The House of the Yellow Carpet (1983)

Plot twists around every turn, 11 February 2017

The House of the Yellow Carpet is one of those movies where the less you know about, the more you're likely to enjoy it. With this movie, too much plot detail would be a bad thing. I'll just say that a young couple, Franca and Antonio, have a carpet (yellow of course) they'd like to sale. It was a present from Franca's stepfather, but it doesn't work in their small flat. While Antonio is away, Franca answers the door to an old man with an interest in buying the carpet. But is the carpet really all he came for? Anymore detail would seriously be too much. 

The House of the Yellow Carpet is s small, often claustrophobic, thriller/giallo with only four speaking parts. It's filled with more tension and suspense than many better known movies. I'd compare the feeling to something like Wait Until Dark. It's a little slow to get going, but once it does, it's edge of the seat type stuff. The acting is beyond first rate. Erland Josephson as the old man and Béatrice Romand as Franca give some of the best performances I've seen in a while. Just brilliant. And I can't say enough about director Carlo Lizzani. Every twist and turn in the script works flawlessly. This is a fantastic movie that deserves a much wider audience.

9/10

Seven Murders for Scotland Yard (1972)

Sorry, but I'm not a fan, 1 February 2017

After watching Seven Murders for Scotland Yard a couple of weeks ago, I initially rated the movie a 5/10. As I sat down to write this, however, I couldn't remember why I had been so generous. Sitting here, I'm having trouble coming up of anything positive to write.

I'm not really sure if there are actually seven murders in the movie or not. I wasn't counting and can't be bothered to go back and look. The exact number of murders, though, is the least of the problems I have with Seven Murders for Scotland Yard. Instead, my major issue with the film is the lack of originality. For example, for a movie with seven(?) murders, they're filmed with a complete lack of imagination. We've seen it all before and usually handled better. I wasn't expecting anything as masterful as Blood and Black Lace or Tenebre, but the murder scenes here are dull and horribly predictable in execution. They all look the same – cheap and nasty (and not in a good way). In fact, the whole film looks cheap and dirty – like it was filmed through a filter of muck. 

The plot doesn't do the movie any favors either. The killer is too easy to spot right from the start. The movie includes plenty of Giallo required red herrings and plot twists, but they'e so obvious they don't work. For example, a lot of time is spent trying to make the audience think that Paul Naschy's character might be responsible for the murders. But it never works because it's too easy to see through. There might as well be a sign flashing "Red Herring" above his head. Like much of the rest of the movie, the plot is dull and lifeless.

Finally, there's the cast. I couldn't find anyone to root for. In the past, I've made no secret about my general dislike for Naschy and, with Seven Murders for Scotland Yard, nothing has changed my opinion. His character even looks like the same guy he plays in most all of his movies – leather jacket, collar-less shirt, slacks, and dress shoes. I kept waiting for him to turn into a werewolf. Again, unoriginal. And then there's Renzo Marignano as Scotland Yard Inspector Henry Campbell. His methods of investigation were laughably unbelievable. In fact, I realized about half-way through the movie that he didn't remind me of an Inspector, but instead, he reminded me of Monty Python's Graham Chapman playing a Scotland Yard Inspector. 

Overall (an unfortunately), Seven Murders for Scotland Yard is a stinker in my book.

3/10

Lured (1947)

"There's a homicidal maniac loose somewhere in the vast honeycomb of London.", 9 December 2015

A homicidal maniac is loose in London, murdering young women he meets through newspaper personal ads. When Lucy Barnard goes missing, her friend Sandra Carpenter (Lucille Ball) agrees to help Scotland Yard catch a killer. Along the way, however, she falls in love with number one suspect Robert Fleming (George Sanders). Despite all the evidence to the contrary, he can't be the killer, can he?

Despite all the flaws in Lured, it's just too much fun not to give it a positive rating. The cast is strong. I really enjoyed watching several of them play against character. Sanders usually played men in charge of their environment. It was interesting to watch him play a character who has lost control of his situation. Lucy is obviously best know for her work in comedy. While she a few funny moments in Lured, I was really impressed with her efforts in the more dramatic parts. George Zucco, an actor I know best playing Egyptian priests or mad scientists, gets a chance to do comedy. He's more than up to the task. Throw into the mix the talents of Boris Karloff, Charles Coburn, Sir Cedric Hardwicke, Alan Mowbray, and Alan Napier and you've got one impressive cast. 

Beyond the cast, other positives I found in Lured, include: fabulous costumes, nice cinematography, a witty script, and plenty of atmosphere. 

