Movie Tab II

I knew that. I counted your movies right before I posted mine

I finished Lake Mungo at like 20 past Midnight here. Should've went american time and embarrassed you even more

Wright, 2017





A slick crime caper flick. I sure hope this is up for a Best Editing award, as it clearly deserves one. A fun cast and some clever comedy break up an otherwise intense and fast-paced experience. Some really creative use of the soundtrack, which plays into the comment about editing above. Wright is usually hit or miss for me, and this was most certainly a hit!

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Planet of the Sharks (Mark Atkins, 2016)

Rhine River (Peter Nestler, 1966)

Dinoshark (Kevin O’Neill, 2010)

Manhattan Murder Mystery (Woody Allen, 1993)

+

Diane Keaton and Woody Allen investigate their neighbor’s apartment for clues to a murder and get so scared he almost brains the cleaning lady with a dumbbell.
Swamp Shark (G.E. Furst, 2011)

The Green Ray aka Summer (Eric Rohmer, 1986)

Killing Streets (Stephen Cornwell, 1991)

-
The Duelist (Aleksey Mizirev, 2016)

+

In 19th-century Russia, expert marksman Pyotr Fyodorov acts as a second for many disabled noblemen until his circumstances change.
The Deadly Affair (Sidney Lumet, 1967)

-
Death and the Devil (Peter Nestler, 2009)

Piranhaconda (Jim Wynorski, 2012)

Art School Confidential (Terry Zwigoff, 2006)

Art teacher John Malkovich gives advice to troubled student Max Minghella.
Sharktopus vs. Pteracuda (Kevin O’Neill, 2014)

The Dark Corner (Henry Hathaway, 1946)

The Curse of King Tut's Tomb (Philip Leacock, 1980)

-
Staying Vertical (Alain Guiraudie, 2016)

Film maker Damien Bonnard seems to spend the whole movie siring and raising a baby and then whoring himself out to everyone else.
Adventures in South America (Lewis N. Cotlow, 1946)

Sharktopus vs. Whalewolf (Kevin O’Neill, 2015)

Hostile Witness (Ray Milland, 1968)

Alias Nick Beal (John Farrow, 1949)

Eerie political film noir about straight-arrow district attorney (Thomas Mitchell) being corrupted by devilishly-scary Nick Beal (Ray Milland).

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It's what you learn after you know it all that counts. - John Wooden
My IMDb page

Kelly, 2001





This used to be one of my favorite flicks. I don't hold it as highly any longer, but I still like to return to it from time to time. Excellent soundtrack/score, and some really creative ideas, even if it kind of comes apart at the seams a bit under scrutiny.

Demons 2 - Genuinely creepy, extremely gory and beautifully photographed. Just as good as Demons in it's own way.

El Mariachi - Inventive, tight and funny. Rodriguez's first feature is among his best because it oozes tender loving care out of every frame. $7,000 budgets never looked better than this.

House (1986) - This gets a rating in line with a proper one, not that of nostalgia. A horror comedy that is light and breezy as well as spooky and cool. Killer score by Harry Manfredini.

Nightmares - Terror anthology that does very little good with a lot. Emilio Estevez arcade story is the only stand out chapter.

Blood Simple - Coen bros 1st feature is funny, tense and slightly scary. The style and music way ahead of its time. If you didn't know it was made in 1984, you'd swear it came out in 1996.

Red Heat - Arnold Schwarzenegger and James Belushi star in this buddy cop actioner from Walter Hill. It's a good movie and deserves a reappraisal. It does exactly what it's supposed to, and does it well.

Bad Santa 2 - Zwigoff not directing makes the wit, charm and vulgarity of Bad Santa sorely missed in this retread that seems like outtakes stitched together, and not the best of the crop, either. You can see very clearly the rehearsal stiffness of Tony Cox delivering stale line readings passed off as comedy. If Zwigoff directed this, he'd of pulled out a better, funnier performance from everyone and made damn sure this movie was good.

