Reviews

Can't imagine Greer Garson in a comedy? You can either rent Julia Misbehaves, or save yourself the cringing and just go on imagining. She's a fantastic, trained dramatic actress, but she picked a lousy movie to try out her comedic talents. Somehow, seeing Miss Garson slipping in the mud and running away from a bear in the woods just isn't funny. And seeing her awkward, ungainly dancing lumbering along on a stage is just as painful as hearing her hoarse, frog-like voice croaking out the vaudeville notes.

The premise of this slapstick is a neglectful mother returning home for her daughter's wedding. In her audition for Father of the Bride, Elizabeth Taylor is engaged to a stuffed shirt her father Walter Pidgeon and grandmother Lucille Watson approve of. The more handsome and more fun Peter Lawford is in love with her, though. When the irresponsible, flirtatious, troublesome gambler who's always in debt (also known as her mother) resurfaces after years of being absent, she just might get Elizabeth to learn about life and love.

I didn't like the movie, as it was far too silly for my taste. It was fun to see Cesar Romero as a bodybuilding acrobat, though. He brags that his right bicep is larger than his left, and Greer tests it. Her arched eyebrow and giggle proves it was correct. You'll get a feel for rest of the movie from the beginning, with Greer stuck in the bathtub trying to argue her way out of paying her bills. There's a picnic ruined by a bear, a trained seal who applauds Walter Pidgeon, and a mural of Lady Godiva with Liz's likeness. The plot is far-fetched and should only be watched if you're really in the mood for something fluffy.

Since I notoriously avoid movies about the end of the world, you might wonder why I willingly rented Seeking a Friend for the End of the World. Two words: Keira Knightley. She's my favorite actress, so I watched any and every movie she made. Somehow, I kept hoping for one giant "Just kidding!" from the filmmakers. But in a movie about a giant asteroid headed for Earth, there's only a slim possibility of a "Just kidding!"

At the start of this movie, Steve Carrell and his wife (a cameo from his real life wife) are driving and hear the radio broadcast the impending end of the world. Without a word, Mrs. Carrell flees the car and runs down the street, not wanting to spend any of the brief time left to live with her husband. It's cruel and tragic, and Steve is left to spend the rest of his life alone. After a botched suicide attempt, he makes friends with Keira Knightley and they go on a road trip together to tie up loose ends before it's too late. He wants to make amends with his father, Martin Sheen, and she wants to get a plane ticket back to England to see her family. Along the way, their friendship turns into more. They weren't each other's first loves, but they might be their last. Depressing, huh?

I don't see how anyone can make it through this movie without a wad of Kleenex. I have now learned my lesson. Even if Keira made another movie about the end of the world, I wouldn't watch it. She tested me on this by making Silent Night a few years ago, and I remained firm. Unless you really like indie, end-of-the-world dramas that are seriously depressing, I wouldn't recommend this one. You can see Steve Carrell's acting chops in Hope Springs, and Keira Knightley's in A Dangerous Method.

Kiddy Warning: Obviously, you have control over your own children. However, due to upsetting content, I wouldn't let my kids watch it.

It's confession time: I fell asleep during The Phantom Menace when my family went to see it opening weekend - during the most exciting "chariot race" scene. And when we returned to the theaters to try it again, I fell asleep during the exact same scene. Obviously, I found the movie riveting.

Everyone else did, though. And becoming a part of the first Star Wars movie in sixteen years was a huge draw for Hollywood. Ewan McGregor, Liam Neeson, Natalie Portman, and Jake Lloyd were the headliners, and Terence Stamp, Warwick Davis, Celia Imrie, Samuel L. Jackson, Dominic West, Sofia Coppola, Keira Knightley, Sally Hawkins, and dozens of others could be spotted in the supporting cast. John Williams, of course, scored the music, and George Lucas sat at the helm. There were over-the-top special effects, memorable hairstyles and makeup, and the first all-CGI character, Jar Jar Binks. Basically, if you're a Star Wars fan, you'll love watching this "first episode" in a marathon. If you're not, you can skip it and just listen to Weird Al's song "The Saga Begins". Pretty much all my knowledge about Star Wars comes from his clever lyrics.

