM HD print is gorgeous).
It's not short of flaws, mind. Jarre's musical score is simply odd, I'm not even sure what film genre he thought he was scoring, but it's about as far removed as being in tune with a film as can be. McDowall as a whiny weasel villain doesn't work, the costuming is a bit sub-par and the reveal of the perpetrator is revealed too early. Yet film overcomes these problems because being in the company of Mitchum and Martin brings rewards.
Dino harks back to his Western glory days in the likes of Rio Bravo, and Mitch gets to parody his Night of the Hunter preacher whilst adding six- shooter charms into the bargain. The girls are short changed by the writing, but both Stevens and Justice grace the picture with their presence, and Kotto enlivens a role that quite easily could have been standard fare. A good time to be had with this Poker Oater © 7/10

Nicolas Cage has built a reputation for making some bold, unconventional career choices in recent years, diving into a range of unique and often off-beat films that defy the expectations of mainstream Hollywood. From Mandy to Longlegs, Cage has delivered some truly fascinating, if not always widely appreciated, performances. With The Surfer, he once again takes on a role that promises to be eccentric and boundary-pushing. Unfortunately, this time, despite Cage's commitment and the film's daring premise, the result is ultimately more frustrating than fulfilling.
Set against the backdrop of an Australian coastal town, The Surfer follows Cage's character as he navigates a series of personal and professional crises. The setting could have been the perfect place for a character study. Still, the film suffers from numerous flaws that undermine its potential. First and foremost are the plot holes. The narrative lurches from one underdeveloped subplot to another, leaving viewers struggling to make sense of crucial story elements and emotional arcs that are introduced and then abandoned with little explanation.
While still carrying his trademark intensity, Cage's performance feels almost too detached from the material. It's clear he's trying to elevate the film with his presence. Still, even his considerable skills can't save the disjointed script and inconsistent character development. The supporting cast, unfortunately, doesn't do much to shore up the film either, with several performances that are more wooden than compelling. There's a lack of chemistry between Cage and his co-stars. This becomes painfully apparent in the quieter, more intimate moments that could have saved the film from its overwhelming tone of confusion.
As for the production, the decision to shoot The Surfer in Australia feels like a financial choice, given the backing received from Film Australia, rather than an artistic one. Given that the film was likely envisioned as a Los Angeles-set story—based on its coastal surf culture premise—the shift to Australia never quite makes sense within the context of the plot. This relocation doesn't just muddy the geographical setting but also disrupts the story's internal logic.
In terms of direction and pacing, The Surfer is at odds with itself. At times it lingers too long in scenic, unspoken moments, trying to create a sense of weight and atmosphere that the script simply doesn't support. Other times, it rushes through pivotal plot points, leaving us wondering why the film didn't give them the attention they deserved.
In the end, The Surfer is a missed opportunity. While Cage's recent string of off-beat projects has demonstrated his willingness to take risks, this film feels more like a cash grab, attempting to draw on Australia's lucrative film incentives without fully committing to the necessary creative depth. Instead, what could have been an exciting exploration of identity, loss, and redemption becomes a muddled, forgettable affair. Fans of Cage may still find some enjoyment in his performance, but for most viewers, The Surfer is likely to disappoint.

When his parents lose their jobs, they decide to sell up and spend a year circumnavigating the globe on their boat - the "Peggy Sue". Unbeknown to his parents, though, teenage son "Michael" has smuggled their dog "Stella" aboard and is feeding her from their supply of digestive biscuits! Of course this isn't a secret he can keep for long, and actually it shows us that "Michael" isn't actually the most grown up of boys as he seems to view parental instructions more like optional guidelines. That rather comes home to roost when a storm hits the boat and both he and his canine companion are washed overboard and then ashore a small island. There's no food, no water - and a baking sun, so you wouldn't think much for his chances - except. Well, they awake to find some hand-prepared sushi and freshly cracked coconut milk on the hollowed out log they were using as shelter. Maybe this island isn't as hostile as he'd first thought? Well the jellyfish certainly have it in for him, and that's when he meets his benefactor - an old gent who would appear to have been on the island for a very long time. Gradually, the two - with no common language - start to trust one and other and "Kensuke" starts to impart to the boy some of his own values as they learn to collaborate with nature on this increasingly attractive paradise. Desperate for rescue when he arrived - is he still so desperate now? We learn a little of the backstory of the island's sole human occupant which adds some richness, and some sadness, to two straightforwardly engaging characterisations and with an animation that reminded me a little, in style, of the "Snowman" (1982) and a fitting musical accompaniment from Stuart Hancock I found this to be a short, sweet and enjoyably poignant story of learning a little about self-reliance and not so much about self-importance.

