Conflict
1945  NR  DRAMA  1h 26min
CAST— Humphrey Bogart, Alexis Smith, Sydney Greenstreet, Rose Hobart, Charles Drake, Grant Mitchell
MUSIC— Frederick Hollander  DIRECTOR— Curtis Bernhardt  BASED ON— The Pentacle (story), by Alfred Neumann, Robert Siodmak

     Engaging mystery involving Humphrey Bogart in murder and a serious case of “huh?”. Bogart, clearly in a troubled relationship with wife Rose Hobart, has fallen for his younger sister-in-law. Through a brainy plot and a horrendous staged accident he murders irksome wife… or does he? As he begins to get chummy with sister-in-law strange clues begin turning up suggesting that his late wife may not be so late after all. A compelling film that proves Bogart can play not only the aggressive bad man or the romantic lead but also the befuddled victim of poetic justice.
OUR RATING— ***

     Coneheads
1993  PG  COMEDY  1h 27min
CAST— Dan Aykroyd, Jane Curtin, Michelle Burke, Michael McKean, Jason Alexander, Lisa Jane Persky, Chris Farley, David Spade, Phil Hartman, Dave Thomas, Sinbad, Jan Hooks, Michael Richards, Jon Lovitz, Kevin Nealon, Adam Sandler, Garret Morris, Laraine Newman, Tim Meadows, Julia Sweeney, Ellen DeGeneres, Parker Posey, Joey Lauren Adams
MUSIC— David Newman  DIRECTOR— Steve Barron  BASED ON— Characters appearing on Saturday Night Live (television)

     If you were a teenager in the ‘70s, you need no one to tell you who the Coneheads are. But for everyone who wasn’t, like, of that generation, man, maybe a little bit of explanation is needed. The Coneheads were freaks. Maybe a bit more info? Sure. The Coneheads, one of the many sketches on Saturday Night Live, were aliens from the planet Remulak who came to Earth to conquer the planet. They were husband/father Beldar, played by Dan Aykroyd, wife/mother Prymaat, played by Jane Curtin, and daughter Connie, played by Laraine Newman (in the film she’s played by Michelle Burke). They blend in perfectly with Earth-folk, except for… their HEADS! They look like traffic cones (hence the name, perhaps?). Their mannerisms were a bit odd, but they had an excuse: “France. We come from France.” The hilarious sketches were burned into the brains of the American viewing public. From the way they dressed to the way they talked to the way they ate— everyone loved them. By the time this film was made the teens who loved the Coneheads were (hopefully) all responsible adults with teenagers of their own. How time does fly. This film, surprisingly, holds up very well despite the time-gap between now and the Coneheads’ popularity. The plot is very simple: The family crash-lands on Earth and must evade the INS. Before long they find themselves becoming quite human, all things considered. And for a film based on SNL sketches, the PG rating stays pretty much within its range. Many, many past SNL cast member cameos dot the landscape, so if you don’t want to miss any, you better wait to take that bathroom break.
OUR RATING— ***

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     Come Blow Your Horn
1963  NR  COMEDY  1h 52min
CAST— Frank Sinatra, Lee J. Cobb, Molly Picon, Barbara Rush, Jill St. John, Tony Bill
MUSIC— Nelson Riddle  DIRECTOR— Bud Yorkin  BASED ON— Come Blow Your Horn (play), by Neil Simon

     Thoroughly useless comedy about pig-headed playboy Sinatra taking in his twenty-one year old brother and teaching him all the tricks of the trade. The boy quickly adapts to his new environment and eventually begins to rule the roost. Meanwhile, Sinatra begins to fall in love with one of his many concubines, starts to see the error of his ways, and tries to steer his brother clear of the many mistakes that he had experienced. Billed as a comedy, this exploration into swingin’ sixties posh bachelor-hood falls flat on its celluloid face. For Frank Sinatra freaks only.
OUR RATING— *

     Comanche Moon
2008  NR  WESTERN/TELEVISION  4h 44min
CAST— Val Kilmer, Steve Zahn, Linda Cardellini, Elizabeth Banks, Ryan Merriman, Ray McKinnon, James Rebhorn, Adam Beach, Jake Busey, Wes Studi, Karl Urban, Rachel Griffiths
MUSIC— Lennie Niehaus  DIRECTOR— Simon Wincer  BASED ON— Comanche Moon (novel), by Larry McMurtry

     Augustus McCrea and Woodrow Call return in the second chapter of the Lonesome Dove saga. As captains in the Texas Rangers their duties include the continuing hunt for Comanche warrior Buffalo Hump, now an aging chief whose own son, Blue Duck, is causing Texas all manner of grief. Despite their main objectives, other tasks include mounting a search party to reclaim their former captain, now taken prisoner by Mexican outlaw Ahumado. While dealing with death on the trail the men must contend with life back home, from catering to their various lovelies to avoiding the captive captain’s lusty wife, their hands are always tied. There are also political points raised: with an impending civil war on the horizon how will the Texan be affected? As the Rangers constantly battle the Comanches what will become of them once the white man has his say and corrals the Native to reservations? Gus and Call may decide to retire from rangering and switch careers, perhaps trying their hands at ranching in little ol’ Lonesome Dove… Though the film takes its time the pace is never slow or dull; plenty of action and dramatics are to be had throughout its three parts. Steve Zahn and Karl Urban are perfect choices to precede Robert Duvall and Tommy Lee Jones, certainly much better casting decisions than those made for Dead Man’s Walk (1996). Doesn’t quite hit the highs that Lonesome Dove (1988) hit, but not bad overall.
OUR RATING— ***
PRECEDED BY— Dead Man’s Walk (1996)
FOLLOWED BY— Lonesome Dove (1988), Streets of Laredo (1995)

     Colombiana
2011  PG-13  ACTION  1h 48min
CAST— Zoe Saldana, Michael Vartan, Cliff Curtis, Lennie James, Callum Blue, Jordi Mollà
MUSIC— Nathaniel Méchaly  DIRECTOR— Olivier Megaton