But as I said, Lured has it's share of flaws. Chief among them is that there's really not much of a mystery. I found it way too easy to spot the killer. And his motives are a bit muddled. If he did it because he loved Sandra, then why kill all the other women? If he did it because he loved Fleming (as some suspect), then why frame him? There's a lot of plot inconsistency. 

Finally, as much as I enjoyed watching Lucy and Karloff in their scenes together, it doesn't really fit with the rest of the movie. It almost felt like this part came from another film. These scenes really do nothing to advance the plot.

Even with the multiple problems, like I said, Lured is a fun movie. A 6/10 from me.

6/10

Assault on a Queen (1966)

"I can think of 'a hundred' better ways to die!", 4 December 2015

Frank Sinatra plays a Mark Brittain, a charter boat captain operating in the Caribbean. Needing cash, he agrees to work for a group doing some treasure hunting. Instead of gold or jewels, he finds a WWII era German submarine. Just as any rational human being would, the group decides to get the sub into running order and use it to rob the Queen Mary. Makes perfect sense, right?

Overall, Assault on a Queen is a very disappointing film. The majority of the runtime can best be described as lifeless. Director Jack Donohue's direction is strictly by-the-numbers. He brings little in the way of innovation that adds interest to the proceedings. Star Frank Sinatra doesn't help as he sleepwalks his way to a paycheck. There's none of that Sinatra sparkle evident here. Most of the rest of the cast seemed to be just as disinterested. It's a shame - with Sinatra, Richard Conte, Anthony Franciosa, Alf Kjellin, and the gorgeous Virna Lisi, I expected better. Throw in an insanely ludicrous plot and you've got the recipe for a real loser.

I'll give this one a generous 4/10.

4/10

North by Northwest (1959)

"How does a girl like you get to be a girl like you?", 2 December 2015

I'd like to kick myself in the seat of the pants for just now getting around to watching North By Northwest. I've been meaning to sit down with it for years and finally got around to it this week. It's a case of too many movies and too little time. Anyway, what a treat! It's Alfred Hitchcock and Carey Grant doing what they do best and treating us to one of the most entertaining pieces of film I've ever seen. I don't throw 10/10 ratings around like candy. Over the years, I've taken the time to rate 2,575 entries on IMDb. Of those, I've only given 52 (well, now 53) 10/10 ratings. To me, a movie has to be really special to deserve a 10. And North By Northwest is a very special movie.

I've read more than a few of the North By Northwest reviews on IMDb and many cover the positive aspects of the movie much better and more intelligently than I ever could. Instead of trying to write a real review, I'm just gong to make a few comments on the film:

1. I've read a few reviews that complain about the unrealistic aspects and situations in the movie. I hope no one thinks that Hitchcock was ever going for a realistic look at crime. In an interview I read, he calls the movie, "A fantasy of the absurd". I'd call it a PERFECT fantasy of the absurd. The movie flawlessly mixes action, suspense, and comedy to create a wonderfully entertaining experience. And as I've said any number of times, I watch movies to be entertained. 

2. Apparently, Hitchcock selected Grant in the lead over James Stewart. No offense meant to Stewart, but I cannot imagine anyone in the Thornhill role other than Grant. His comedic touch, mixed with his good looks, his acting ability, and his ability to play a put-upon wrong man type role make him ideal. He may not have been the "everyman" Stewart was, but there's still something in his character that makes him eminently relatable. 

3. Like any movie fan, I was aware of the crop duster scene. It's an iconic movie moment that has transcended the movie. And it's just as good as I could have hoped. But I wasn't aware of the auction scene. That has to be one of the best moments I've experienced in a movie. It's just so perfect. 

4. As much as I enjoyed North By Northwest, there are a few moments that, if they could be changed, the movie would have been even better. Chief among these is the scene fairly early on in the movie where The Professor and his cronies are sitting around a table, discussing the Thronhill situation. I feel they give away too much of the plot's twists too soon. I would have preferred to have discovered George Kaplan's secret when Thornhill does. Playing along with the character might have made a fantastic movie even better.

I'll stop. I could literally write pages. I'll sum it all up by saying that if you've never seen North By Northwest, do yourself a favor and check it out. It's not to be missed.

10/10

The Final Sacrifice (1990)

"I'm Rowsdower... Zap Rowsdower.", 17 September 2009

While rummaging through his father's old stuff, a boy named Troy discovers a map that leads to an ancient civilization. Troy thinks the map may also lead to answers to his father's death. But there are other, darker forces at work. A cult bent on world domination wants to get hold of the map. With the help of a former cult member named Rowsdower, Troy hopes to get to the bottom of the mystery before he ends up like his father.