The burdens of rules, conventions and traditions can weigh heavily on us, especially when they’re not serving us, allowing us to be ourselves or taking much of the joy out of life. The impact can affect us in many ways, too, including emotionally, psychologically, spiritually, physically and socially. So it is for Benjamin Gottlieb (Jason Schwartzman), a disillusioned forty-something cantor/Bat Mitzvah instructor at a conservative synagogue north of New York. He’s experiencing a crisis of faith as a result of the rough year he’s recently undergone, having lost his wife and now facing the prospect of losing his voice (and his livelihood). He’s also had to move in with his two well-meaning but overbearing mothers (Caroline Aaron, Dolly De Leon), who perpetually try to fix him up with new romantic interests. His boss, Rabbi Bruce (Robert Smigel), has also tried playing matchmaker, trying to connect Ben with his aggressively randy daughter, Gabby (Madeline Weinstein). But these efforts only place even more pressure on him, pushing hm to the brink. Strangely enough, though, circumstances begin turning around when he has a chance encounter with his quirky retired grade school music teacher, Carla Kessler (Carol Kane). She’s anxious to become one of Ben’s Bat Mitzvah students, given that she was denied this rite of passage in her youth. He reluctantly begins instructing her, but he soon starts learning as much from her as she does from him, most notably how to let loose, be himself and enjoy life, traits that others look down upon him for when he breaks with expectations. Nevertheless, considering their respective mindsets, this relationship netween Ben and Carla proves to be exactly what they each need. Writer-director Nathan Silver’s latest feature provides us with a touching, irreverent look at how to live a life that’s both spiritually and secularly fulfilling in the face of oppressing outside influences, particularly when it comes to knowing when to follow and when to break the rules. The protagonist’s unconventional odyssey takes him – and viewers – down an array of unexpected paths, with lots of laughs and eccentric experiences. Unfortunately, there are times when the filmmaker takes matters a little too far, infusing the narrative with a few too many different storytelling approaches and filming styles, making the picture overall somewhat disjointed and incoherent. These inventive attempts at originality, while certainly commendable, tend to get in the way of yielding a cohesive storyline, regardless of the many chuckles they evoke. The duo of Schwartzman and Kane, backed by a fine ensemble of supporting players, valiantly endeavor to make the material work, sometimes successfully, sometimes futilely. The sentiments explored here are indeed noble, and the film’s commitment to an unanticipated approach to its subject matter is truly laudable, but the creators seriously should have reined themselves in more than they have here. Doing so would have made for a better movie, not to mention greater clarity on an important life lesson from which we could all stand to benefit.

"Cantor Ben" (Jason Schwartzman) has recently become a widower and is struggling to get on with his job working for Rabbi "Bruce" (Robert Smigel) at the Sinai Synagogue. He has one too many chocolate-laced "Mudslingers" in a bar one evening and that leads to an altercation that leads to a reunion with "Carla" (Carol Kane). Though neither recall immediately, it transpires that she used to be his childhood music teacher. Next thing we know, she has turned up at his synagogue where she declares her Jewish heritage and that she wishes to have her Bat Mitzvah. I didn't know that took over year to study and prepare for, and neither did she - but after a bit of convincing, he is cajoled into preparing her and the story picks up the pace as, predictably but not in a predictable fashion, the two start to bond. "Ben" lives with his two mothers - "Judith" (Dolly De Leon) and "Meira" (Caroline Aaron) who are keen on him settling down again with a nice girl, and to that end they try to set him up with the Rabbi's daughter "Gabby" (Madeline Weinstein) but somehow we just know that this solution that would please friends and family alike isn't likely to be the one he goes for. It's not especially innovative, this film - we've seen this sort of drama often before. What this does, though, is entertainingly take a look at the contractions of tradition and at belligerence. It invites us to consider what makes people happy, why age matters, and two dinner scenario towards the end provide for quite an effective conduit for true colours to come out and judgements to be delivered. It's comedic rather than a comedy - there aren't any laugh-out-loud moments; with the writing quite potent at times and an enjoyable rapport developing between the two characters uncertain of their next move. Kane steals this with her delicate delivery of a strong yet venerable persona, and although it does strive to contrive once or twice, it's still quite an enjoyable look at hypocrisy and faith and kosher burgers.

The evil king Ravana has his heart set on the kingdom of Ayodhya and his opportunity to sow the seeds of mayhem comes when he manages to kidnap the beloved wife of the recently manipulated and exiled prince "Ram". Distraught, he and his brother "Lakshman" determine to rescue her and what now ensues is a wonderfully executed animated adventured packed with myth and legend, mystical monsters, swash and buckle, romance, tragedy, politics - indeed just about everything that you'd expect from an Indian epic (with quite a lot of stunning Japanese creative investment). The style of the drawing is not especially detailed, but it is vivid, colourful and flows perfectly from scenes of isolation and intensity to the grand battle scenarios and a flying chariot (that reminded me a little of the "Thief of Bagdad" from 1940). The story itself is the stuff to make Machiavelli blush - intrigues, betrayal and treachery all feature as "Ram" has to thwart the evil ambitions of his nemeses - and the powerful "Ravana" isn't his only one of these! The score has a slightly classical style to it that works well with rich string arrangements assisting the artwork to do a fair degree of the heavy lifting and helping keep the dialogue from rambling. It's 2¼ hours long, but it flew by in an exciting and enjoyable fashion that illustrated the depth and richness of a culture that has legend a-plenty to enthral and entertain.