Rounders

Recent Watches:
[REWATCH] Borat (Charles, 2006)-

Get me Roger Stone (Bank & DiMauro, 2017)-

The Stanford Prison Experiment (Alvarez, 2015)-

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Rushmore (W. Anderson, 1998)-

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Rounders (Dahl, 1998)-

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Tod und Teufel (2009) by Peter Nestler

Von Griechenland (1966) by Peter Nestler

Dimanche à Pekin (1956) by Chris Marker

French Cancan (1954) by Jean Renoir

Toni (1935) by Jean Renoir

Despicable Me 3 (2017) by Pierre Coffin and Kyle Balda +

Scabbard Samurai (2010) by Hitoshi Matsumoto

To Have and Have Not (1944) by Howard Hawks

Abendland (2011) by Nikolaus Geyrhalter

Homo sapiens (2016) by Nikolaus Geyrhalter +

Cairo Station (1958) by Youssef Chahine +

After the Storm (2016) by Hirokazu Koreeda

No, or the Vain Glory of Command (1990) by Manoel de Oliveira +

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TokeZa's Top 100 Movies through Space and Time

TokeZa's inane ramblings about film

Letterboxd profile

The Ace of Hearts (Wallace Worsley, 1921)

The Last Chance (Leopold Lindtberg, 1945)

The Turning Point (Fridrikh Ermler, 1945)

The Event (Sergey Loznitsa, 2016)

+

An August 1991 coup attempt in Moscow causes thousands of freedom-desiring citizens to take to the streets there and [here] in Leningrad [now St. Petersburg] in protests which lead to the downfall of the Soviet Union.
Dead End (William Wyler, 1937)

Ozark Sharks (Misty Talley, 2016)

Tell It to the Marines (George Hill, 1926)

A Fish Called Wanda (Charles Crichton [& John Cleese], 1988)

Otto (Kevin Kline) is arrogant, jealous, violent and stupid, and his lover (Jamie Lee Curtis) decides it’s time to trade up.
Trixie Friganza in My Bag o' Trix (Murray Roth, 1929)

West of Zanzibar (Tod Browning, 1928)

Where East Is East (Tod Browning, 1929)

The Unholy Three (Jack Conway, 1930)

Sideshow ventriloquist (Lon Chaney) in drag and his midget cohort (Harry Earles) posing as a baby are two-thirds of a jewel robbery gang in Chaney’s only talkie, a remake of his Tod Browning-directed silent classic.
The Song of Fame (Joseph Henabery, 1934)

The Testament of Doctor Cordelier aka Experiment in Evil (Jean Renoir, 1959)

Roustabout (John Rich, 1964)

Una (Benedict Andrews, 2017)

.
Una (Rooney Mara) comes to the workplace of the man (Ben Mendelsohn) who instigated a sexual relationship with her when she was 13.
Toonerville Picnic (Burt Gillett, 1936)

Pilot #5 (George Sidney, 1943)

3 Headed Shark Attack (Christopher Douglas-Olen Ray, 2015)

Wolf Creek 2 (John Mclean, 2014)

+

Director Mclean and star John Jarratt up the gore in this sequel to the Australian outback serial killer flick.

Not in the mood for long write-ups, so scarce ones will have to suffice.

東京戰争戦後秘話 [The Man Who Left His Will on Film] (1970) -



An outstanding Japanese New Wave gem from master Oshima.

浮草物語 [A Story of Floating Weeds] (1934) -



Obviously inferior to the supreme masterpiece the remake is, but still a good movie.

勾魂恶梦 [Erotic Nightmare] (1999) -



I'm so PUMPED. Anthony Wong having kinky bald guy black magican induce sex dreams CAT III doesn't get much better than this!

空山靈雨 [Raining in the Mountain] (1979) -



Surprisingly low on fights, even by King Hu's standards. Great tension-building.