Never Let Me Go is one of the few movies I wish I'd never seen. I only saw the trailer; I didn't know it was based on a novel by Kazuo Ishiguro, who wrote depressing books like The Remains of the Day. I didn't know what the actual story was. I thought it was just a love triangle between Carey Mulligan, Andrew Garfield, and Keira Knightley. Carey is the lead, and we're supposed to feel sorry for her when Andrew falls for Keira - but not only is she the most beautiful woman in the world, her personality is exuberant. When Carey pays attention to her studies, Keira wants to have fun and enjoy life. When Carey is serious and follows the rules, Keira breaks them with a smile on her face. For a teenage boy, there really is no contest.

The reason the film was upsetting was only minorly alluded to in the trailer. You had to have either read the book or looked up a plot synopsis to know what was going on. It takes place in an alternate reality where humans can live an extremely long time, provided they get organ transplants whenever they're ailing. An entire class of people have been bred and raised as organ donors, including the three leads. This premise is disgusting, and the futility of the main characters' existence is depressing. This is a universally unenjoyable film, even if you agree with whatever message the author is trying to promote. It's not difficult to do, so I suggest you emotionally detach from all the characters. Getting upset over a two-hour movie will not serve a greater purpose, and you might as well "protest" against the intentionally disturbing plot by refusing to get hooked into it.

Kiddy Warning: Obviously, you have control over your own children. However, due to upsetting and adult content, I wouldn't let my kids watch it.

I'll never understand why Johnny Depp's effeminate portrayal of Jack Sparrow was so well received by the public. Pirates were frightening criminals who killed, stole, raped, and pillaged. Pirates did not sashay. They were not flamboyant. They did not wear eye makeup. The only people who wore eye makeup at that time were prostitutes. Yes, this was a Disney movie, made to capitalize on the popular ride, but the pirates featured in the ride were not acting out light-hearted comedic scenes. Most Disney cartoons (aimed for even younger children than a live-action flick) featured intensely frightening sequences, so there's no reason the studio chose to make this movie so unrealistically comical. And while sometimes mistakes are regarded as genius, like the chocolate chip cookie, the makeup artist who didn't use waterproof makeup while working on an ocean-set film about pirates should have been fired, not elevated. (In case you hadn't heard, Johnny's makeup was smeared by a misty fan's breeze, and the director liked the way it looked.) Believe it or not, there was a period of time when I didn't love Keira Knightley. I'd watched Pirates of the Caribbean and Pride & Prejudice only; sometimes when I dislike a film so much, I'm unable to separate positive feelings for an actor. Everyone involved in the movie is lumped together, until I watch another, more enjoyable, film that allows me to appreciate someone in a fresh light. Unfortunately, I had to wait until 2008's The Duchess, but now she's my favorite modern actress.

Disney probably didn't know just how successful this movie would be, and now the popular franchise has spanned five films. I stopped with the first, but if someone tells me they've improved, I'll gladly give them another chance. This isn't the first time I've disagreed with the masses, and it won't be the last. I just can't get behind something that's so completely far-fetched.

There's always an abundance of teen thrillers, because there's always an abundance of teenagers who want to get titillated at the movies. Somehow, watching a group of stupid people who are getting killed off one by one is extremely entertaining to the teen crowd. (Probably because the cast is predominately good-looking and has gratuitous sex scenes.) In The Hole, the obligatory gratuity is actually extremely tame. Keira Knightley flashes someone and then sneaks into his sleeping bag later that night. Comparatively, this movie is practically G-rated.

So, if you like un-scary thrillers that you won't ever have to watch through parted fingers, consider The Hole. Thora Birch, Desmond Harrington, Daniel Harrington, Daniel Brocklebank, and Keira all cut class and spend the night in an abandoned fall-out shelter; when they can't escape, things turn ugly. It's actually pretty entertaining, as it still captures the "everything's going to be alright even when it's not" flavor of the classic I Know What You Did Last Summer flicks. It'll scare you but not scar you. Check it out!

I'll forever be in love with Keira Knightley, and she has great versatility. When you see her in a period piece, it's as if she were an old portrait come to life. When she acts in a modern movie, it's inconceivable she could ever fit into a historical setting. In Begin Again, she's a struggling indie singer who gets discovered by Mark Ruffalo (also incredibly versatile), a music producer with an exceptional imagination. My favorite scene is when Mark first sees her perform in a nightclub. She's singing along with her guitar, and as he listens, he imagines the potential of her song. One by one, different instruments are added, and as a rhythm section, harmonies, and counterpoint are combined, the audience hears what he's creating in his head. The look on his face is incredible. And who knows; it might have been the twentieth take!