While I usually pride myself in being able to separate the two, in the case of The Final Sacrifice, it's really difficult to imagine watching the movie without the Mystery Science Theater 3000 commentary. The movie seems to have been tailor made for that type of ridicule and mockery. From Mike Pipper's Yosemite Sam-like voice to the over-weight Canadian guys in black hoods and tank top running through the woods to the nonsensical plot to the cardboard Ziox civilization – it's like shooting fish in a barrel – the riffs just can't miss. I've probably seen The Final Sacrifice a half-dozen or more times and I'm always astounded at the ineptitude of it all. Some things are so bizarre, however, that it leaves me scratching my head in wonderment:

• Zap Rowsdower? Really? You've got to be joking. The name, the actor, the character motivation – none of it makes the least bit of sense.

• Troy McGreggor? Again, you've got to be joking? I sincerely doubt you could find a punier or bonier looking guy to play the role. And that incessant whining of the name "Rowsdower". It makes me want to slap the guy every time he opens his mouth.

• Plot coincidences. Can you write a plot with more unrealistic and unfathomable plot coincidences? Take the bad guys timing in coming after Troy. The map has been sitting undiscovered in Troy's attic for seven years. That's right – SEVEN years. But the moment Troy discovers the map, the bad guys immediately show up on his doorstep. Yeah, right. Or take Troy's chance meeting of Rowsdower. Of all the trashy, redneck pick-up trucks in Canada, what are the chances Troy would pick one to climb in that just happens to be owned by a former member of the cult that's chasing him? Not very likely.

• Is Canada really that desolate of a place? Troy's aunt's house appears to be in a neighborhood of some sort. Is there no one around to notice that something's amiss when hooded goons take a chainsaw to her front door? Does no one notice a band of thugs chasing Troy on his bike? And why doesn't someone notice the shootout Rowsdower and the cult members have on the highway? Is this kind of activity normal in Canada?

This is too easy and I've barely scratched the surface. I haven't mentioned the lousy technical aspects of the film, the amateurish acting, the poor special effects, or the ridiculous music score. The Final Sacrifice has it all and none of it is good. Because of some unintentional entertainment value I derive from the film, I can't rate it any lower than a 2/10. But as far as MST3K episodes goes, it makes for one of the best. I'll give that version a 5/5 on my MST3K rating scale. Enjoy.

2/10

Operation Crossbow (1965)

Entertaining WWII thriller, 31 July 2009

Operation Crossbow is a solid espionage thriller set in WWII. The plot concerns the British/Allies attempt to get saboteurs inside German rocket facilities. The British have taken huge hits from the V1 and the other Allies rightly fear the more deadly V2. Three candidates are selected, given credentials allowing them to pose as Dutch engineers, and sent off to infiltrate and help destroy the Reich's most secret weapons development program.

Not being a WWII scholar, I'm not sure how historically accurate Operation Crossbow really is. But really, who cares? Operation Crossbow was never meant to be a scholarly work – it's a piece of fluff entertainment. And for the most part, it succeeds at being entertaining. While the movie may get off to a slow start, the action and suspense of the third act make up for most all of the films perceived shortcomings. The film's finale in an underground Nazi rocket facility is very reminiscent of James Bond and just as thrilling. And even if the movie does get off to a slow start, I found the bits about Nazi test pilot Hannah Reitsch interesting. Most of the cast is excellent. With few exceptions, George Peppard and the rest of the cast turn in fine performances. There are some nice special effects sequences worth mentioning. In particular, the bombing of London was very well handled. The only significant complaints I can come up with involve Trevor Howard and Sophia Loren. Howard's not necessarily bad in his role, but his character, the eternally pessimistic Professor Lindemann, is so annoying I wanted to wring his neck each time he popped-up on screen. As for Sophia Loren, she's a wonderful actress and I enjoy most of her work, but in all honestly, Operation Crossbow would have been a tighter, more enjoyable movie without her. Her character brings ZERO to the movie and her scenes are not important to what came before or what comes after. Her screen time is limited to 15 or 20 minutes that only serve to kill the film's flow. She may get top billing, but that's for her name only. Still, even with these flaws, I've always enjoyed Operation Crossbow and can easily rate it a 7/10.