女番長 玉突き遊び [Girl Boss: Crazy Ball Game] (1974) -



The last and my least favourite from the series. No Sugimoto nor Ike, but still entertaining.

Помни имя своё [Remember Your Name] (1974) -



A decent flick.

Co mój mąż robi w nocy... (1934) -



A good Polish pre-war comedy.

Singapore Sling: Ο άνθρωπος που αγάπησε ένα πτώμα [Singapore Sling] (1990) -



That was kinky. BUT NOT KINKY ENOUGH. Lovely noir mood, but sometimes I felt that it was weird just for the sake of it.

Kvinnodröm [Dreams] (1955) -



A decent Bergman movie, which means it's a great film overall.

御用牙　かみそり半蔵地獄責め [Hanzo the Razor: The Snare] (1973) -



Better than part one! Dubious samurai plus prog rock music and tons of exploitation. LOVE IT.

降頭 [Black Magic] (1975) -



A great Shaw Brothers black magic horror flick!!! Still don't know why I didn't give it four stars!!!

処女のはらわた [Guts of a Virgin] (1986) -



Since not too many Hisayasu Sato unseen flicks are left (some gay ones, ones with no English subtitles, some newer ones, a comedy one and a kinky Rashomon one) I'm looking for something similar. This flick wasn't similar at all. It was a weird black comedy. The wrestling scene was particularly funny. I wish this guy performed a german suplex on her and she would stay unconscious till the end of the film.

郊遊 [Stray Dogs] (2013) -



Tsai Ming-liang is a master.

死の棘 [The Sting of Death] (1990) -



People hurting each other. Love it.

Crash (1996) -



A pretty decent flick.

ラバーズ・ラヴァー [Rubber's Lover] (1996) -



WTF. Cool, I guess.

美女のはらわた [Entrails of a Beautiful Woman] (1986) -



The second part of the trilogy. A much better offering than Guts of a Virgin, although the premise is more or less the same, this flick is much better at almost everything and the main female protagonist is beyond exquisite.

A Vingança de Uma Mulher (2012) -



As recommnded by Jal90. A Manuel de Oliveira-esque sophisticated drama. Kewl. Not a five star film, though.

Network (1976) -



For years this has been my "DUDE YOU ARE A CINEPHILE YET STILL HAVEN'T SEEN IT" movie. Well, it isn't anymore. I didn't think I will love it as much as I did.

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Look, I'm not judging you - after all, I'm posting here myself, but maybe, just maybe, if you spent less time here and more time watching films, maybe, and I stress, maybe your taste would be of some value. Just a thought, ya know.

Let's try doing this with write-ups now...

A Short Film About Love (Krzysztof Kieślowski, 1988) -

The whole spying-on-people concept feels like it was refined a bit more with Three Colours: Red, but this unconventional tale of love without romance is still a good way to flesh out said concept.

Spellbound (Jeffrey Blitz, 2002) -

This documentary about spelling bee contestants has a slow first half, but it's necessary to really make the second half about the contest itself into one of the most tense sequences I've seen in a film lately.

Boyka: Undisputed (Todor Chapkanov, 2016) -

"Just because you are 'bad guy' does not mean you are 'bad' guy."

Full review here.

L' avventura (Michelangelo Antonioni, 1960) -

You really have to be in the mood for these monochromatic European New Wave 1960s kinds of film where a bunch of people wander around and "nothing" happens. This isn't bad in that regard, but it feels like it needs to grow on me a bit.

Major Dundee (Sam Peckinpah, 1965) -

One of Peckinpah's weaker efforts. It's got a decent cast and the core concept isn't too bad (Union soldiers and their Confederate captives must join forces to track down killer Apaches) but in practice it's kind of a chore to watch.

The Goodbye Girl (Herbert Ross, 1977) -

This movie frequently comes so close to being so incredibly annoying and schmaltzy that I'm actually impressed that it doesn't. The witty dialogue and the characters delivering it are sharp enough so that I ultimately come away liking this more than I expected.