Begin Again is a movie about the indie music scene. If you like opera (or even regular songs that require a good voice), you won't like it. Mark comes up with the idea of making New York City a part of the soundtrack to Keira's songs. They run around the city and record in different areas, picking up street sounds, ancillary people, and even the subway. You can't do that! Your songs will sound horrible! But, in Hollywood-land, it's supposed to be cool and ground-breaking. With a jackhammer in the background, it will be ground-breaking. Anyway, it's a harmless movie that is entertaining the first time you watch it. Just make sure you're alright with indie and modern pop music. Adam Levine, James Corden, and CeeLo Green are in the supporting cast. My mom's an opera singer, and she was cringing through this one.

Atonement was the last movie I saw of Keira Knightley's before I completely fell in love with her. You might wonder why this movie didn't change my opinion of her to a beautiful and talented young woman (from the grungy-haired brat from Pride & Prejudice), but I disliked the film so much I couldn't actually appreciate anyone in the cast. She did look beautiful in the green dress, though.

Told in the format of a successful author being interviewed about an autobiographical book she wrote of a traumatic incident from her childhood, the bulk of the story was told in sections of flashbacks. I've been known to criticize that format as lazy and unimaginative. The elderly author was Vanessa Redgrave, whom I normally don't like (although her smug persona almost worked in this character, since many successful authors can't hide their pretentiousness). The crux of the story involved a mean-spirited child (Saoirse Ronan in the role that earned her the first of many undeserved Oscar nominations) acting out in haste in search of revenge. I dislike children, and I especially dislike brats who damage other people's lives, as in The Children's Hour. A subplot featured statutory rape - how is that enjoyable? The parts of the story that took place during WWII, my favorite era, were brief. The war gore was so disgusting, (do yourself a favor and close your eyes for about a minute after the soldier asks Romola Garai to loosen his head bandages) I actually had to put my head between my knees in the movie theater so I wouldn't vomit. And I hated the ending and the title (no spoilers here).

So, although a lot of work went into Atonement and many audience members thought it was one of the best pictures of the year, you can understand why I didn't like it. In a movie that unpleasant, I couldn't truly appreciate Keira. The following year's The Duchess is the one that won me over. She sure looked pretty in that green dress, though...

Kiddy Warning: Obviously, you have control over your own children. However, due to war violence and sexual content, I wouldn't let my kids watch it.

One of those stories that everyone wants to watch, no matter how many times Hollywood films it, is the romance between a Nazi soldier and an occupied European civilian. We know it can't end well. He's an enemy soldier, so something sad or irreparably harmful has to happen. Someone's going to cry; someone has to feel betrayed at some point. And yet, this is an incredibly popular storyline!

The Aftermath gives that story a unique and interesting twist: The war is over. The British are occupying Germany for the reconstruction, and the Nazi soldier is the civilian instead of the perpetrator. Instead of an enemy soldier falling for a Polish or Norwegian lady while staying in her house, it's the other way around. Keira Knightley and her husband, Jason Clarke, are stationed in Hamburg and assigned to live in Alexander Skarsgard's home. (Yes, he's Stellan's son, and those cutie pie genes run in the family!) Right away, Alexander is stripped of his enemy clothes. His city is in ruins, his people have been conquered, and his wife was killed in an Allied bombing. At first, he and Keira hate each other, but of course, as they get to know each other, the sparks fly.

There's another plot line that's incredibly interesting: Keira and Jason have been separated for years during the war, and they aren't given any privacy to get to know each other again. In American movies, soldiers always return home to their small towns and their families; and if they have difficulties readjusting or their wives notice a change in them, they at least have the security of familiar surroundings and the comfort of their own home. In this movie, the lead couple has neither. They're in a foreign country (an enemy country, to boot) and living in someone else's home with the occupant right down the hall. Jason is still on active duty, so not only does Keira have to get to know her husband again after years of separation during wartime, but she sees the soldier side of him. For him, the war isn't really over.