     A gritty revenge flick centering on one woman’s skewed vision of justice. A young girl witnesses the murder of her parents at the hands of Colombian gangsters, her father’s former allies. She escapes to Miami where, under the tutelage of her shady uncle, she grows up to be Zoe Saldana, deadly assassin with a one track mind. She doesn’t just make hits; she leaves a message. She has an agenda and she’s out for blood. Mired in unpleasantness and hindered by Saldana’s uneven performance (first a merciless killing machine then a teary eyed introspective victim, etc.) this is a grisly (though stylish) entry in the babes with bullets section of forgettable features. Unrated version also available.
OUR RATING— **

     College Road Trip
2008  G  COMEDY  1h 22min
CAST— Martin Lawrence, Raven-Symone
MUSIC— Edward Shearmur  DIRECTOR— Roger Kumble

     If you’re in the mood for juvenile comedy, horrible acting, and lots of screaming, this may be for you. Martin Lawrence and Raven-Symone star in this inane attempt at comedy. She is college bound, ready to leave home and continue her academic career. He’s an insanely protective father, determined not to let his baby slip through his fingers. He decides to turn her college road trip into a loving, father-daughter bonding experience. But as is often the case in road trip comedies (Planes, Trains, and Automobiles [1987], Johnson Family Vacation [2004]) disaster strikes. Anything and everything becomes a hideous misadventure as they journey to the college of her choice. Disney here takes the road not taken by starring Lawrence in a G-rated family comedy, but this misfire takes a shortcut into a truly mirthless journey through the muck. They should have stayed home.
OUR RATING— *

Trailer Unavailable

     College
1927  NR  COMEDY  1h 6min
CAST— Buster Keaton, Ann Cornwall, Flora Bramley, Harold Goodwin, Grant Withers, Snitz Edwards
MUSIC— Silent  DIRECTOR— James W. Horne

     Slight Buster Keaton silent chronicling the transformation from nerd to athlete. Keaton plays a rather weak and spindly young man who falls for a college beauty. The problem: she prefers jocks over eggheads. Keaton commences to become a Grecian god by taking up Olympian athletics. However, lacking Herculean strength or the stamina of Atlas, the results are less than remarkable. Fun scenes of Keaton’s failures at the high jump, hurdles and javelin (among others) are the main attraction here. Not quite up to Harold Lloyd’s The Freshman (1925) but worth a viewing for Keaton buffs.
OUR RATING— ** ½

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     Cold Turkey
1971  PG  COMEDY  1h 41min
CAST— Dick Van Dyke, Pippa Scott, Tom Poston, Bob Newhart, Vincent Gardenia, Bernard Hughes, Edward Everett Horton, Jean Stapleton, Graham Jarvis
MUSIC— Randy Newman  DIRECTOR— Norman Lear  BASED ON— I’m Giving Them Up for Good (novel), by Margaret Rau, Nail Rau

     A smoldering satire on America’s bad habits, Cold Turkey follows the story of a small town’s fifteen minutes of fame. One of the nation’s largest tobacco corporations takes the advice of one scrupulous PR man, played by Bob Newhart, and offers one American town the chance to win $25,000,000; all they must do is pledge to quit smoking for thirty days. Only one town in the nation pledges all of their smokers: Eagle Rock, Iowa, a desolate, dirt-poor town that views this chance at monetary splendor a godsend; especially since the entire anti-smoking drive is headed by local minister Dick Van Dyke. And when the smoking stops the fun begins; tempers flare, gluttony becomes the norm, and surprisingly, they become an inspiration to the world. Shot with a self-effacing eye, this comedy revels in withdrawal-induced chaos. Take a puff of fresh air and enjoy. Made in 1969.
OUR RATING— ** ½

     The Cold Light of Day
2012  PG-13  ACTION  1h 33min
CAST— Henry Cavill, Bruce Willis, Sigourney Weaver, Caroline Goodall, Rafi Gavron, Emma Hamilton, Jim Piddock, Paloma Bloyd
MUSIC— Lucas Vidal  DIRECTOR— Mabrouk El Mechri

     More like The Cold Sound of Silence. You know, from an empty movie theater? In this, pretty much the most boring action film in recent memory, Henry Cavill stars as a no-nonsense guy visiting his family in Spain. Unbeknownst to him his father (Bruce Willis) is a longtime CIA operative with enemies galore, both inside the agency and out. Soon Cavill is on his own in Madrid, on the lookout for a mysterious briefcase that contains who-knows-what. But who can he trust in this new world of secrets and lies? Though riddled with action the film fails to generate thrills of any kind. The one potential saving grace is the presence of a genuine action star… who’s gunned down about thirty minutes in. The filmmakers must have thought that they were thinking outside the box when they threw in that briefcase; in actuality it’s just another MacGuffin, a plot device that helps to move the story along but is, in the long run, kind of useless. Much like the rest of the film.
OUR RATING— * ½

     Cocoon: The Return
1988  PG  FANTASY  1h 56min
CAST— Don Ameche, Jack Gilford, Gwen Verdon, Maureen Stapleton, Steve Guttenberg, Hume Cronyn, Jessica Tandy, Wilford Brimley, Elaine Stritch, Tahnee Welch, Courteney Cox
MUSIC— James Horner  DIRECTOR— Daniel Petrie

     If you’ll remember, at the end of Cocoon (1985) the Antareans were taken aboard their spaceship with their newfound human friends from the retirement village, having no choice but to leave the cocoons in the ocean for another rescue attempt. Well, they’re baaack. And guess who they’ve brought with them. Yep, the three “old farts” who started it all. This time they’ve come for one last goodbye to family and friends who can’t believe that these people (whom they thought to have died five years ago) are standing before them. But Earth starts to take its toll on their not-so-young human bodies and their little pleasure trip soon turns into one of pain. Meanwhile, scientists have discovered one of the Antarean cocoons, so Jack and Kitty have to forego their little romantic reunion to undertake a rescue mission. The film, while having great moments reuniting us with characters from the original, loses some of the charm along the way, using more special effects and more of a sci-fi driven storyline, whereas the original relied almost entirely on the characters, being more of a comedy-drama than anything else. The film is still worth watching, if just for the performances.
OUR RATING— ** ½
PRECEDED BY— Cocoon (1985)