7/10

Supernatural "The Usual Suspects" #2.7 (2006) (TV)

"You know, Casper - the blood thirsty ghost.", 29 June 2009

"The Usual Suspects" isn't my favorite episode of Supernatural, but it's a darn good one. Sam and Dean find themselves in custody for a couple of murders they didn't commit. The brothers are convinced that a vengeful spirit committed the murders, but how do you tell that to the police? When Detective Diana Ballard (Linda Blair) has a run in with the ghost, she begins to believe the boys. With Dean locked-up, she works with Sam to solve the mystery and, hopefully, put a spirit to rest.

As soon as I saw Linda Blair pop up on the screen, I knew I was going to enjoy this episode. I mean come on – it's Linda Blair for goodness sake! What's not to like about that? Horror legend Linda Blair guest starring on the best horror television show to come down the pike in years – I loved it! Besides Blair, "The Usual Suspects" has a lot going for it – rock solid plot (even if it is terribly predictable), good special effects, and some nice humorous moments. Two things I really enjoyed were the way the story unfolded through flashback (i.e. the truth vs. Sam and Dean's story) and the little comments at the end referencing The Exorcist. Very cool. I've gotta give this one an 8/10. I'm really looking forward to sitting down with the rest of Season 2.

8/10

Playgirl Killer (1968)

"They... always... move!", 6 May 2009

Bill (William Kerwin) is a tormented artist working on a painting from a dream he's had. But can Bill ever actually finish his masterpiece if he keeps killing all his models?

Whatever else I might think or write about Playgirl Killer, one thing is certain – it features one of the absolute funniest bits of dialogue I've heard in a long time. The father referring to his youngest daughter states, "Well at first I didn't like the idea of Betty being engaged to a rock and roll singer, but they're in love so I guess it's up to us to help make them happy." What's so funny about this line? Well, this rock 'n' roll hoodlum that's got Pops all in a dither is none other than bad boy Neil Sedaka. Yes, that Neil Sedaka! The Neil Sedaka that would go on to pin such rowdy "rock 'n' roll" standards as "Breaking Up is Hard to Do" and "Love Will Keep Us Together". Just imagine the idea of your youngest daughter marrying a ruffian like that!

Beyond that bit of unintended hilarity, the rest of Playgirl Killer is almost equally a hoot. Whether it's William Kerwin in his over-the-top artist-killer mode or Jean Christopher playing the over-the-top tease, the movie is more often than not a treat for fans of trashy 60s cinema. The movie promises a lot more in the way of sleaze than it delivers – which, believe it or not, is another selling point. It's hysterical watching Christopher's Arlene toy and flirt with every man in sight. And you've got to love Bill's motive for killing. No, it's not some deep-seated resentment toward women - it's not some weird Oedipus issue - it's not even for money. Bill kills because his models move. You read that right, he kills his models because they move. Don't dare bat an eyelid or Bill might just slit your throat. How bizarrely funny is that? The whole thing is such a ridiculous blast that it's hard not to enjoy it.

The movie's only real weakness (well, the only weakness that really bothered me) was the complete lack of suspense. Playgirl Killer is supposed to be a thriller so I naturally expected a few . . . well, a few thrills. Instead, all of Bill's kills are telegraphed far in advance. Take the first model he kills shortly after docking the boat the two are riding in. The couple jump out of the boat and head toward a rock for some sketching. Bill brings along his equipment – pencil, paper, a bag (presumably with more art supplies), and a spear gun. Once again, you're not seeing things - I said a spear gun! What artist worth his salt doesn't have an obscure weapon with him every time he sets out to do a portrait? How hard it is to figure out what Bill's up to with that spear gun? See what I mean - no suspense.

I'll give this one a 6/10 – but be warned, that rating is more for the cheese in Playgirl Killer than any real indication of the quality of the film.

6/10

The Death Kiss (1932)

A reunion for Lugosi, Manners, and Van Sloan, 29 April 2009

It's a plot device that's been used many times since, but The Death Kiss may have been the first time an actor was killed on set when someone fired a real bullet instead of blanks (at least it's the first I know of). Studio writer Franklyn Drew (David Manners) takes it upon himself to "help" the police find the killer – whether they actually want him snooping around or not. It seems that Drew has a thing for the film's leading lady, Marcia Lane (Adrienne Ames), a prime suspect because of her past relationship with the dead man. With lots of clues, red herrings, and no shortage of suspects, Drew's got his work cut out for him.

