• The Sisterhood
  • Futuresport
  • The Safecracker

    The Safecracker

    ★★

    I can never tell whether Ray Milland is trying to act cool or like an asshole, a uniquely unpleasant presence, especially here as the titular safecracker who pulls off a series of high string robberies and makes a fool out of Scotland Yard before getting rolled up right before WW2 which, yes, means he gets recruited for a commando raid on Stasi HQ in Belgium when the Kingdom needs him and he needs his sentence commuted, interestingly he never buys-in and remains a self-absorbed non-ideological individualist to the end, which of course gets his ass shot by Nazis. the direction, by Milland, is equally non-committal

  • The Cobweb

    The Cobweb

    ★★★★

    there's never been a better movie made about drapes

  • The Last Command

    The Last Command

    ★½

    it's all downhill from the opening theme song, an absolute BANGER by Max Steiner & Gordon MacRae ("What a man was six foot six? JIM BOWIE!"), definitely don't google how Bowie was a slave trader IRL, quick, put on Josef von Sternberg's The Last Command (1928)

  • The Eternal Sea

    The Eternal Sea

    ★★★½

    The Sterling Sea, or How I Got My Leg Blown Off and Invented Jet Landings on Aircraft Carriers

  • Legacy of the 500,000

    Legacy of the 500,000

    ★★★½

    the only film ever directed by Toshiro Mifune, he stars (duh) as a former army commander who may or may not know where some buried gold from ww2 is so he's (ofc) kidnapped by Nakadai who then disappears from the film forever while Mifune and a rag tag group of gangsters go on a salvage heist in the Philippines, much ruminating on Japanese national identity/war/generations/values while providing a very solid and atmospheric 'Scope adventure

  • Avengement
  • Some Came Running
  • Denver and Rio Grande

    Denver and Rio Grande

    ★★

    Technicolor railroad wars, pretty to look at but pretty dull too, directed by the American with a British-sounding name (Byron Haskin) who would confuse things even further the following year by adapting H.G. Wells’ The Time Machine and set it in California, as for the railroad in the end two (real) trains crash into each other and it kicks ass, going into this film I was hoping for the same kind of spectacular collision to happen between Sterling Hayden and Edmond O’Brien but alas, it's the kind of film that puts the generic in genre

  • The Baby

    The Baby

    ★★★

    TV journeyman Ted Post's matter-of-fact classicism is quite the clash with the lurid exploitation concept at the heart of this, but that's precisely why, if at all, this works - not unlike the following year's Bad Ronald, directed by another TV journeyman Buzz Kulik - it is deadly serious, with no hint of irony, which is wild because in this film a 21-year-old man plays a 21-year-old baby with all that that implies, and this straightforward approach makes everything that…

  • Objective: 500 Million

    Objective: 500 Million

    ★★★½

    It’s tempting to read this as some kind of sequel to Schoendoerfer’s seminal 1965 war film about Indochina, The 317th Platoon, which also stars Bruno Cremer and was produced by Godard patron Georges de Beauregard. In that one Cremer was an Alstatian pressed into service for the Wehrmacht to fight on the eastern front, ultimately ending up in southeast Asia as a bitter and nihilistic soldier of fortune. This time out he’s terrorizing the home front after being released from…