     Cocoon
1985  PG-13  FANTASY  1h 57min
CAST— Don Ameche, Wilford Brimley, Hume Cronyn, Brian Dennehy, Jack Gilford, Steve Guttenberg, Maureen Stapleton, Jessica Tandy, Gwen Verdon, Herta Ware, Tahnee Welch, Barret Oliver, Linda Harrison, Tyrone Power, Jr., Clint Howard
MUSIC— James Horner  DIRECTOR— Ron Howard  BASED ON— Cocoon (novel), by David Saperstein

     Gather your friends for a rousing game of Pick Your Favorite Oldster! Don Ameche, Wilford Brimley and Hume Cronyn are three retired buddies living their remaining golden years in a retirement village. Their idea of fun and adventure is sneaking into the vacant neighbor’s pool once in a while for a quick dip. But when some new tenants move into the house, new tenants move into the pool: strange, rock-like pod things that are who-knows-what? The fellas decide to take their little afternoon dip despite the aquatic obstructions, but when they get out they feel different— they feel young, strong, alive! They soon discover the secret behind their sudden feeling of rejuvenation: the pod-esqe things in the pool are in fact extraterrestrial cocoons with living beings inside and our good buddies feel so good because the pool has been energized with a life-force to keep them alive until the pods can be taken to their home planet of Antarea. The real feelings of fun and charm in this film are not for its sci-fi aspect. We’ve all seen that a hundred times. No, the real beauty is how you feel about the characters and their lives. They become not just some old geezers at a nursing home but real people, at least for the duration of the film. The only thing lacking is more time spent with the supporting cast, primarily Brian Dennehy, who gives a great performance. But look on the bright side: you do almost get to see Wilford Brimley in a shower-sex scene. Bring on the Quaker Oats, baby! Oscar-winner for Best Supporting Actor (Don Ameche), Best Visual Effects.
OUR RATING— ***
FOLLOWED BY— Cocoon: The Return (1988)

Trailer Unavailable

     The Cocaine Fiends
1935  NR  DRAMA  1h 8min
CAST— Lois January
MUSIC— Unknown  DIRECTOR— William O’Connor

     Bottom of the barrel morality tale centering on ‘30s era twenty-somethings taking the “headache powder” that makes them feel “pretty swell”. That is until they’re told what it is; only then do their lives fall to pieces. Don’t even. Best line: “I’m a hophead. I need dope!” AKA: The Pace that Kills, Cocaine Madness.
OUR RATING— *

     The Cobweb
1955  NR  DRAMA  2h 4min
CAST— Richard Widmark, Lauren Bacall, Gloria Grahame, Charles Boyer, Lillian Gish, John Kerr, Susan Strasberg, Oscar Levant, Tommy Rettig, Paul Stewart, Adele Jergens
MUSIC— Leonard Rosenman  DIRECTOR— Vincente Minnelli  BASED ON— The Cobweb (novel), by William Gibson

     Boring, over-long time-waster centering on the functional patients at a mental hospital and their bickering doctors. New drapes are to be installed at the hospital and a crisis begins. That’s about it for this one. Really.
OUR RATING— *

     Cloverfield
2008  PG-13  SCIENCE FICTION  1h 25min
CAST— Lizzy Caplan, Jessica Lucas, T. J. Miller, Michael Stahl-David, Mike Vogel, Odette Yustman
MUSIC— N/A  DIRECTOR— Matt Reeves

     Take a first-person view of a night of terror in this entertaining homage to infamous B-movies of yesteryear. The going away party for everyone’s friend, Rob Hawkins, soon turns into the beginning of a nightmare for all in attendance. NYC is being attacked by a strange, unknown creature, standing at over three hundred feet high and wreaking havoc upon everything in sight. A small band of party-goers decide to make a break for it, until they learn of an injured friend across town, Rob’s on again/off again girlfriend Beth. The mission is on to rescue the woman he loves; but they gotta get there first. To do so they must evade creatures great and small and overcome sorrow and tragedy in the face of disaster. Shot from a first-person perspective, this unique film pulls out all the stops and delivers on all levels. Roar.
OUR RATING— ***
FOLLOWED BY— 10 Cloverfield Lane (2016), The Cloverfield Paradox (2018)

     Close Encounters of the Third Kind
1977  PG  SCIENCE FICTION  2h 15min
CAST— Richard Dreyfuss, Francois Truffaut, Teri Garr, Melinda Dillon, Cary Guffrey, Bob Balaban
MUSIC— John Williams  DIRECTOR— Steven Spielberg

     It can be hard to critique a film that has been a part of modern pop culture for thirty years, a film whose images and words have been burned into the minds of millions of viewers all over the world and loved by audiences and critics alike. So it may be best to give only a basic outline of the premise for those who want to hear about it all over again. A borderline neurotic, manic-depressive family man (played by Richard Dreyfuss) is one of the first to see alien spacecraft in the night skies near his home. Soon the entire world is abuzz with sightings and everyone wants information. Dreyfuss and others start to obsess about spacecraft, artwork, mud and mashed potatoes in their quest to uncover answers to these strange phenomena. Overlong by a mind numbing hour and a half the payoff is in the last hour. If you like your aliens to have a nice streak and you don’t mind science babble, this should be your cup of tea. Alternate versions also available. Oscar-winner for Best Cinematography, Best Sound Effects Editing (Special Achievement Award). Deemed “culturally, historically, or aesthetically significant” by the United States Library of Congress National Film Registry.
OUR RATING— **

     Clockwise
1986  PG  COMEDY  1h 36min
CAST— John Cleese, Penelope Wilton, Alison Steadman, Stephen Moore, Sharon Maiden, Joan Hickson
MUSIC— George Fenton  DIRECTOR— Christopher Morahan