The Fly (David Cronenberg, 1986) -

I definitely liked this a lot more on a second viewing. What I once scorned for being predictable is now appreciably tragic and everything else about holds up quite well (if not better than I remember). It's not often that I get to see a horror film that manages to feel just as scary (if not scarier) on repeat viewing, but that's Cronenberg for you.

The Past (Asghar Farhadi, 2013) -

Probably my least favourite of the three Farhadi films I've seen, but in fairness it's got a little less in the way of externalised dramatic conflict than either A Separation or The Salesman. Otherwise, it's still got that same basic level of quality that I've come to expect from his work.

The Fly II (Chris Walas, 1989) -

While it definitely commits a lot of recognisable bad-sequel sins (recasting, rehashing, being the kind of movie you worried about the first one being...), I actually kind of liked it. It may lack the sheer artfulness of Cronenberg's original, but it delivers enough pulpy entertainment to make up for it.

A Prophet (Jacques Audiard, 2009) -

This is a bit of a rough watch, but the length starts to work against it before too long and the compelling first half has to carry a somewhat underwhelming second half.

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Iro's Top 100 Movies v3.0

Scott, 2017

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I waffled back and forth on whether or not to give this a lower score, as it might deserve it, but the excellent visuals and strong performance by the actors pushed this up to a . That said, this film has issues. As in Prometheus, the characters do inexplicably stupid things frequently. These companies need to examine their contamination protocols, big time. I mean, at least the idiots in Prometheus wore protective suits before making bad decisions in regards to interacting with potentially dangerous environments and lifeforms. These people basically wore hiking gear. One guy sees something strange growing on the ground, and he puts his face right up to it. Seriously? These people deserved what they got. Same goes for the medical staff that, after seeing that a crew member is getting violently ill and convulsing, start an examination on the crew ember without even donning a small particle mask over their mouths.

Look, in the original Alien film, a bunch of dumb-ass truck drivers act in a much more cautious and careful manner, fighting against risk in every way possible, only to find out they were being subverted by a company man. In Alien Covenant, the characters are subverted by the poor script. Also, the twist at the end was telegraphed, and everyone I saw the film with saw it coming a mile away.

Dunkirk



Went in expecting a super intense thrill ride and got a film so restrained it's impossible to believe it came from Chris Nolan. I'll probably check this one out again when it comes to streaming.



Spiderman : Homecoming



Hopelessly scatterbrained flick with some really fun scenes.



The Red Turtle





Boss Baby



This movie isn't actually about a business man who gets trapped in a baby's body.



Nine Lives



This movie is about a business man who gets stuck in a cat's body. This is such a weirdo movie. It's one of those Howard the Duck flicks that isn't appropriate for any demographic. Kevin Spacey is green screened into all of his scenes. I don't even think he showed up on set to film this, which is hilarious when other actors are supposed to interact with him.

Tons of bizarre CG shots of buildings and the cat looks like playstation 2 graphics.

see this immediately

Nobody Speak : Trials of the Free Press



Trashy news outlet gets sued by Hulk Hogan for exposing his idiot behavior. A curiously twisty story.



Trolls

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5 Headed Shark Attack (Nico De Leon, 2017)

Cover Girl (Charles Vidor, 1944)

Mississippi River Sharks (Misty Talley, 2017)

+
The Nun (Jacques Rivette, 1966)

+

In 1757, simple young Frenchwoman Anna Karina is forced by her family to enter a convent [for the first time] and starts a life of misery and mistreatment.
Trailer Park Shark (Griff Furst, 2017)

It’s Always Fair Weather (Gene Kelly & Stanley Donen, 1955)

-
Empire of the Sharks (Mark Atkins, 2017)

+
On the Town (Stanley Donen & Gene Kelly, 1948)

