[6] Peter Cushing returns for Hammer’s first sequel to their highly successful Curse of Frankenstein. Cushing’s mad doctor escapes the guillotine and sets up camp in a new town, where he transplants the brain of his deformed assistant into a reanimated corpse. For campy horror fun, Revenge of Frankenstein begins and ends well, but the middle portion is pretty unremarkable — an uninspired rehash of …
[6] An army rocket returning from Venus crash lands in the Mediterranean, releasing a Venusian creature that wreaks havoc in Italy. This matinee monster movie is better than most of its kind. The first thirty minutes are surprisingly strong, building mystery and suspense very nicely. After that, the movie becomes a bit of a King Kong knock off. Effects master Ray Harryhausen once again succeeds …
[5] This monster romp was the first solo effort by effects wizard Ray Harryhausen. All the stop-motion animation has the usual Harryhausen charm, including a famous scene where the dinosaur rages down Wall Street and chomps on a policeman. Unfortunately, there’s not much else going for this creature feature until that point. The story is one of the earliest to feature atomic mutation, but the …
[8] To say this movie is an expose on the horrors of war is an understatement and an oversimplification. War is just a backdrop, and the indictment is a broader one of man’s inhumanity to man. What makes Paths of Glory different from other anti-war films is that the injustice comes not from the enemy, but from within. After French soliders refuse a suicide mission …
[6] Frank Sinatra plays an unhappy writer and WWII veteran who has trouble readjusting to life in his scenic Indiana hometown. The screenplay, based on a novel by James Jones, gets lackadaisical in the middle, but Vincent Minnelli does a good job capturing both the quaint and stifling qualities of small-town life. Sinatra is good, but he’s easily outshined by his colorful costars. Shirley MacLaine …
[6] Vincente Minnelli sheds a bright light on gender politics in this story of a bullied teenager who finds solace with his college housemaster’s wife. It is fascinating to watch a film deal with mysogyny and homophobia at a time when these words were barely in our collective vocabulary. It’s even more remarkable that this film, made during the height of rigid gender codes, asks …
[7] The ever-versatile Howard Hawks (Rio Bravo, Bringing Up Baby) returns to screwball comedy with Monkey Business, pairing Cary Grant with Ginger Rogers as a couple whose marriage is put to the test when they take a ‘fountain of youth’ potion that regresses them to teenaged states of mind. Grant and Rogers have definite chemistry and do hilariously well here, especially when they begin behaving …
[6] Elia Kazan makes a concerted effort to be less ‘theatrical’ and more ‘cinematic’ with Panic in the Streets, a New Orleans thriller about a policeman and a doctor searching the streets for a killer infected with pneumonic plague. Richard Widmark plays the doctor and Paul Douglas plays the cop. They’re forced to work together and begrudgingly do so for a while, but they eventually …
[6] A bold film for its time, A Summer Place deals with sexual awakening and reawakening. Sandra Dee and Troy Donahue play the teenaged lovers; Richard Egan and Dorothy McGuire play the adulterous middle-aged ones. The first forty-five minutes of the story are pretty strong, but once the affairs are out in the open, the script struggles to find its focus. Highlights include a terrific …
[7] John Ford reteams with frequent leading man John Wayne in what is often considered one of the best Hollywood westerns ever made. Wayne plays Ethan Edwards, a loner returning home from the Civil War. After his brother’s family is murdered by Camanches, Ethan begins a five-year search for his kidnapped niece (Natalie Wood). Wayne plays more than a charicature of himself for once, bringing …
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