     John Cleese stars in this frantic yet forgettable farce. School headmaster Cleese has been appointed chairman of a bunch of hoity-toity headmasters from all over the UK (which is a big deal). Obsessed with punctuality, his nightmare begins when he misses his train, then he wrecks a pupil’s car, he’s accused of kidnapping a former flame, plus he steals a pervert’s clothes. It looks like Cleese’s historic moment may be a long time coming… Honestly, it sounds better than it is. The film tries to entertain with sheer craziness but the funny is sorely lacking. Bland.
OUR RATING— * ½

     The Client
1994  PG-13  DRAMA  1h 59min
CAST— Susan Sarandon, Tommy Lee Jones, Mary-Louise Parker, Anthony LaPaglia, Anthony Edwards, Ossie Davis
MUSIC— Howard Shore  DIRECTOR— Joel Schumacher  BASED ON— The Client (novel), by John Grisham

     Legal counsel caters to all comers… even bratty eleven year-olds. A Southern lawyer is feeling pressure from the mob so he decides to take his own life… but not before inexplicably spilling his guts to a random kid (Brad Renfro) in the woods. Renfro is then wanted for questioning by the FBI, reporters, lawyers, etc. But the mob is also after him. He hires a sympathetic lawyer who sees how deep the kid is in. She then makes it her mission to guide and protect the boy not only from the bad guys but also from an unscrupulous Tommy Lee Jones, an opportunistic federal attorney with political aspirations. This entails bending, even breaking the law in order to remain one step ahead of everyone else. All credibility gets thrown out with the trash in this slight legal thriller that features a hero in an unlikable child, and a villain in the under-utilized Jones. Take it or leave it. Later developed into a television series.
OUR RATING— ** ½

     City Slickers
1991  PG-13  COMEDY  1h 52min
CAST— Billy Crystal, Daniel Stern, Bruno Kirby, Patricia Wettig, Helen Slater, Jack Palance
MUSIC— Marc Shaiman  DIRECTOR— Ron Underwood

     Pull on the Justins and slap on the Stetson for the rootin’ tootin’-est adventure this side of the Pecos. Or whatever. Friends Billy Crystal and Daniel Stern are always being dragged along on whatever dangerous expedition that currently strikes the fancy of their friend Bruno Kirby. Whereas Kirby has married a gorgeous twenty-something underwear model, Crystal laments approaching his fortieth and Stern’s marriage has dissolved. Sounds like another life-affirming, male-pattern bonding trip is in order. This time the New Yorkers head to New Mexico, where they’re soon up to their ears in beef jerky and cow chips. They hire on for a two-week cattle drive, the real deal, complete with tumbleweeds and saddle sores. They find themselves constantly amazed at the life on the open plain, the death on the open plain, and crusty trail boss Jack Palance, who pretty much is the open plain. This dude’s no dude; he’s a cowboy through and through. As the city boys traverse the harsh terrain they learn valuable life lessons they wouldn’t have learned on Wall Street. Takes many a detour into sentimentality, but those detours are welcome. As heartwarming as it is funny this fish-out-of-water/coming-of-age tale may even have one shedding a tear by the time the credits begin to roll. Yee-haw! Watch for a young Jake Gyllenhaal as Crystal’s son. Oscar-winner for Best Supporting Actor (Palance).
OUR RATING— *** ½
FOLLOWED BY— City Slickers II: The Legend of Curly’s Gold (1994)

     City Heat
1984  PG  COMEDY  1h 37min
CAST— Clint Eastwood, Burt Reynolds, Jane Alexander, Madeline Kahn, Rip Torn, Irene Cara, Richard Roundtree, Tony Lo Bianco
MUSIC— Lennie Niehaus  DIRECTOR— Richard Benjamin

     Clint Eastwood and Burt Reynolds unite in this sometimes dull, sometimes ripping Prohibition-era action-comedy. Reynolds is a wise-cracking private eye, a onetime police detective, who constantly bickers with his ex-partner Eastwood. Reynolds’ current business partner (Richard Roundtree) turns out to be a shady character, extorting money from gangsters, playing one bad guy against another. Things don’t turn out well for him. Now Reynolds must protect himself from gangsters who believe him to be in on the late Roundtree’s racket. Eastwood reluctantly partners with Reynolds again, if only for an opportunity to regularly insult him (plus they need to save Reynolds’ squeeze from her poker-playing kidnappers, but that’s neither here nor there). Multiple MacGuffins make possible the antics herein, as the dynamic duo of Eastwood and Reynolds shoot at anything that moves (rarely injuring anything other than walls, as per the PG rating), smart off and generally have quite the macho ball. What story there is somewhat fails at grabbing one’s attention. More of an excuse to pair two bankable stars in a fairly entertaining yet unremarkable action hero parody. Average.
OUR RATING— ** ½

     City for Conquest
1940  NR  DRAMA  1h 44min
CAST— James Cagney, Ann Sheridan, Frank Craven, Arthur Kennedy, Donald Crisp, Frank McHugh, George Tobias, Elia Kazan, Anthony Quinn
MUSIC— Max Steiner  DIRECTOR— Anatole Litvak

     A young easy going boxer from the slums of NYC, Young Samson rises up the ranks, soon to be the welterweight champion of the world. All the while, his dance champion girlfriend is touring the country with a no-good snob who sees everything in dollars and cents. As miserable as she is, she still holds onto the hope of being with Samson again. Now, as Samson enters the ring for the big fight, things are looking up. That is until his opponent smears poison on his gloves. After being struck in the face, Samson gets the junk in his eyes, blinding him. With his boxing career kaput, he becomes a newspaper vendor right back where he started. The first ¾ of the film holds little interest, unless you’re into repetitive Dancing With the Stars drivel, complete with banal soap opera dialogue, but the boxing holds some excitement. Cagney fans may appreciate this one more that others would.
OUR RATING— **

     Citizen Kane
1941  NR  DRAMA  1h 59min
CAST— Orson Welles, Joseph Cotton, Everett Sloane, Agnes Moorehead, Dorothy Comingore, Ray Collins, George Coulouris, Ruth Warrick, William Alland, Paul Stewart, Erskine Sanford
MUSIC— Bernard Hermann  DIRECTOR— Orson Welles