Three sailors on leave in NYC have a day to see the sights and find dates. Jules Munchin asks Gene Kelly about Miss Gardner, but ironically it was Frank Sinatra who’d marry her two years later.
Goodbye, Miss Turlock (Edward Cahn, 1946)

Valley of the Kings (Robert Pirosh, 1954)

Toxic Shark (Cole Sharpe, 2017)

The Belko Experiment (Doug McLean, 2017)

Gorefest where all the workers in a Bogota corporate building are isolated and forced to kill each other through diabolical means.
Borderline (William A. Seiter, 1950)

+
A Mere Breath (Monica Lãzurean-Gorgan, 2017)

+
Easy Come, Easy Go (John Rich, 1967)

Balnearios (Mariano Llinás, 2002)

Argentina has a history of countless beach resorts and spas, but nowadays they seem to be mostly in the minds of artists and writers who can occasionally conjure them up in remote locations.
Patrolling the Ether (Paul Burnford, 1944)

+
Junction 48 (Udi Aloni, 2016)

The Wonderful Country (Robert Parrish, 1959)

+
The Bridge at Remagen (John Guillermin, 1969)

+


Battle-weary and cynical Sergeant Ben Gazzara and Lieutenant George Segal are among the Americans who try to take the Ludendorff Bridge over the Rhine River at Remagen even though the Germans want to destroy it.

Uncle Vanya (John Goetz & Franchot Tone, 1957)

Her Honor, the Nurse (Harry W. Smith, 1956)

Quality Street (George Stevens, 1937)

+
The Assassination Bureau (Basil Dearden, 1969)

On board a zeppelin, the head (Oliver Reed) of the secret Assassination Bureau confronts Russian general Curt Jurgens.
The Girl from Missouri (Jack Conway, 1934)

Hellhounds (Rick Schroeder, 2009)

Pitcairn Island Today (No Director Listed, 1935)

Mutiny on the Bounty (Frank Lloyd, 1935)

Fletcher Christian (Clark Gable) has had just about enough of the cruel, lying ways of Captain Bligh (Charles Laughton).
Extraordinary Stories (Mariano Llinás, 2008)

245m
The Dunwich Horror (Daniel Haller, 1970)

Living Stereo (No Director Listed, 1958)

Five Graves to Cairo (Billy Wilder, 1943)

+

North Africa, WWII. British corporal Franchot Tone and French maid Anne Bancroft get mixed up with Field Marshall Erwin Rommel (Erich von Stroheim).
Tammy Tell Me True (Harry Keller, 1961)

A Cinderella Named Elizabeth (No Director Listed, 1965)

+
The Bad Kids (Keith Fulton & Lou Pepe, 2017)

+
A Patch of Blue (Guy Green, 1965)

+


Young, blind Elizabeth Hartman has accepted kindnesses from office worker Sidney Poitier, and they develop feelings for each other, which complicates both their lives.
Visiting St. Louis (James A. FitzPatrick, 1944)

+
A Month in Thailand (Paul Negoescu, 2012)

The Sun... the Sand... the Hill. (Ronald Saland, 1955)

Guardians of the Galaxy Vol. 2 (James Gunn, 2017)

Baby Groot (Voice of Vin Diesel) does his best to guard the galaxy.

This was my 4th movie of his. Now I've seen 25. Still my TOP 5 Sato! I remembered the necrophilic scene (after 2+ years I still remember it!) today and had to make sure it was in this one. Ah, 2014 and 2015... What years! The beginning of my kinky venture into pinku eiga. Now, 2-3 years later and I've seen almost 90 films of the genre. Oh, I reviewed some High Noon, Peeping Tom, To Be or Not to Be and The Bridge in the same post, too.

Symbol (Hitoshi Matsumoto, 2009) -

At the very least, I'm questioning how to grant a numerical rating to a film as unapologetically surrealist as this one. It has some issues with filling out its running time (the luchadore B-plot never stops feeling like filler) but at least the weirdness feels like it has a purpose that is best expressed in an impressive final sequence.

