What Else I Watched, 2026Q3

What's up, Doc? (1972)
I first saw this back in 2020 and I liked it. Didn’t love it, but it had some good stuff in there. Felt mostly the same this time around. Barbra was very charming.

His Girl Friday (1940)
It gets better every time I watch it. The original play was adapted again by Billy Wilder in 1974, with Lemmon and Matthau. I may see that version soon.

Avatar Aang: The Last Airbender (2026)
After watching the cringy live action version, it was nice to see an Avatar that felt like the Avatar. It’s interesting that they chose not to use the original voice actors. It’s pretty forgettable, though. I feel it fading from my memory as I type …

What Ever Happened to Baby Jane? (1962)
It has been about ten and a half years since I watched this film, and it holds up to a second viewing. Still just as tense.

A Fish Called Wanda (1988)
Two years after I watched it last, I still find the comedy mean spirited. But what I noticed this time is that it’s a better than fair heist film.

Clue (1985)
This was my send-off for Tim Curry, and I watched it with a group from my back yard. While it may not be the best 80’s comedy, and some of the humor does not age well, it was a pleasure to watch. Tim was a unique talent. Nobody could replace him.

My Cousin Vinny (1988)
This might have been the first time I watched it all the way through. Excellent courtroom drama and an excellent comedy. Marisa Tomei was not expected to win Best Supporting Actress which gave rise to silly conspiracy theories. Get a grip. She gave a charming performance.

Midnight in the War Room (2026)
Still listed as in post-production, this documentary premiered in August at the Black Hat security conference in Las Vegas. The cybersecurity company that produced the film held a screening in Boston, and I got a ticket. The message of the doc is that we are in a full-blown cyber war, and it is escalating. Being in the biz, that wasn't news to me. Still, it was an interesting watch.

Don’t Bother to Knock (1952)

Pretty Nell (Marilyn Monroe) is hired to watch a young girl while her parents attend a banquet at a fancy New York hotel. She catches the eye of recently dumped pilot Jed (Richard Widmark), but he soon discovers she is a few crackers short of a full sleeve.

Monroe was finally offered the chance for a starring role and showed surprising depth, although contemporary reviews didn’t acknowledge it. Co-star Widmark was already an established leading man and had a long career, frequently playing military leaders.

Old friend Eliza Cook Jr. plays Monroe’s uncle and Millionaire Jim Backus is the little girl’s father. Anne Bancroft is the pilot’s heart-breaker in her first feature role.

While not a truly remarkable film, Don’t Bother to Knock covers some fairly serious subject matter, and a little more maturely than I would have expected. But it is Jed who experiences the character arc, learning to care about other people. This felt a little unearned, but it may have been part of the source material. AMRU 3.5.

Jamaica Inn (1939)

After her mother dies, young Mary (Maureen O’Hara) travels to the notorious Jamaica Inn to live with her aunt (Marie Ney). She discovers that something sinister goes on there and confides in her new friend, aristocrat Sir Humphrey (Charles Laughton).

Jamaica Inn was based on the novel by Daphne du Maurier, who also penned Rebecca and The Birds. Perhaps because it's a period piece, it didn't feel much like a Hitchcock film. Because the notoriously difficult Laughton was a co-producer, Hitch said he didn't so much direct it as referee it.

This was the first major role for 18 year old O’Hara, and the first after dropping her real last name, FitzSimons. Her cruel uncle Joss was played by Leslie Banks. Scaring from World War I facilitated his casting in villainous roles. I have yet to notice it. Laughton was excellent in the Charles Laughton role.

Jamaica Inn, after you acclimate to the expressive acting, is a better than fair watch. Perhaps not well remembered today, it still entertains. AMRU 3.5.

The Bachelor and the Bobby-Soxer (1947)

A kerfuffle-prone artist Dick (Cary Grant) catches the affection of highschooler Susan (Shirley Temple), who happens to be the younger sister of the judge (Myrna Loy) he was brought in front of. The court decides to drop all charges, and in exchange Dick will date Susan until her infatuation subsides. What could possibly go wrong?

Forty two year old Grant was twenty four years older than his co-star, but Susan’s math revealed that his character was thirty five. Band leader Rudy Vallee plays another annoying antagonist. He’s a man who knew a thing or two about dating teenagers. His third wife was nineteen when they married. He was forty two. Marital bliss lasted less than eight months.

This film is yet another example of classic Hollywood’s infatuation with underage girls. But to the film’s credit Grant’s Dick, that is to say, his character, doesn’t for a moment imply any attraction to Susan. And Temple’s performance is fairly innocent. It’s all played off as an awkward situation.