     The first film of Orson Welles’ career is considered, in many circles, to be the greatest film ever created, and considering Welles’ youthful age of twenty-five, he certainly did an excellent job in all regards, as co-writer, producer, director, and star. The story centers on money-making powerhouse Charles Foster Kane, from his rise to power to his death, where lying on his deathbed he utters the now immortal word “rosebud”. But what does “rosebud” mean? An investigative reporter soon begins traveling across the country, interviewing Kane’s friends and acquaintances to uncover the hidden meaning behind the elusive word. Shot in black and white, using shadows to their full effect, and shot with innovative lenses that leave nothing out of focus, with quick writing and superb acting, the film shows how beautiful the classics can be. Oscar-winner for Best Writing (Original Screenplay). Deemed “culturally, historically, or aesthetically significant” by the United States Library of Congress National Film Registry.
OUR RATING— *** ½

     Cinderella Man
2005  PG-13  DRAMA  2h 24min
CAST— Russell Crowe, Renee Zellweger, Paul Giamatti, Craig Bierko, Paddy Considine, Bruce McGill, Ron Canada, Rosemarie Dewitt
MUSIC— Thomas Newman  DIRECTOR— Ron Howard  BASED ON— True events

     Inspiring semi-true account of boxer James J. Braddock, the pride of New Jersey. He fought well in his younger years, but the years caught up with him. To make matters even worse the Great Depression took away his fortune, leaving he and his family in dire straits. But his spirit never waned. Finally he gets a second chance, a possible opportunity to make a comeback. The road ahead will be rough indeed, but Braddock faces the challenge head on, his face set in grim determination. Yet another humble riches to rags tale, but handled with care, with no melodrama, only a potent style culminating in an incredible finale. Paul Giamatti (in an Oscar-nominated performance) steals the show as Braddock’s slick talking agent and number one supporter.
OUR RATING— ***

     Cinderella
2015  PG  FANTASY  1h 45min
CAST— Cate Blanchett, Lily James, Richard Madden, Stellan Skarsgård, Holliday Grainger, Derek Jacobi, Helena Bonham Carter
MUSIC— Patrick Doyle  DIRECTOR— Kenneth Branagh

     A lush adaptation of a classic Disney franchise. Ella is a happy young woman, despite the loss of her mother at an early age. Now her father has remarried, and this one’s a piece of work; her wild revelries and mean-spirited daughters bring shame to what was once a beautiful home. Now Ella’s father has died and her steps treat her as a slave. They won’t even allow her to attend the royal ball, the guest list including every maiden in the land. But a little help from her fairy godmother (plus the added generosity of various farm animals and rodents) is all Ella needs to make a night of it in style. She woos the prince, loses a shoe and becomes the envy of all. After the ball Ella’s identity remains a mystery. The prince begins a massive search for the foot that belongs to the lost slipper; said foot should probably still be attached to the rest of fair maiden. Sumptuous sets and scenery are the main attraction in this somewhat hollow interpretation. The casting is fine as is the now familiar story but there’s nothing here that’s Bibbidi Bobbidi new.
OUR RATING— ** ½
ORIGINAL— Cinderella (1950)

     Cinderella
1950  NR  ANIMATED  1h 15min
CAST— Ilene Woods, Eleanor Audley, Rhoda Williams, Lucille Bliss, Verna Felton, Mike Douglas
MUSIC— Paul J. Smith, Oliver Wallace  DIRECTORS— Wilfred Jackson, Hamilton Luske, Clyde Geronimi

     This is the real deal. Walt Disney’s timeless classic that all little girls have seen multiple times and all little boys have seen at least once (come on, admit it). You gotta feel for Cinderella; her stepmother despises her, treats her as a slave, lets her evil cat torture her. Basically Cinderella’s life has become a living heck since stepmother took over. But when the king decrees that all of the maidens in his kingdom are to appear at a royal ball Cinderella sees her chance to shine. But of course her steps screw that up as well. It’s a good thing that she has a fairy godmother, there to grant her wish to go to the ball. After that it’s all pumpkin coaches, glass slippers and the like. Marred only by an abrupt ending this tale is sure to please the family time and again. Remade and retold countless times, with varying degrees of success. Bibbidi Bobbidi Boo.
OUR RATING— ***
FOLLOWED BY— Cinderella II: Dreams Come True (2002), Cinderella III: A Twist in Time (2007)
REMADE AS— Cinderella (2015)

     Cimarron
1960  NR  WESTERN  2h 27min
CAST— Glenn Ford, Maria Schell, Anne Baxter, Arthur O’Connell, Russ Tamblyn, Mercedes McCambridge, Vic Morrow, Charles McGraw, Henry (Harry) Morgan, Edgar Buchanan, Robert Keith, Aline MacMahon, David Opatoshu, Mary Wickes
MUSIC— Franz Waxman  DIRECTOR— Anthony Mann  BASED ON— Cimarron (novel), by Edna Ferber

     Vivid account of one family’s struggle through the years in the American West. Glenn Ford plays a restless jack-of-all-trades whose credits include gunfighter, cowhand and attorney. When he marries he begins to figure a new life for the two of them; the U.S. Government is offering free land in the territory of Oklahoma to the first settlers to claim it. Ford wants a piece of the action so he and his wife travel to the territory and (in an impressive human stampede) claim their land. But their story has barely begun. They acquire a newspaper business and make a go of that. But Ford is feeling rather restless. He decides to leave his family, come back into the picture after five long years, run for governor, and then leave his family again when that falls through. A fine story is muddied by Ford’s erratic behavior, leaving his character totally inaccessible. Not quite a classic, but a fine film nevertheless (despite the complaints).
OUR RATING— ** ½
ORIGINAL— Cimarron (1931)

     A Chump at Oxford
1940  NR  COMEDY  1h 3min
CAST— Stan Laurel, Oliver Hardy, Wilfred Lucas, Forrester Harvey, James Finlayson, Anita Garvin
MUSIC— Marvin Hatley  DIRECTOR— Alfred Goulding