Scabbard Samurai (Hitoshi Matsumoto, 2011) -

At once so very different to Symbol and yet so very similar, it also has a trial-and-error conflict that's not quite as surreal but is still mildly engaging. The fact that it's relatively grounded means it has to work a little harder to make the same impact, but it's not too bad at doing that. Take these 2.5s with a grain of salt.

Brighton Rock (John Boulting, 1947) -

A watchable little story about the eponymous town's seedy underbelly. No major complaints about it, but not too much that I find especially great about it either (except maybe that climax).

The Big Sleep (Howard Hawks, 1946) -

Anyone else find this movie a little hard to understand? No matter, it's dripping with atmosphere, which is enough to make it worth re-watching but not exactly a five-star classic either.

To Have and Have Not (Howard Hawks, 1944) -

While you could make the case that it's apeing the success of Casablanca a bit with another tale of romantic wartime subterfuge involving a not-as-embittered-as-he-seems Bogart character and a woman who seems at least a little out of his league, that doesn't make it unwatchable or inessential.

The Enigma of Kaspar Hauser (Werner Herzog, 1974) -

Herzog offers his own take on the profound simpleton trope that does manage to show off his rarely-glimpsed humanistic side (in large part due to Bruno S.'s charmingly off-kilter lead performance) but doesn't completely forgo his trademark cynicism either. It's still up to his usual standard in any case.

Asparagus (Suzan Pitt, 1979) -

You can tell I'm a milquetoast asshole because I keep giving 2.5s to whatever surreal weirdness MUBI throws at me. At the very least, it's an interesting spot of experimental animation that blends mediums well and has one eerie soundtrack.

The Yearling (Clarence Brown, 1946) -

How much you get out of this coming-of-age melodrama about a family trying to eke out a living on the 19th-century frontier will definitely depend on how much you can tolerate its earnest aw-shucks atmosphere, but beyond that it's a well-crafted tale with plenty of emotional sincerity to carry it along.

Toni (Jean Renoir, 1935) -

This actually marks the first Renoir film I've seen and it certainly isn't going to stop me checking out more. It takes a while to get going (which is a bit of an issue considering its brief length), but it's still quite remarkable in terms of 1930s filmmaking.

Southern Comfort (Walter Hill, 1981) -

This film about reserve guardsmen running afoul of swamp-dwelling hillbillies is at once so very different from the rest of the films from Hill's peak period and yet brimming with the same elemental greatness that it might very well be his best (or at least deserves a spot in the conversation).

Loners (2000) –
Czech dramedy that falls into the early 2000’s ‘young and hip’ zeitgeist. The plot meanders a lot, but it’s good and well-made.

The Forbidden Room (2015) –
A cluster of surreal segments uniquely interwoven. The post-production went a little HDR-crazy. The editing really makes or breaks the film too. I like it, and really appreciate all the painstaking detail in it, but 2 hours of constant after effects can be a grind. Still, this is one of Maddin’s coolest and craziest (that I’ve seen).

My Name is Bruce (2007) rewatch –
This doesn’t even seem like it’s trying to be decent, but that’s… kind of its strength? It really doesn’t care. The comedy is super cheap, but somehow, it’s still really fun and easy to watch. Of course, it’s also impossible for me not to love la barbilla’s delivery.

Cop (1988) –
For an 80s crime flick, the style is a little bland, but everything else is really solid and engaging.

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Hardwicke, 2003





Well played across the board. This was a pretty realistic examination of what happens to a family when a kid starts hanging around with the wrong people. Naive honor student Tracy isn't very popular at school, until she starts hanging out with super-popular Evie. Her life begins to spiral out of control, as she is introduced to sex, drugs, and crime. Evan Rachel Wood turns in a stellar performance, as does Holly Hunter, who plays a single Mom trying to put the pieces of her life back together while simultaneously dealing with her out-of-control daughter. What begin as tiny cracks in their family soon widen to vast fissures of emotional stress.