Temple is actually pretty good. She never made it as an adult actress and I believed there were reasons for this. Her singer/dancer/actress skills were cute when she was ten but now she was going up against the likes of Deborah Kerr, Vera-Ellen, Audrey Hepburn, Ava Gardner, and Cyd Charisse. She simply wasn’t in that class. Fort Apache may be in my future.

Grant is always interesting to watch but he doesn’t give off painter artist vibes. Perhaps a writer would have been more fitting. Age appropriate Myrna Loy is also great. The court-ordered courting of a minor makes The Bachelor and the Bobby-Soxer a fairly screwy screwball comedy, but it's not among the funniest. It has some good moments, but also some extended unfunny bits. AMRU 3. I will end with a real-life Rudy Vallee quote:

“People called me the guy with the cock in his voice. Maybe that's why in 84 years of life I've been with over 145 women and girls.”

Deadline at Dawn (1946)

While on a drinking binge with a floozie, naive sailor Alex (Bill Williams) pockets a wad of her cash. Once sober, he tries to return it only to find her dead. For reasons that make the film go, he decides he must find the murderer before he ships out at 6:00 AM. World weary dance hall girl June (Susan Hayward) helps for the very same reason.

Quite a bit is going on here. Dead Edna was up to no good and her brother is a notorious gangster. More people enter the circle of suspects. There are also a number of amusing side characters, like Babe Dooley, the washed up ball player (apparently modeled after Hack Wilson), the philosophical taxi driver, and a dance hall patron who means no disrespect.

This is the first film with Susan Hayward as the lead. She was quite good in the hard boiled role, having to recite some pretty ridiculous lines. When sailor boy says something unexpected, she replies “let’s pause for station identification”. It was just as awkward on screen as it seems. Gangster Vic has a few gems of his own. "People with wax heads should keep out of the sun."

Deadline at Dawn is an entertaining watch, and the cheesy dialog only adds to the amusement. Sailor boy may have been a pretty weak protagonist but Hayward was quite charming. AMRU 3.5.

“She was no lullaby, but she had the brains, like a man.”

Boxcar Bertha (1972)

During the depression, Bertha (Barbara Hershey) joins up with a union rabble-rouser (David Carradine) and a card cheat to become outlaws. David’s dad John plays the evil rail baron.

Director Martin Scorsese was given an opportunity and a script from Roger Corman. This opportunity allegedly came with a requirement to include nudity, possibly every fifteen minutes or pages, it’s unclear. This didn’t stop Marty from being clever with his storytelling. Unfortunately there is only so much he could do with this sow’s ear. Famously John Cassavetes told Scorsese that was too good to be making this kind of shit.

Boxcar Bertha was rumored to be based on a true story, but it's not. This may have been a stunt to cause audiences to associate it with Bonnie and Clyde, a far better film. But story and acting performances aside, Boxcar Bertha isn’t hard to watch. And at 90 minutes, it doesn’t overstay its welcome. AMRU 3.

Forbidden Zone (1980)

Exchange student Frenchy discovers that a door in the host family’s basement leads to the sixth dimension. Excitedly, she enters to discover a bizarre world ruled by a jealous queen.

Richard Elfman, brother of Danny, scratched together money to finance a film featuring his band of street performers, known then as The Mystic Knights of the Oingo Boingo. What was captured on screen was an absurdist, frenetic performance unlike anything. Like a twisted Alice in Wonderland, the king (Hervé Villechaize) takes a shine to her but Queen Doris (Susan Tyrrell) won’t just stand by. The cast of characters is too numerous to list. Brother Danny plays the Devil and sings Minnie the Moocher.

Originally shot in black and white to give it a German expressionist vibe, it was digitally colorized in 2008. The lack of sharpness is noticeable but the colorization isn’t if you didn’t already know. The sets appear to be made from trash bags, cardboard, and markers but still show a high level of craftsmanship. Despite the very small budget, around a hundred grand, Elfman lost his shirt. And his house.

Forbidden Zone has scenes most will interpret as racist, misogynist, or homophobic, and will be offensive to those who are so inclined. Elfman disputed this, but did change a blackface scene into clown-face. It did see success on midnight showing.

I’ve only just scratched the surface. There’s a dancing frog-man, a topless princess, a chicken-boy named Squeezit, and so much more insanity. Love it or hate it, one thing is certain. You can’t take your eyes from the screen. I’m rating it AMRU 3.5, but I feel there is just no way I won’t see it a second time.