     Laurel and Hardy at their best. After seeking a meager living at blue-collar jobs (one of which includes Stan in drag) the guys nab a holdup man, purely by accident, of course. As a reward they are given an education at the prestigious Oxford University. Upon arrival they’re enthusiastically greeted by a band of jolly-good pranksters with no higher ambition than to torture the newbies. Classic L&H features memorable hedge-row maze sequences and offers a glimpse of a very young Peter Cushing. Don’t miss out.
OUR RATING— ***

Trailer Unavailable

     Chuka
1967  NR  WESTERN  1h 35min
CAST— Rod Taylor, John Mills, Ernest Borgnine, Luciana Paluzzi, James Whitmore, Angela Dorian, Louis Hayward
MUSIC— Leith Stevens  DIRECTOR— Gordon Douglas  BASED ON— Chuka (novel), by Richard Jessup

     Slow-moving yet well played Western featuring Rod Taylor as the roaming gunslinger Chuka. He escorts an old flame to a fort handled by military miscreants, the only shelter in a barren desert. There they learn of an impending attack by Arapaho Indians and are forced to confront the hopelessness of their situation. A useless love story hinders the film, though Taylor’s performance pulls it from the fire.
OUR RATING— ** ½

     A Christmas Story
1983  PG  COMEDY  1h 33min
CAST— Peter Billingsley, Darren McGavin, Melinda Dillon, Ian Petrella, Scott Schwartz, Tedde Moore
MUSIC— Paul Zaza, Carl Zittrer  DIRECTOR— Bob Clark  BASED ON— In God We Trust, All Others Pay Cash (novel), by Jean Shepherd

     You’ll shoot your eye out! You’ll shoot your eye out! Enough already! That’s how Ralphie feels. All he wants for Christmas is an official Red Rider carbine-action 200-shot long-range model air-rifle. But the only response he gets from his mother is the opening line of this review, so he writes an essay for school expressing his wish. His teacher gives the same response. The only response he gets from his father is to ask a department store Santa Clause. Santa’s response is pretty much in the same ballpark as his mother’s and teacher’s. Yes, Ralphie’s quest for a BB gun is full of misery and woe for him, full of smiles and laughs for us (aren’t we wicked?). Don’t get the wrong idea about this movie. Just because it’s called A Christmas Story and it’s about a boy who wants a BB gun for Christmas, that doesn’t mean it’s primarily about Christmas. It can truly be enjoyed by anyone and everyone, any time of year and every time of year, because this movie is at heart a good ol’ fashioned comedy with nonstop laughs kept afloat by a day-dreaming little boy named Ralphie who dreams of nothing more than riding the range with his trusty gun Ol’ Blue right by his side. Deemed “culturally, historically, or aesthetically significant” by the United States Library of Congress National Film Registry.
OUR RATING— ****
FOLLOWED BY— It Runs in My Family (1994), A Christmas Story 2 (2012)

     Chisum
1970  G  WESTERN  1h 51min
CAST— John Wayne, Forrest Tucker, Christopher George, Ben Johnson, Bruce Cabot, Glenn Corbett, Patric Knowles, Andrew Prine, Richard Jaeckel, Lynda Day, Geoffrey Deuel, Pamela McMyler
MUSIC— Dominic Frontiere  DIRECTOR— Andrew V. McLaglen  BASED ON— True events

     John Wayne is John Chisum, king of the Pecos. He resides on the biggest ranch in New Mexico. And Lawrence Murphy, the local land-grabber, covets it. He hires rustlers and banditos to try to force Chisum off his land. Big mistake. Chisum has just made the acquaintance of one William Bonney, aka Billy the Kid, a crack shot who’s loyal to Chisum’s new business partner, Henry Tunstall. While Murphy uses hook and crook to meet his goals Billy is busy defending the honorable (using less than honorable methods). Another account of the Lincoln County war, but its slow pace prevents it from being a classic interpretation. Redeemed somewhat by a slam bang finale, though to tell the truth, we’ve seen it all before.
OUR RATING— ** ½

     A Child Is Waiting
1963  NR  DRAMA  1h 42min
CAST— Burt Lancaster, Judy Garland, Gena Rowlands, Steven Hill, Bruce Ritchey
MUSIC— Ernest Gold  DIRECTOR— John Cassavetes

     A sensitive and touching drama, this film follows the work of a new teacher at a school for mentally impaired children. Totally unprepared for the new world which awaits her she begins to feel overwhelmed by her new position. Until, that is, she meets a young boy named Reuben who looks upon her as a surrogate mother; soon a friendship and a bond develops between the two. The director of the Institute, however, sees danger ahead and realizes that if she continues to cultivate this maternal bond with Reuben, a rift may soon develop between her and the other students. Yes, she had cracked open Reuben’s solitary shell but the director feels that she’s done it in an unethical way. He soon shows her what may happen to those put in the same situation as the poor boy. The film tends to drag at points, and it’s a bit sentimental, but it is a solid drama with a fine cast including terrific performances from children with disabilities.
OUR RATING— ** ½

     The Cheyenne Social Club
1970  PG  WESTERN  1h 43min
CAST— Henry Fonda, James Stewart, Shirley Jones, Sue Ane Langdon, Elaine Devry
MUSIC— Walter Scharf  DIRECTOR— Gene Kelly

     OK Western-comedy features James Stewart and Henry Fonda as two cowboys who trek from Texas to Wyoming. Upon arrival in the town of Cheyenne the two discover that the property Stewart has come to claim is a brothel. Stewart decides that the decent thing to do would be shutting down, putting a number of working girls out of business. This angers the entire town, some townsfolk viewing the cathouse as a home away from home. The tone is kept light, but the padding is awfully thick.
OUR RATING— ** ½

     Cheyenne Autumn
1964  NR  WESTERN  2h 34min
CAST— Richard Widmark, Carroll Baker, Karl Malden, Delores Del Rio, Sal Mineo, Edward G. Robinson, James Stewart, Ricardo Montalban, Gilbert Roland, Arthur Kennedy, Patrick Wayne, Elizabeth Allen, Victor Jory, John Carradine, Mike Mazurki, John Qualen, George O’Brien
MUSIC— Alex North  DIRECTOR— John Ford