Innaritu, 2014





Technically brilliant with exceptional acting across the board. This was my second viewing, and I liked it even more this time. Some biting commentary on actors and show business, created in a fluid format that is engaging and constantly interesting to watch. A fantastic flick deserving of all the praise it gets.



Yates, 1979





Not as technically brilliant as Birdman, but it gets the same rating, because I just adore this film. Probably my favorite coming-of-age movie, this is a story of four middle-class friends in the late 70s, played by Dennis Quaid, Jackie-Earl_Haley, Daniel Stern, and Dennis Christopher. Shot completely on-location in Bloomington, Indiana, it's a great little time capsule of the time I grew up. A time when the days went by slowly, with groups of friends just hanging out at the swimming hole with barely a care in the world. The main thrust of the story centers around one of the friends and his dream to be an Italian cyclist. He goes so far as to use a fake Italian accept, much to the chagrin of his used-car salesman father (Paul Dooley in a memorable performance). The cycling stuff is fun, and it provides a backbone to a film that is other just scenes of the four friends hanging out, but those scenes are my favorite scenes in the movie, as they perfectly capture what it was like growing up in that time, as well as the heart and soul of the coming-of-age period of people's lives. There is also some friction between the Cutters and the rich college kids at the University, which provides an antagonistic dimension to the movie. The heart of the film is with the four friends, though. I never get tired of lazing away summer days with the Cutters!



Polanski, 1974





This movie is terrible! They really need to remake this!

Oh wait, it's actually a perfect film, first frame to last. Tremendous cast, beautifully shot, with what is pretty much a perfect screenplay. I never get tired of watching this gem. One of my favorite flicks of all time. Forget it MoFo, it's Chinatown!

Gentlemen Are Born (Alfred E. Green, 1934)

King Creole (Michael Curtiz, 1958)

+
The Tree in a Test Tube (Charles McDonald, 1943)

The Bedford Incident (James B. Harris, 1965)

At the height of the Cold War, Captain Richard Widmark of a U.S. destroyer pursues a Soviet sub in the waters near Greenland while reporter Sidney Poitier is aboard to get a story.
Crashing the Movies (Joe Anson, 1950)

+
Champagne (Alfred Hitchcock, 1928)

+
Agatha (Michael Apted, 1979)

+
Rio Bravo (Howard Hawks, 1959)

With the aid of his crippled deputy (Walter Brennan) Sheriff John Wayne takes on the baddies.
The Art Director (Otto Lang, 1949)

They Were Expendable (John Ford, 1945)

+
Once Upon a Honeymoon (Leo McCarey, 1942)

All I Desire (Douglas Sirk, 1953)

-

In 1910, actress Barbara Stanwyck returns to her Wisconsin family and town she left 10 years earlier to see her youngest daughter’s senior play and rekindles her love for her husband (Richard Carlson) and family life.
The Strange Love of Martha Ivers (Lewis Milestone, 1946)

Alibi Mark (Joseph Henabery, 1937)

The Seven-Per-Cent Solution (Herbert Ross, 1976)

The Miracle Woman (Frank Capra, 1931)

Cynical religious huckster Barbara Stanwyck falls for blind ventriloquist David Manners which makes her more soulful even though her chauffeur still might give her the finger.
The Skin Game (Alfred Hitchcock, 1931)

+
San Sebastian 1746 in 1968 (Floyd L. Peterson, 1968)

Crime of Passion (Gerd Oswald, 1957)

+
Morgan: A Suitable Case for Treatment (Karel Reisz, 1966)

-


Just divorced, Vanessa Redgrave finds evidence of her ex-husband Morgan (David Warner) in her apartment, and although she enjoys his eccentricity, she just can’t live with what most people would see as his mental illness.