The Death Kiss is far from being a great movie, but for a low budget poverty row thriller/mystery, it's not half bad. One of the more interesting aspects of the film is the reuniting of Dracula alums Manners, Bela Lugosi, and Edward Van Sloan. Unlike Dracula, however, this is Manners' film with his scenes and importance far out-stripping his better known co-stars. In fact Lugosi is given very little to actually do other than stare suspiciously and mysteriously at anyone who gets within his gaze. Another positive aspect is the relationship between Manners and Ames. They work well together and make a very believable couple. First time director Edwin L. Marin does a more than adequate job with this early talkie. He seems to have an understanding of the medium and how to use it. The plot includes plenty of twists and turns to keep the viewer's interest. And the final outcome and reveal, though dependent upon coincidence and a bit of dumb luck, is more than satisfactory.

5/10

What Ever Happened to Aunt Alice? (1969)

"You've had such rotten luck with your housekeepers Aunt Claire.", 7 April 2009

Claire Marrable (Geraldine Page) is shocked to learn that her late husband has left her with nothing but debts. How is she to live in the style she's grown accustomed? To solve her problem, she comes up with a fiendish plot. What if she were to hire a servant/companion with a small life savings, dupe her out of the money, and then kill her? Well, that's exactly what Claire does. She disposes of the bodies under pine trees growing in her garden. All is going well for Claire until Alice Dimmock (Ruth Gordon) shows up at her door looking for a job. Claire doesn't realize it but the nosey Alice is no ordinary employee. Can Alice discover Claire's secret before another pine tree is planted?

What a wonderful movie! In short, What Ever Happened to Aunt Alice? is a deliciously twisted tale of greed and murder filled with plenty of suspense, real atmosphere, rock solid acting, witty writing, and some of the darkest humor put on film. It's a real winner from start to finish. And while I'm sure I could go on and on praising the film, it's the acting that sets it apart from similar movies. To call Geraldine Page's performance brilliant would be a gross understatement. The gleeful menace in her voice and on her face as she goes about psychologically torturing (and killing) those see sees as beneath her is amazing to watch. And if her presence wasn't enough, along comes Ruth Gordon. She's feisty, fun, and every bit the equal of Page in her role as the titular Aunt Alice. Watching these two spar when all the film's secrets have been revealed is one of those moments I won't soon forget. These are the screen moments that keep me searching out new movies.

Nobody asked, but if I had to come up with one flaw, I suppose it would be the supporting cast. None of the other actors does anything to stand out. But how could they? Compared with Page and Gordon . . . well, there's really no comparison.

Finally, from the outside some 40 years after the movie was made, I'd bet the actors had a blast making What Ever Happened to Aunt Alice? I can just imagine Page and Gordon having a good long laugh after shooting some of their scenes together. Then again, maybe it's just me. All I know is that I had a great time watching them work together. An 8/10 seems about right to me.

8/10

A Blueprint for Murder (1953)

A nice performance from Jean Peters, 1 January 2009

After the mysterious death of his niece, Cam Cameron (Joseph Cotton) begins to suspect that the child's stepmother may be responsible. When the autopsy reveals the presence of strychnine in the girl's system, he's convinced that his dead brother's wife, Lynn Cameron (Jean Peters), is the only person with both a motive and the opportunity. Cam now begins to fear for the life of his nephew. He's got to act fast because Lynn intends to take the young boy to Europe.

While I've given A Blueprint for Murder a positive rating and I readily admit I mostly enjoyed the film, much of what I've got to write about is going to seem negative. As good as it is, it has far too many problems to be called great. A Blueprint for Murder is about the most straight forward mystery/thriller I've run across. And that's part of its biggest weakness. There's no mystery regarding the killer's identity. It's made quite clear early on that Lynn killed her niece. There seemed to be a half-hearted attempt to use Cam as a red-herring, but anyone with half a brain could figure out in 3.2 seconds that Cam couldn't have committed the crime - he wasn't there. Maybe I just imagined the light of suspicion being pointed at Cam because I so wanted to be thrown some kind of curve ball. Even though the killer is known, director Andrew L. Stone is able to wring some tension out of the final scenes as Cam tries to prove Lynn is a killer. You get the feeling that even though you know Lynn is responsible for the girl's death, she just might get away with it. These scenes are, however, undermined by an ending that's terribly rushed with action that, unfortunately, takes place off-screen. Too bad, because A Blueprint for Murder could have been much better.

One of the real highlights for me in A Blueprint for Murder was the acting. The performance of Jean Peters as Lynn Cameron is enlightening. I'm not overly familiar with her work, but she's marvelous as the apparent caring, wonderful parent who is hiding a cold, unfeeling heart. I may have to look for more of her work.