     Director John Ford’s last Western tale is a good one, maintaining the elements of heartfelt drama and rip-roaring action throughout. After the U.S. Armed Forces have taken the Native Americans from their homeland they’ve been confined in reservations— prison-like encampments lorded over by the U.S. Army. With no medicine for their sick, few rations for their bellies, a tribe of Cheyenne Indians feel that enough is enough and simply walk free of their encampment; their goal: their homeland, which had been theirs for generations, until the white man came, that is. The road will not be easy; after crossing the border of the reservation the Cheyenne become fugitives, under no protection from the U.S. government. Throughout their arduous trek through the wilderness they face death at the hands of various regiments of the U.S. Cavalry, murderous thugs, and debilitating starvation. This certainly is not the most chipper of Ford’s films but it certainly leaves an impact. The only flaw is James Stewart (believe it or not) as a gambling couldn’t-care-less Wyatt Earp in a semi-comical scene halfway through the picture. His character and demeanor seem to be from another film entirely. The only time one may wish that Jimmy would have just stayed out of Monument Valley.
OUR RATING— ***

     The Cheap Detective
1978  PG  COMEDY  1h 32min
CAST— Peter Falk, Ann-Margret, Eileen Brennan, Sid Caesar, Stockard Channing, James Coco, Dom DeLuise, Louise Fletcher, John Houseman, Madeline Kahn, Fernando Lamas, Marsha Mason, Phil Silvers, Vic Tayback, Abe Vigoda, Paul Williams, Nicol Williamson, David Ogden Stiers
MUSIC— Patrick Williams  DIRECTOR— Robert Moore

     A hilarious script by Neil Simon and a good-natured performance by Peter Falk are the mainstays of this ever so silly spoof of Bogart films and the like. Falk plays a private detective whose partner has been murdered. But that only complicates matters. The real story here (if you can call it a story) is like this: Falk’s long lost love re-enters his life, husband in tow. They are now leaders in the French underground and they’ve come to America to open a French restaurant, or something, but the bill of sale has been stolen by the Germans. Falk must acquire the papers while simultaneously trying to locate a diamond necklace stolen from some other guy some years ago. Primarily a spoof of Casablanca (1942) and The Maltese Falcon (1941), this is a hit or miss comedy; not every joke catches fire though there are enough funny ones to keep one entertained.
OUR RATING— ** ½

     Chato’s Land
1972  PG  WESTERN  1h 50min
CAST— Charles Bronson, Jack Palance, Richard Basehart, Ralph Waite, Richard Jordan, Victor French
MUSIC— Jerry Fielding  DIRECTOR— Michael Winner

     Charles Bronson plays an Apache half-breed in this less than engaging Western. In self defense he kills the local lawman and heads for home. A posse is soon rounded up (headed by Jack Palance) and their hatred runs deep. They travel to Bronson’s home and use his wife as bait… after they rape her, that is. That tears it. Bronson goes on the war path, picking off members of the posse one by one. The tension mounts so that the men in the posse begin killing each other off, as well. If only it didn’t take so long. Most of the film is filled with needless exposition that you begin to question the intent of the filmmakers; did they want to deliver a soul-searching travelogue or a revenge picture? Sorry to say, it fails on both accounts. One positive note: check out Ralph Waite as a crazed rider; pretty unpleasant death, as well.
OUR RATING— **

     Charlie and the Chocolate Factory
2005  PG  FANTASY  1h 55min
CAST— Johnny Depp, Freddie Highmore, David Kelly, Helena Bonham Carter, Noah Taylor, Missi Pyle, James Fox, Deep Roy, Christopher Lee
MUSIC— Danny Elfman  DIRECTOR— Tim Burton  BASED ON— Charlie and the Chocolate Factory (novel), by Roald Dahl

     The term “eye candy” just took on a whole new meaning. Willy Wonka, the world’s most secretive chocolatier has distributed five golden tickets inviting children to visit his factory. Four of the children are a royal pain, but the fifth child, Charlie Bucket is shy and meek, a far cry from the others. When everyone arrives the doors open to a most fantastic sight: a world of music and merriment, adventure and danger, and of course, candy, candy, candy! Sweets as far as the eye can see. As this gaping group of tourists descend further and further into the bowels of the factory the audience is treated to another dose of madness from director Tim Burton. It’s a diabetic nightmare from start to finish, so turn on your sweet tooth and enjoy.
OUR RATING— ***
ORIGINAL— Willy Wonka and the Chocolate Factory (1971)

Trailer Unavailable

     Champagne
1928  NR  COMEDY-DRAMA  1h 33min
CAST— Betty Balfour, Jean Bradin, Gordon Harker, Ferdinand von Alten, Clifford Heatherly, Jack Trevor
MUSIC— Silent  DIRECTOR— Alfred Hitchcock

     A minor improvement on Hitchcock’s silent films, Champagne is a surprising blend of comedy and drama. A spoiled little rich girl spends Daddy’s money frivolously, so he decides to teach her a little lesson. As the stock market crashes he claims that he was caught in the fallout. Devastated, his daughter vows a blue collar lifestyle, complete with home cooked meals and humble residence. After finding a job in an establishment that is less than honorable (we’re talking the ‘20s here), her father finally reveals his scheme to her, expecting her to take it in stride. Unlike earlier efforts, this film has more obvious Hitchcockian shots, those little moments that bear his mark and add a visual punch to the overall effect.
OUR RATING— * ½

     Cattle King
1963  NR  WESTERN  1h 30min
CAST— Robert Taylor, Joan Caulfield, Robert Loggia, Robert Middleton, Larry Gates, Malcolm Atterbury
MUSIC— Paul Sawtell, Bert Shefter  DIRECTOR— Tay Garnett

     In post-Civil War Wyoming honest-hearted rancher Robert Taylor faces hostility from unknown riders who tear down his fences and scatter his cattle. He suspects former friend Robert Middleton of stirring up the trouble, wanting to add to his already vast fortune. Middleton has started a range war, convincing other farmers that Taylor is to blame, cutting his own fences, blaming others for his own mischief. When the President rolls into town Taylor soon convinces he and his fellow ranchers that this is his fight, as well. Beautiful autumn scenery stands out, unlike anything else. Entertaining, for the duration; unfortunately a forgettable Western yarn.
OUR RATING— ** ½