I was really excited to watch this romantic drama when the preview came out and made it look like one of the most intriguing movies of the year. It unfolded beautifully, and I'd definitely watch it again or even own a copy (and not just because of the leading lady). The acting is wonderful from everyone, the scenery immerses you in the setting, and the story progresses at the perfect pace. Really, the movie couldn't have been better. It's an internal, subtle story that dares to sympathize with German civilians after they lost the war. Keira, my favorite modern actress, adds complexities to her character as she tries to balance loyalty to her husband and country with her need for love and happiness. Alexander is sensitive and lost, but still a strong character. Perhaps the most interesting of all is Jason. He's not "the bad guy", nor is he pathetic and easy to dismiss. Everyone is realistic, and it's an intense experience to watch the drama play out. I give this movie a wholehearted recommendation, but you might want to put the kids to bed (there's an extremely graphic sex scene).

Kiddy Warning: Obviously, you have control over your own children. However, due to graphic sex scenes, I wouldn't let my kids watch it.

Was I the only person who disliked Shampoo? It seemed like one giant vehicle for Warren Beatty to show the audience that he was gorgeous and could sleep with as many women as he wanted. There was very little substance in the plot. He hopped from one bed to the next, and even though it was supposed to be a social satire about how shallow people were in the 1960s, it felt more like Warren was just having a lot of fun.

He plays a hairdresser, and because his job involves getting intimately involved with women's appearances and telling them how attractive they look, most of his clients find themselves in the palm of his hand. Julie Christie, Goldie Hawn, Lee Grant (who won an Oscar for this movie instead of the following year's Voyage of the Damned), and a young Carrie Fisher all vie for his sole attention, even though he's incapable of respecting women and unwilling to change his behavior to pretend he does. Whatever the point was, I missed it.

In this unique story of shellshock, Alan Bates returns home from the Great War with a case of amnesia. He has no recollection of his wife, Julie Christie, his lavish home, or their life they built together before the war. Instead, he wants nothing more than to see his old sweetheart, Glenda Jackson, who is now married and living in the city. Julie is patient at first, but her feelings are hurt that he not only is completely uninterested in her but seems not to even like her company. She hires a psychiatrist, Ian Holm, who recommends that he establish contact with Glenda. Once he gets in touch with reality, he can start to accept it. The story is extremely interesting, but the very end is more than a little depressing. I won't spoil anything, but I was not in high spirits when the credits rolled.

I always like the collaboration of Alan and Julie. This is their third film together, and even though he doesn't even remember her, they still have a great onscreen chemistry. It's Ann-Margret, though, who steals the show in a completely against-type role. She plays the dowdy spinster sister - can you imagine? With an austere brown wig, no makeup, and plain clothes, she completely sheds her sex symbol persona. I'm particularly gifted at recognizing faces (even going so far as to identify someone by their teeth or nostrils alone), but someone without that talent might not even recognize her - especially because she speaks in an English accent. I'm proud of her for taking such a risk, and for performing so well.

The beginning of Power is complicated, but just keep watching the movie and it'll all become clear to you. Richard Gere stars as a savvy campaign consultant who knows how to win elections. He knows that issues aren't as important as how a voter feels about a candidate, and his track record is so splendid, people across the country vie to hire him during election season. The movie follows him as he works on his main campaigns, but there's another obstacle in the way besides November. One of his clients, E. G. Marshall, has failing health and isn't seeking re-election. His spot is up for grabs, and different people want the power that comes with his Senate seat - even international villains. Also in the supporting cast are Kate Capshaw, Julie Christie, Beatrice Straight (understandable, since Sidney Lumet also made Network), Michael Learned, J. T. Walsh, a young Denzel Washington, and a strangely effeminate Gene Hackman Back in 1986, it was probably a big deal to film a script that exposed the inner workings of a political campaign. But today, it's common knowledge that a campaign manager will tell a candidate to work on his tan rather than his stance on an issue. It just doesn't have the same effect anymore. Or, perhaps, I'm too knowledgeable for my own good. I was a political science major in college, with an emphasis in campaign management, so to me, the lifting of the campaign season's curtain wasn't a revelation. I've been actively involved in politics for the past twenty years, and to be honest, I can't imagine having a non-political brain. Perhaps my impression of this film is correct, or perhaps there are people who will find it surprising. To those folks, go ahead and rent it if you like behind-the-scenes political dramas, to see that subgenre's daddy. But if you're political and looking for a shock, you won't find it here. Check out Our Brand Is Crisis for the equivalent of Power, thirty years later.