6/10

Frenzy (1972)

"Bob's your uncle.", 2 April 2008

I didn't realize that Frenzy was so divisive among Hitchcock fans. As with the last Hitchcock movie I watched, The Trouble with Harry, Frenzy seems to have more than its fair share of critics. The criticism of both movies seems to derive from a similar source – Hitch deviated from what people expected. I'm not sure why people want to see the same movie over and over, but if you read the negative user comments on IMDb, you'll get that impression. What's wrong with shifting gears and making a comedy like The Trouble with Harry? And what's wrong with turning up the violence and making a movie like Frenzy? In each case, I appreciate what Hitchcock was trying to do and thoroughly enjoyed both movies.

Frenzy is essentially a "Wrong Man" type movie that Hitch visited several times throughout his career. You know, an innocent man is accused of a crime and spends the rest of the movie on the run from the police trying to prove he's not guilty. In this case, Richard Blaney (Jon Finch), a down on his luck and out of work bartender, is accused of violently raping a series of women before using his necktie to strangle them. Through some really bad luck, the case of circumstantial evidence against Blaney grows to the point that he becomes the only suspect. Tried and convicted, Blaney vows revenge against the man he knows to be guilty.

I don't know that I would call Frenzy Hitchcock's best movie as some have, but it is a very entertaining thriller. It's an odd but satisfying mix of the most violent images (the first rape and murder are difficult to watch) and some of the darkest, funniest comedy (the potato truck or the dinner scenes for example) that Hitch ever made. Hitch proves his genius by masterfully balancing the two – violence and comedy. And if you weren't already convinced of his reputation as a director, Hitchcock throws in a couple of very nice tracking shots, a clever use of sound, and a few other tricks that I won't begin to attempt to describe (just watch the movie) for good measure. Hitch also shows his genius through some of his casting choices. Other than Finch in the lead (he's just not a very sympathetic figure to me), the rest of the actors are incredibly strong. Barry Foster gives one of the more memorable performances I've seen recently. He's just so creepy. In fact, all of the supporting players, from the prim Monica Barling played by Jean March to the hysterical Vivian Merchant as a would-be gourmet chef, are perfect. And when you add the nice location shots and an interesting, well written script (have the words "you're my type of woman" ever been so menacing) to the direction and acting, Frenzy becomes a very worthy and memorable entry in Hitchcock's filmography.

8/10

The Trouble with Harry (1955)

"I'm grateful to you for burying my body.", 28 March 2008

I've seen The Trouble with Harry described as everything from a masterpiece to Hitchcock's worst film. I think the reaction depends on how you go into the movie. If you're expecting a nail-biting suspense thriller like most of Hitchcock's other movies, you'll probably come away disappointed. But if you're more open to the idea of Hitchcock's little experiment in comedy, you just might discover a wonderfully entertaining film.

The Trouble with Harry is that Harry's dead – and some of the local townsfolk aren't sure if they're to blame for Harry's death or not. They quite naturally (or at least it seems so very natural in the movie) decide the best course of action is to bury Harry and go on as if nothing ever happened. However, no sooner do they have Harry six-feet under than one or another has a change of heart and out come the shovels and up comes Harry. But wait a minute – they can't let Harry be found. Back into the hole for Harry! Bury – Unbury – Bury – Unbury – it goes on and on.

If you've read any of the other comments I've written about movies, you'll soon discover that I'm a fan of what I call the One Word Review. For The Trouble with Harry, that word is delightful. Everything about the movie is delightful. The gorgeous fall Vermont foliage, the witty and well written script, the new-found relationships, Jerry Mathers as Arnie Rogers, Miss Gravely's blueberry muffins, Hitchcock's direction, the joke about the double bed, Bernard Hermann's absolutely perfect score, the body in the bathtub, and a very young Shirley MacLaine, John Forsythe, Mildred Natwick, and Edmund Gwenn – everything is all so . . . well, delightful.

Finally, one thing I want to specifically mention is the dialogue found in The Trouble with Harry. The more I think about certain lines, the funnier they seem to get. A few of my favorites include:

• She's a well preserved woman…yes, very well preserved, and preserves have to be opened someday!

• He looked exactly the same when he was alive, only he was vertical.

• Couldn't have had more people here if I'd sold tickets.

• I've never been to a home-made funeral before.

I'm glad people that people don't really talk like the characters in The Trouble with Harry. If they did, I would never get anything done because I would be laughing too much.

