The nominal plot has stout-hearted Colonel Loring Leigh (C. Aubrey Smith -- who else?) kicked out of the Lancers for signing an order allowing a shipment guns to find their way into the hands of a band of Indian rebels, who end up massacring 90 men at one of those Indian passes so famous in '30s movie adventure yarns. Colonel Leigh is drummed out of the army but knows he's been set up and his signature forged. Returning to England he summons his four sons -- dim bulb Oxford student Rodney (William Henry), pompous barrister Wyatt (George Sanders), shallow ladies man/aviator Chris (David Niven), and stuffy British attache Geoffrey (Richard Greene) -- in order to show them the evidence proving he was framed by an international gun cartel. He doesn't get that far. While the boys are sipping bitters in the ante room, Colonel Leigh is shot dead in his study and the evidence removed. The press claims Leigh committed suicide from his disgrace, but the boys know better and set about to find his killer and clear his name.
Continue reading: Four Men And A Prayer Review
But others just languished between the two extremes being neither one nor the other, in the end being nothing at all. Into this classification falls The Good Guys and the Bad Guys, a meaningless and harmless bit of flatulence that caused barely a ripple of interest in 1969, when critical sniffers where inhaling deeply of Peckinpah's The Wild Bunch.
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The New York Film Festival offered a double bill of savory morsels in this succulent vein, presided over master chef Martin Scorsese and his restoration outfit, The Film Foundation. On the bill-of-fare at The New York Film Festival were two 20th Century Fox three-strip Technicolor sweetmeats -- John Ford's Drums Along the Mohawk and John Stahl's Leave Her To Heaven.
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Continue reading: Stagecoach Review
Robert Urich stars as a space pirate in the far future, when there's no more water in the galaxy, and pirates work the shipping lanes of open space to steal what ice there is left. Urich's Jason winds up in a plot involving a kidnapped princess, an evil empire, and a visit to "the seventh world," which includes time travel,
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A classic John Ford film (and one of the last black and white westerns to be made), Wayne and Stewart make a great Odd Couple in the podunk town of Shinbone. Unfortunately, the middle of the film sags under the overly patriotic history lessons we are given when Stewart takes it upon himself to teach the locals how to read and write. The ensuing fight for statehood isn't much better, except when Valance comes a-knockin'.
Continue reading: The Man Who Shot Liberty Valance Review
Starting in a welter of televised static, the movie's setup is straight from a standard thriller: TV anchorwoman Karen White (Dee Wallace, one year before E.T.) is taking part in a police sting. She's been receiving letters from a man claiming to be the brutal serial killer currently terrorizing L.A., and as part of the sting, has agreed to meet him. After a cop mix-up and a horrific encounter between Karen and the killer in a peepshow booth, the killer is shot dead. Karen keeps having bad dreams, however, prompting her psychologist, Dr. George Waggner (Patrick Macnee), to send her up the coast to convalesce at The Colony, a retreat where his teachings - vague mumbo-jumbo about harmonizing the relationship between one's animal and civilized selves and something called "The Gift" - are put into practice. Then she starts hearing all that howling in the woods around her cabin...
Continue reading: The Howling Review
Everybody expected Adele’s new album to break records, but not this quickly! Nielsen Music...