What a weird movie! It's supposedly a modern (and very freely adapted) take on Beowulf, but I couldn't really tell. I barely made it through to the end. The only people I can imagine enjoying this movie are the same folks who liked The Shape of Water - although this movie is not nearly as upsetting, sexually explicit, violent, or grotesque. It just involves a woman developing a relationship to a creepy alien-monster.

Sarah Polley gets a cryptic message from her fiancé, telling her he's travelled to a remote arctic village to find a mysterious monster. While flying there to find him, her plane crashes and she's crippled. Julie Christie randomly is an extremely competent doctor living in the middle of nowhere, and she stitches Sarah back up. When Sarah finally makes it to the tundra, she meets the monster and develops a friendship (let's hope it's only a friendship) with it - even though it killed her boyfriend. See what I mean? It's a weird movie. Watch at your own risk.

What was the point of this movie? I watched it twice and still never figured it out, except that offscreen sweethearts Warren Beatty and Julie Christie wanted to make a movie together where they could both look grungy. They're very beautiful people, but neither the frizzy perm nor the unkempt beard did them any favors.

If you're interested in the story, it's about two shady characters who try to control a small town. Set in the 1900s, Warren is a gambler and a persuasive speaker who comes to a religious town and turns it into a den of inequity. He frightens the townspeople into thinking he's a dangerous gunslinger, then immediately sets up a brothel (Julie is the madam). How are we supposed to root for these people? They don't have a moral compass, even with each other when they're "falling in love". But if she treats him like any normal client, is this really a romance? Obviously, I don't recommend this movie. You can stick with Heaven Can Wait if you like Warren and Julie as a couple.

Reunited again after Far from the Madding Crowd, Julie Christie and Alan Bates starred in The Go-Between. Although a simple story, it was told from the perspective of a child, which was very interesting.

Pre-teen Dominic Guard comes to the countryside to stay with his relatives, and he's immediately smitten with the beautiful Julie. Julie is sweet to him, playing and attending to his studies, and he also finds a friend in Alan, the hired hand who lives in a shack at the back of the property. It turns out, Julie and Alan are in love, or at least starting to be, from Dominic's perspective. After sufficient time gaining Dominic's trust and devotion, they ask him to secretly pass messages back and forth (to be their go-between). Were they only being kind to him out of manipulation? Will he keep his mouth shut, or will he become jealous of Alan and tell someone of their secret romance?

With lovely direction that immerses the audience into the 1900s English countryside, The Go-Between is not to be missed. You can tell that dramatics lurk on the horizon, and although this isn't a Thomas Hardy novel, not everything will go smoothly. Coming-of-age stories force children to suddenly grow up, and this story is no exception. Still, it's very good and I recommend it. If you like it, check out Far from the Madding Crowd, which I liked even better.

Most people have read Fahrenheit 451 in school, and while some claim it loses its potency in a film version, I disagree. When we read a book about a futuristic society in which books are banned, we can pretend that we're being rebels and holding onto one of the last remining paperbacks. However, when we watch a movie about a futuristic society in which books are banned, we can pretend we're in that era now. Without the pages in our hand, we can see the completely digital age. We see the interactive television program playing out (I always thought that great idea was going to be the way of the future), and when we see the firefighters burning books, we can pretend that movies are our sole means of entertainment.

Besides that, it's a wonderful, classic story with excellent performances by Oskar Werner and Julie Christie. He's conflicted and secretive; she's shallow and unquestioning. If you've never read Fahrenheit 451, consider watching the movie first. Then, when you get a copy of the book, you can pretend you've found a hidden treasure!

I'm not sure if this was the filmmakers' intention, but there's really only one reason Don't Look Now is famous: the sex scene. With full frontal male nudity and a lot more than the classic "giggling under the sheets" choreography, this lengthy scene almost got the film an X rating. I can only imagine how uncomfortable Julie Christie and Donald Sutherland were, since this was the first scene filmed.

The actual story has nothing to do with sex. It's about two parents who are grieving about the death of their little girl. They travel to Italy (hence the sex scene - just kidding) and get involved with clairvoyants, seances, and other spirituality. They try to get a handle on their grief, but they also don't want to let go and move on. Can they get in touch with the spirit of their daughter? Can they continue to have a life together? On paper, it's an interesting movie, and those who like artistic flicks will appreciate the way it was filmed. It not only has flashbacks but flash-forwards, too. It's artsy, creepy, flashy, and very 1973. You can try it if you want, but unless you like these kinds of experimental movies, you probably won't like it.