8/10

Sherlock Holmes and the Deadly Necklace (1962)

- Sherlock Holmes und das Halsband des Todes
The German Sherlock Holmes, 29 February 2008

On paper, Sherlock Holmes and the Deadly Necklace looks like a sure fired winner. Christopher Lee as Holmes, Thorley Walters (who I swear seemed to be channeling Nigel Bruce at times) as Watson, the capable Terence Fisher directing, and Curt Siodmak writing the screenplay, - what could go wrong? It might have been great had the people behind this German/Italian/French co-production not messed with the script and hired a German co-director. The end result is middling at best. Even though the movie may be enjoyable at times, it bears little resemblance to the real Sherlock Holmes. Lee has described it as a "mess". As he put it in an interview, "It was a hodge-podge of stories put together by the German producers which ruined it".

In the movie, Holmes is once again hot on the trail of Moriarty. Holmes feels Moriarty is responsible for two recent murders related to a necklace believed to have once been the property of Cleopatra. Through disguise and trickery, Holmes will attempt to reclaim the necklace and put a stop to Moriarty's nefarious scheme.

The best part of Sherlock Holmes and the Deadly Necklace is easily the cast. Lee and Walters are both as good as you might expect. However, I'm not sure what brainiac decided not to hire either man to dub their own voice, but it was a huge, distracting mistake. The supporting cast is populated by a few familiar faces including the lovely (but terribly underused) Senta Berger and Leon Askin (known to most people as General Burkhalter on "Hogan's Heroes"). But Hans Sohnker, unknown to me before watching Sherlock Holmes and the Deadly Necklace, as Moriarty is the real standout. He goes toe to toe with Lee and comes out looking quite good.

If you're a fan of Sherlock Holmes, there may be some curiosity value to this movie. Or, if you're a Chirstopher Lee completist, it's worth checking out. Otherwise, skip it.

5/10

Family Plot (1976)

"Well even fish smells good when you're starving to death.", 25 February 2008

Blanche and George (Barbara Harris and Bruce Dern) are small time operators who use Blanche's supposed abilities as a medium to con trusting old souls out of a few dollars. Their latest mark has agreed to give them $10,000 if they can help her locate a long lost family member. Meanwhile, successful jewelry merchant Arthur (William Devane) and girlfriend Fran (Karen Black) have made something of a career of kidnapping wealthy individuals and ransoming them for diamonds. As luck would have it, the trail of the missing relative leads to Arthur. Not knowing what the pair of would-be detectives is up to and assuming the worst, Arthur quite naturally decides that he and Fran must put a stop to Blanche and George's snooping.

I'm joining the chorus singing the praises of Family Plot. Like a lot of others, I think it gets a bad rap. Sure, it's not the best thing Hitchcock ever directed, but come on, it's still a very entertaining, funny movie. It may lack the nail-biting, gut-wrenching suspense of Notorious and the horrific elements and images of Psycho, but it was never meant to be like those two films. Besides, I don't want to see the same movie over and over anyway. What's wrong with a little diversity and a change of pace? I've always thought Hitchcock did a great job with Family Plot. He manages to take two completely different plot lines and seamlessly and expertly merge them together. He mixes just the right amount of generally understated comedy with a thrilling conclusion. Ernest Lehman's screenplay is smart and filled with some terrifically dark humor that almost always hits the nail on the head. The film may run long for a comedy at 121 minutes, but I can't think of a wasted scene or moment that should have been cut out. I also like the way the audience is allowed to play along with the movie. The audience discovers plot points right along with the characters. There are no "cheats".

But as much as I enjoy the script and as talented as Hitchcock my have been, it's the cast that makes Family Plot really special. From Karen Black's cool entrance in the black trench coat and hat to William Devane's toothy and creepy smile to Bruce Dern's wild hair and constant fidgeting with his pipe to Barbara Harris' hysterical and manipulative séance scenes, I really cannot pick a favorite. They are all equally fantastic. And, I cannot imagine Family Plot without even one of this quartet of actors.

In the end, Family Plot is a neat little movie. It may not be Hitchcock's best or most suspenseful or most horrific or most dramatic, but it just might be amongst his most fun.

7/10

The Million Eyes of Sumuru (1967)

What a groovy movie!, 10 February 2008

Sumuru (Shirley Eaton) is a woman bent on world domination. Her plan is to have her army of women get close the world's most powerful men, kill them, and assume their power. But standing in her way are two secret agents – Agents Tommy Carter (Frankie Avalon) and Nick West (George Nader). They convince a couple of Sumuru's followers to come over to their side before leading a raid on her island. But will they get Sumuru?