Trailer Unavailable

     The Cat’s-Paw
1934  NR  COMEDY  1h 42min
CAST— Harold Lloyd, Una Merkel, George Barbier, Alan Dinehart, Grace Bradley, Nat Pendleton
MUSIC— Harry Akst, Roy Turk, Alfred Newman  DIRECTOR— Sam Taylor  BASED ON— The Cat’s Paw (novel), by Clarence Budington Kelland

     The mayoral race is on in this political comedy starring silent film great, Harold Lloyd. Lloyd plays the son of a white missionary living in China who returns to the States in search of a suitable wife. In his hometown he inadvertently convinces the town’s crooked law-makers that he would be the perfect mayoral candidate to lose in the next election; the more losers in the next election, the longer they can keep their current slacker mayor. But they forgot to form a backup plan. Lloyd wins the election and cleans up the town, much to the shock of everyone involved. Different from other Lloyd features in that he plays the calm and collected gentleman (while still maintaining the funny) instead of the put-upon everyman. Still entertaining with a fine finale. And who could forget the words of wisdom from Master Ling Po?
OUR RATING— ** ½

     Cat's Eye
1985  PG-13  HORROR  1h 34min
CAST— Drew Barrymore, James Woods, Alan King, Kenneth McMillan, Robert Hays, Candy Clark
MUSIC— Alan Silvestri  DIRECTOR— Lewis Teague  BASED ON— Quitters, Inc. (story), The Ledge (story), by Stephen King

     Cheesy yet entertaining triptych of Stephen King tales, the first two based on short stories, the last written exclusively for the screen. The film follows a stray cat along the East Coast. First stop: NYC. In Quitters, Inc., James Woods plays a heavy smoker who seeks treatment for his addiction from the eponymous agency. To say the agency gets results is an understatement; they skip the trendy stuff and get right down to hardcore psychological torture. If the client gives in, even for a puff, heavy consequences will occur, the victims being, not the clients, but their loved ones. Results? You bet. Speaking of betting, an Atlantic City high roller lives to wager. That's also how he kills. The Ledge features the cat making his way to the gambler, who's just had his wife's boyfriend (Robert Hays) kidnapped. But the gambler has a more interesting plan than gangster violence. He bets that Hays can't successfully traverse the entire length of his high rise hotel's narrow ledge. If Hays succeeds, winner takes all, including the wife. If he looses his balance, well... The gambler just wants to keep Hays on his toes. Finally, General tells of the cat making his way to Wilmington, NC and being adopted by a young Drew Barrymore. The cat, now dubbed General, may have found the perfect home, if not for the nasty troll that lives in the walls and steals the little girl's breath. Even though General is generally blamed for the troll's dirty deeds, he knows in his furry little heart that he must protect his newfound people. Though the first two stories delve into psychological horror (with plenty of black comedy undertones) the third (and best) is pure creature feature fun. So whether you came for the corny King or the ferocious feline, this guilty pleasure proves fun (especially for cat lovers). AKA Stephen King's Cat's Eye.
OUR RATING— ***

     Cat People
1942  NR  HORROR  1h 13min
CAST— Simone Simon, Kent Smith, Tom Conway, Jack Holt, Jane Randolph
MUSIC— Roy Webb  DIRECTOR— Jacques Tourneur

     A classic film capturing the use of shadows, Cat People explored the then dangerous subject of desire. A young Serbian woman and an American man marry, but they never so much as kiss, for her fear of an ancient curse upon her family. If she ever gives in to her “selfish” desires, she fears that she will turn into a panther and kill her husband. The film is really nothing more than a simple drama with a suspenseful ending, but delivered with a great sense of style. Still, the acting, set design, and afore mentioned use of shadows are used to good effect, giving the film a very eerie quality. Deemed “culturally, historically, or aesthetically significant” by the United States Library of Congress National Film Registry.
OUR RATING— ***
FOLLOWED BY— The Curse of the Cat People (1944)
REMADE AS— Cat People (1982)

     The Catered Affair
1956  NR  COMEDY-DRAMA  1h 32min
CAST— Bette Davis, Ernest Borgnine, Debbie Reynolds, Barry Fitzgerald, Rod Taylor
MUSIC— Andre Previn  DIRECTOR— Richard Brooks

     Bette Davis plays the assertive wife of a New York cabbie whose only daughter is about to marry. Instead of a plain and inexpensive wedding like her daughter wants, Davis starts to plan an elaborate catered affair (hence the name), driving her husband crazy with grief. This poor man’s Father of the Bride (1950) feels like a comedy but acts out like a dramatic play. The viewer seems to constantly anticipate a laugh or two but ends up with nothing to show for it. Still, it’s another good film for Bette Davis freaks. Barry Fitzgerald, as the wee Oirish uncle, steals the show. Later adapted for the stage. AKA: Wedding Party.
OUR RATING— **

     Catch Me if You Can
2002  PG-13  COMEDY-DRAMA  2h 21min
CAST— Leonardo DiCaprio, Tom Hanks, Christopher Walken, Martin Sheen, Nathalie Baye, Amy Adams, James Brolin, Brian Howe, Jennifer Garner
MUSIC— John Williams  DIRECTOR— Steven Spielberg  BASED ON— True events

     Steven Spielberg delivers again! But this time it’s not with a whip-toting adventurer or carnivorous dinosaurs. This time it’s a fresh-faced young con-man: Frank Abignale, Jr. This is the true story of a young man (very young actually, he was still a teenager) who ran away from home and conned an airline company into believing that he was a co-pilot, earning a steady paycheck and everything. And so it began. From there he was a doctor, a lawyer… and the most sought after criminal by FBI agent Carl Hanratty, played by Tom Hanks. After all of the ups and downs of this film the surprise comes in the last few minutes, as Frank’s life takes on the ultimate ironic twist. So stick around.
OUR RATING— ***