Kiddy Warning: Obviously, you have control over your own children. However, due to sex scenes, creepy visuals, and upsetting content about a child, I wouldn't let my kids watch it.

Remember in Chocolat, when a stranger in town opens up a store that the most powerful person in town disapproves of? If you like that premise, check out The Bookshop. Emily Mortimer buys a space in a beautiful seaside village and decides to turn it into a bookstore; wealthy Patricia Clarkson wants to stop her. Bill Nighy is a town recluse who corresponds with Emily (like 84 Charing Cross Road) and gives her a lot of business - and as time passes, friendship.

Although I never think of her as classy, I like Patricia Clarkson in this movie (and her pink cigarettes are too cute!). She speaks very quietly, forcing people around her to lean in and pay extra attention to her, and consequently giving her the upper hand in the conversation. Whether that was her decision or her director's (Isabel Coixet, who also directed Clarkson in Elegy), it was a very effective one. All in all, I was entertained by this movie even though I disliked how it ended. If you're the type of person who can appreciate the film's body and disregard the finale, check it out.

Tom Courtenay stars as the title character in this British comedy about an unsatisfied young man who wishes for more out of life. He doesn't have a terrible life and he doesn't have terrible problems. He just lives in 1963 and is part of the post-WWII generation what doesn't know how good they have it. The "rebels without a cause" kids live in England, too. To give himself some entertainment, Tom gives the audience a lot of internal monologues and flashes in which he acts out some outlandish fantasies. In real life, he juggles attractions for three women, Helen Fraser, Gwendolyn Watts, and Julie Christie (in her first movie!)

Funnily enough, Tom was the understudy during the stage run of Billy Liar, which starred Albert Finney; the two were reunited twenty years later in The Dresser. If you like the "kitchen sink" movies like Georgy Girl and Saturday Night and Sunday Morning, you can give this one a shot. It's pretty high energy and might irritate you, but just understand where the movie's coming from. Tom is supposed to have too much time on his hands, and his fantasies come across as silly by today's standards. But if you saw him in Doctor Zhivago (also with Julie) and want to see a completely different screen persona, try and make it through this one. You can't get any more different than Pascha and Billy, and it shows a great acting range.

Is there any movie about Alzheimer's Disease that's actually enjoyable? Probably not, but I really disliked Away from Her. First off, no one wants to see the beautiful and classy Julie Christie lose her marbles. It's one thing if the movie stars some unknown French actress or Martin Landau, who was never a looker to begin with (no offense, buddy); audiences just don't want to see a beautiful person deteriorate. It's so much more acceptable for people to eat their popcorn and watch an old, unattractive actor get sick.

Secondly, Julie and her husband, Gordon Pinsent, make the joint decision to install her in a long term care facility before things get too far gone. Julie has just been diagnosed and she completely resigns herself to her fate. When Gordon is told by the staff that he's not allowed to visit her for thirty days, they still agree to put her away in the home. Don't they think it's a terrible idea to immerse her in the land of the sick and cut her off from her entire world? Don't they suspect that her mind will deteriorate at a rapid rate with new medication and dysfunctional patients all around her? I thought this was a horrible decision and plot point, and it made me actively dislike and root against the characters. It's supposed to be heart-wrenching when Gordon returns and finds a different woman in his wife's place, but I was expecting it.

Third, I don't like the choices Gordon makes to have a new life while his wife rots away in the home. He bonds with Olympia Dukakis, another spouse who isn't allowed to visit, but it seems like a "revenge bond" to get back at their partners for abandoning them. I can't really recommend an Alzheimer's movie, but if I have to, I'll choose Lovely, Still instead of this one.

As you might guess from the title, Afterglow is all about sex, infidelity, and the consequence of affairs. At the heart of the story are two sexy stars, Nick Nolte and Julie Christie, who are stuck in a loveless marriage and have casual affairs all the time. Randomly, Nick meets Lara Flynn Boyle and Julie meets Jonny Lee Miller, who are also unhappily married (although neither pair knows about the other). As two sets of affairs begin, the plot gets more complicated.