The Million Eyes of Sumuru is just quirky enough for me to really enjoy it. It's the kind of movie you can't take seriously – you have to go with it. I just love these 60s spy-type movies with their armies of scantily clad women, secret island liars, and groovy secret agents. What an awesome time it was! And, the fact that The Million Eyes of Sumuru was shot in China with a cast that includes Eaton, Avalon, Klaus Kinski, Maria Rohm, and Wilfrid Hyde-White (of all people) only adds to the already bizarre feel of the movie. Movies like this may not be for everyone (just take a look at the IMDb rating), but for me their just too much fun.

I would love to see a cleaned-up, legitimate, Region 1 release of The Million Eyes of Sumuru. I'm convinced I would have rated the film higher than a 6/10 had I not been watching the MST3K version of the movie recorded off of Minneapolis public access television in the late 1980s. The Million Eyes of Sumuru deserves better than that.

6/10

The Wicker Man (2006)

"Oh, no! Not the bees! Not the bees!", 9 February 2008

What a freakin' joke! The 1973 version of The Wicker Man is a true classic and one of the most powerful movies I've ever seen. The final scenes have lost nothing and remain as strong today as they were over 30 years ago. The 2006 version of The Wicker Man manages to take most everything that made the original such a wonderfully compelling piece of cinema and chuck it out the window. How you can take out the religious and sexual aspects that were a focus of the original story and still call it The Wicker Man? And what do you use to replace the religious and sexual aspects so key to understanding the central character? Bees! Yes, that's right – bees, for God's sake! What an insult! There's a story that the original negatives of the 1973 film were buried in a landfill under a roadway in England. Why couldn't it have been the 2006 abomination?

2/10

Gorilla at Large (1954)

Now that was fun!, 13 September 2007

From what little I can find on the internet about Gorilla at Large, it seems that Anne Bancroft viewed the movie with disdain and wasn't at all proud of her appearance. Well, as far as I'm concerned, you can have your Academy Award for The Miracle Worker and you can have the incredibly dull The Graduate – who needs them? You can look down on Gorilla at Large, but I'd rather watch it any day over either The Miracle Worker or The Graduate. Why? It's just more fun! Call it cheesy, call it campy, call it whatever you want – bottom line, Gorilla at Large is one entertaining movie. What's not to like? A Technicolor 3-D (though I saw it in 2-D) murder mystery where a gorilla is one of the prime suspects – how cool is that? I mean any movie with a gorilla that is so obviously played by a guy in a suit and a director that has the cajones to have a character put on another gorilla suit is okay with me. Two gorillas for the price of one – can't go wrong with that.

In addition to the dismissive Anne Bancroft, Gorilla at Large has a very impressive cast. The resolute Raymond Burr, the cigar-chomping Lee J. Cobb, a baby-faced Lee Marvin, genre favorite Cameron Mitchell, and the most famous man in a gorilla suit, George Barrows, are all on hand for the fun. I realize that most of these actors were in the early stages of their careers, but what's the likelihood of getting two or even three "names" in a movie. Gorilla at Large has a known name or face at every turn. Amazing!

Overall, I had a great time watching Gorilla at Large. It's too bad Anne Bancroft never saw the fun in this movie.

7/10

The Avengers "The Cybernauts" #4.3 (1965) (TV)

One of the series' best, 9 September 2007

A series of otherwise unrelated murders have a few things in common. Namely, the perpetrator in each instance appears to be unstoppable. Neither bullets nor doors slow him down. Steed and Mrs. Peel are called in to investigate and soon find the genius behind a technology company is central to all the murders. But he's wheelchair-bound. He couldn't be responsible for the killings. Or could he?

"The Cybernauts" has to be one of my all-time favorite episodes of The Avengers that I've seen. The mix of sci-fi, espionage, horror, and that touch of humor ever present in the show make this one near perfect. The tension gets turned up a notch as Mrs. Peel becomes the mistaken target of an unstoppable killer. The finale is more than satisfying. The special effects may be laughable when compared to what we have today, but to me that's part of the shows charm. Diana Rigg and Patrick Macnee are wonderful. In just a few episodes, the two work together as if they had done so forever. They are joined in "The Cybernauts" by the very capable Michael Gough. Even though he's in a wheelchair the entire episode, he's an actor quite capable of dominating any scene he's in. Nicely done by everyone involved!

If you've never seen The Avengers and are curious about the fuss, "The Cybernauts" would be a good one to start with.

9/10