Mini-Review: Sort of like a 1940s version of Black Swan. Tormented artist obsessed with attaining perfection, slowly slides towards madness and tragedy. It makes itself fairly clear early on where it's headed, so there are no real surprises, but Colman's downward spiral is grimly compelling. Shelley Winters is great as the flirtatious waitress, too.
Mini-Review: Surprisingly sophisticated, not only in its forward-thinking attitude towards homosexuality, but also in the subtle way it gets the message across. Bogarde gives a particularly nuanced performance; understated and quietly powerful, leaving the audience in no doubt about the inner conflicts his character is facing.
Mini-Review: I came out of this film thinking that there was at least some substance to go with the (incredibly over-bearing) style, but the more I think about, the less convinced I become. The characters are all fairly generic and it relies heavily on predictable twists and clichés (his mother didn't love him enough... ugh). The episodic narrative and the lack of a sympathetic central character didn't help either.
Mini-Review: Big mansions, stormy nights, hidden secrets, tragic pasts - all the ingredients you'd expect to find in this type of gothic melodrama. Vincent Price is great, and the story has some depth with the class critique and the dysfunctional marriage, but it never really goes anywhere you don't expect and ends up feeling a bit flat and predictable. I thought it was a shame the sub-plot with the young daughter gets totally forgotten half way through the film, because that had some potential.
Mini-Review: A depiction of a life without reason or consequence, only existence. Youthful aimlessness leads to a life of corruption and a loss of innocence, yet both characters remain gleefully oblivious to this fact. For them there is no "why?". The lightness of tone and the use of upbeat music doesn't quite blot out the sense of sadness that permeates this film.
Mini-Review: One beautifully composed death scene does not compensate for an otherwise tedious affair. The story is completely without focus, Stafford is like a charisma-free Sean Connery clone and there is no tension or suspense anywhere to be found. The worst thing is that I spent 135 minutes at least hoping that Hitch would pull off one of his trademark exciting endings... boy, was I disappointed.
Mini-Review: I was amused by how much of this film is spent watching other people watch TV. Either that's an ironic comment on the pervasive nature of rolling 24-hour news consumption (hey, it's the end of the world, let's watch MSNBC) or it's just a really lazy way of inserting exposition into the script, I can't decide (I can really).
Mini-Review: The trouble with this is that it's not exciting enough to be an enjoyable adventure film, but nor is the relationship between the man and boy explored enough to make it a character study of any great insight. Occasionally the story starts to head in an interesting direction, but then it just meanders off somewhere else leaving a lot of loose ends. Disappointing.
Mini-Review: Fun little B-movie about a suicidal guy who decides he wants to live and a hitman who has a phobia about death. Castle's dark, noir-like photography gives the film a nice atmosphere of paranoia and distrust, but the plot gets pretty ridiculous at times and the ending is very underwhelming (I found it strange there was no twist ending, seeing as twist endings were a trademark of the radio series on which this is based).
Mini-Review: Intense morality play with a terrific ensemble cast. The central story with Kirk Douglas and his wife is never anything less than engrossing, but what I really liked about this were all the small side-stories that illustrated the day-to-day goings-on in a police station. Each character is fully fleshed-out and there's some great acting from the likes of William Bendix, Lee Grant (who adds some comic relief) and Joseph Wiseman (who plays an amazingly manic burglar).