Some people will find this story interesting, as it explores the different dynamics of May-December romances. A younger woman will want something different from an older man than a younger man will want from an older woman. I'm the first to admit that I have a very strong double standard about those romances; I have a soft spot in my heart if the man has the December birthday, but I find it disgusting if he takes the May role. So, you can imagine that this movie isn't my favorite. The audience is supposed to have an open mind to both couples. If you're able to, you can also probably balance the comedic and dramatic parts to the screenplay. Julie was nominated for an Oscar that year - see if you think she should have beaten out Helen Hunt for As Good As It Gets.

In one of the better Tennessee Williams stories (because I fully admit that even though I am a theatergoer and a former actress, not all Williams's plays are wonderful), Summer and Smoke follows the friendship and romance of two adults who never have good timing. When she likes him, he doesn't return her feelings. He's single, and she's entertaining other "gentleman callers" (to use a Williams phrase). The dance continues throughout the movie, keeping the audience completely invested and hoping that they will one day both be single and interested at the same time.

Geraldine Page and Laurence Harvey take on the wordy script and make their viewers forget they're watching an adaptation of a play. Sure, there is some artificial dialogue, but we can overlook it and credit it to the period setting. They both get to wear some lovely costumes, incidentally. The Glass Menagerie is my favorite Williams work, but Summer and Smoke is very good as well. I'd definitely recommend it if you would like a break from his usual fare or if you want to see some really good acting. Both Page and Harvey pull out all the stops. We like both of them, we understand both their characters' motivations, and we hope they can come to an arrangement (or, dare we hope, a happy ending?). 1961 was a year full of great films, so don't forget about Summer and Smoke when you're compiling your rental list.

Although you wouldn't guess it from the title, Storm Over the Nile is a version of Four Feathers. This is the fourth film version I have seen, and it is quite good, with only one problem: Laurence Harvey is not the hero, and he is far too likeable. In the other versions, the leading actor is the likable one, so you are able to easily root for him to win back the affections of his fiancé and live happily ever after. In this one, though, Anthony Steel is the lead. He is not unlikable on his own, but Laurence Harvey's performance is very sensitive and sweet, and you can't help but like him better. You hope that he is the one who can win back affections of Mary Ure and live happily ever after. Even though the story clearly revolves around Anthony's quest for honor, Larry is the one you care about.

Besides that, it's a solid period drama. The music tries to evoke Miklos Rozsa's original themes, and Zoltan Korda's direction reminds us how well he directed the earlier 1939 version. If the casting were reversed, it probably would have been a very good movie. Love Larry in this? Check him out in The Alamo or Walk on the Wild Side.

Either Laurence Harvey was getting desperate, or he seriously wanted to change his image; in 1966, he accepted a part in a silly comedy, The Spy with a Cold Nose. Two rules of thumb for actors: never work with animals or children. And in this movie, Larry plays second fiddle to a dog. (Actually, he plays third fiddle to the dog and Lionel Jeffries.) But, if he just wanted to change his image and make himself more family friendly, it was a cute idea. Similar to That Darn Cat, lots of kids will enjoy this movie as they watch a cute little pet get recruited into the world of government spies. You'd never guess the soft-spoken veterinarian in this movie is the same crazed assassin from The Manchurian Candidate, unscrupulous cad in Room at the Top, or naughty playboy in Darling. In this comedy, a dog is fitted with a discreet listening device so he can spy on the Russians, and Lionel is the British agent in charge of the whole operation. He doesn't get any respect at home, so this is his shot to feel like a bigshot. When the dog gets sick and has to go see the vet, Lionel tries to re-capture the dog so they can find out what his collar has been tape-recording. It's pretty harmless if you want to try it, but it's not that great.

I was drawn to The Running Man because of the cast: Lee Remick, Laurence Harvey, and Alan Bates. For me, a mediocre script is always more bearable when good-looking people are delivering the lines. This movie wasn't that great, but I stuck with it because I'm a sucker for an attractive cast.

Lee plays a beautiful widow whose husband's body was never found. Alan is an insurance investigator, suspecting she is not a widow at all: her and her husband might be committing insurance fraud. It turns out they are doing just that. Larry is hiding out, communicating with Lee secretly so they can pull it off and run away to Europe. Lee gets to wear some adorable Barbie-style dresses, but that's really the highlight of the movie. Her character is incredibly stupid, the plot twists could have been better, and the finished product felt like a tv movie. If you do like this movie, though, check out the similar plot of Five Miles to Midnight, from the same year.