[7] Jack Lemmon and Walter Matthau give career-highlight performances as mismatched roommates Felix and Oscar in this comedy based on the Neil Simon play. Everyone knows the gist of the story: two men, one neat and one sloppy, are forced to share an apartment, whackiness ensues. But what you may not know is that Lemmon’s character is living with Matthau because he’s under suicide watch. …
[7] Gregory Peck plays a prosecutor terrorized by Robert Mitchum, a recently released convict Peck sent to prison eight years ago. Director J. Lee Thompson (Guns of Navarone) takes his cues from Hitchcock and crafts a film that can compete with much of Hitch’s work (it helps to have Bernard Herrmann doing the music.) The censors put just enough of a damper on the film …
[4] Also known as Quartermass and the Pit, this subdued sci-fi flick centers around a famous scientist, Bernard Quartermass (Andrew Keir), who is called to London to investigate a mysterious object and the strange effect it has on anyone who gets near it. I usually enjoy Hammer Films, but this one nearly put me to sleep. There’s some payoff, and a nice bleak ending, but …
[6] Horror master Mario Bava tackles this James Bond-like action/adventure about a stealthy thief nicknamed Diabolik (John Phillip Law) who eludes a pursuing detective through a series of elaborate heists. I didn’t find the characters terribly interesting, but the film is awash in awesome 60s production design and music. Diabolik’s expansive underground lair is every bit as magnificent as anything from a Bond film. Diabolik’s love …
[6] Marlon Brando plays Fletcher Christian and Trevor Howard takes on the mantle of the sadistic Captain Bligh in this remake from director Lewis Milestone (All Quiet on the Western Front). The bloated run time (three hours) doesn’t help the movie, and neither does a scarcity of closeups in the super-70mm framing. You never get into the minds of the leading characters and Brando is …
[5] Hammer’s third Frankenstein film (following Revenge of Frankenstein) is more of a one-off than a sequel, having little to do with the films before or after it. Despite the return of Peter Cushing to the role of Baron Frankenstein and Hammer Films’ terrific sets (the laboratory sets are especially good here), the story is too much of a re-tread to stand out in the …
[6] Tired of her boyfriend’s sexual indiscretions, Ingrid Bergman reluctantly begins an affair with a much younger man played by Anthony Perkins. The relationship is doomed from the start, of course, and everything ends in tears. Bergman is uncharacteristically manic in this movie. There’s a nice scene where she’s crying behind the wheel and turns on the windshield wipers to see better, even though it’s …
[7] I prefer the more crude and raw qualities of the first film over this sequel, which may be a little more polished but is also a bit less mysterious. Clint Eastwood’s Man with No Name is upstaged in the end by Lee Van Cleef as a rival bounty hunter, but director Sergio Leone still fuels the film with enough piss and vinegar to make …
[7] John Wayne took home the Oscar for his performance as crotchety Rooster Cogburn, an alcoholic US Marshall recruited by a young girl (Kim Darby) to capture her father’s killer and bring him to justice. Wayne is low key as always, but it works pretty well for him. Except for Robert Duvall as the villainous Ned Pepper, the rest of the casting leaves something to …
[7] Richard Beymer (West Side Story) stars as Ernest Hemingway’s alter-ego, a young man who comes of age by traveling the country and serving in the military during the early 1900s. With beautiful scenery of rural Michigan and Franz Waxman’s wistful score, the film is unabashedly romantic and nostalgic — it transports you to a time and place you’re reluctant to leave. But as Beymer …
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