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I'm sure many people like or even love it (James Caan is very endearing), but it wasn't for me.

I've watched Dark Passage so many times over the years that I doubt I'll rewatch it tomorrow, but I'll tune in for Eddie's comments. Even if he repeats the script he's used before, he's bound to add (or subtract) something, so it's worth tuning in just for that. I'm certainly a fan of the film...

I read in one of the Gone With the Wind making-of books that the 1954 re-release did crop to 1.66:1 so it could be advertised "now in widescreen!" I saw that 1967 70mm blow-up, but not being familiar with the original framing, I can't remember now thinking that anything was amiss in that...

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I agree. I loved every minute of it, but it did seem to cram A LOT of stories into 20 minutes.

Because the framing story is so unrelentingly grim, the buoyant, spectacular musical numbers (each one in a different style from the others matching the vintage and varied songbook used in their creation) are such a contrast that they make the story seem even more desperately tragic than it...

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I'm certain they've merely ported over the old commentary, but I don't have the DVD in order to make any kind of comparison.

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I watched The Big Knife at lunchtime. I enjoyed it, and it certainly painted a black portrait of Hollywood behind-the-scenes. But it was very talky and very writery with dialogue containing metaphorical allusions that very few people in real life would use to express themselves. Palance got a...

I watched Fox's 14 Hours last night. Hadn't seen it in ages, and I was reminded how strong the performances were especially by Paul Douglas, Richard Basehart, and Barbara Bel Geddes. I didn't even remember Grace Kelly was in it, but there she was along with stalwarts like Agnes Moorehead, Robert...

Yes, and Burt was no lovelier as a woman in The List of Adrian Messenger though there he was playing more of a bag lady there.

I'm looking forward to it, too. Great cast and a fine director not often given credit for his accomplishments.

I attended a Zoom chat this afternoon for internet reviewers and podcasters of Warner Archive product that featured George Feltenstein as guest speaker. He was most enthusiastic about this release as the original film hasn't been seen intact since 1956 until this restoration which puts back in a...

I noticed it, too, and I was happy to see it return to normal.

One little correction: the score won the Comedy/Drama background score Oscar; the song itself did not win. "Secret Love" from Calamity Jane won that year.

I haven't been to the Pavillion 22 in a long time, but unless they've updated it, it was fairly shabby the last time I was there. I live just a few blocks from the Terrace 6. The theaters were refurbished prior to the Covid outbreak of 2020 and were comfortable places to see a film (I saw Knives...

Thanks for the tip! The price was still valid, and I snapped it up.

Yep, Ice Station Zebra is still leading off the list.

I noticed that earlier this evening. It was going great guns for a while and now this! Argh!

I reviewed the DVD when it was released, and I have been hoping ever since for a stateside Blu-ray release.

Yes, I've watched it during its last go-round, but I'll tune in for Eddie's remarks. Even when he recycles his earlier text, he usually adds in some other tidbits.

I guessed right that the ghost sucked off was Stephanie's boy friend. In the remaining episodes, something needs to be done about Pete's wife Carol. She hasn't been around in the last couple of episodes (thankfully: she adds very little to the show), and I'd like to see her gone by season's end...

Of course he did! There were several set in Africa, both in the black and white and color seasons. They also went to Paris, London, and a couple of tropical islands.

Having adored the character through all of her exploits on The Good Wife and The Good Fight, this news which I read earlier this afternoon could haven't made me happier.

I guess that would be the next logical development.

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For years I had known that Sammy Davis, Jr. had starred in a stage version of Stop the World I Want to Get Off and that it had been filmed by Bill Sargent the same way he had filmed Hamlet, Harlow (with Carol Lynley), and the first film version of Stop the World with Tony Tanner and Millicent...

It was certainly nice to see Robert Osborne again, and as I hadn't seen that night of noirs that he and Eddie hosted all those years ago, I was glad to have seen it.

He's also in There's No Business Like Show Business, also from 1954. The Martha Graham takeoff in "Choreography" does lead into a delicious Vera-Ellen tap sequence, so I could never discount the number if for that reason alone.