'Validation' is fun, sweet, and entertaining

Validation (2007)
Starring: TJ Thyne and Vicki Davis
Director: Kurt Kuenne

Rating: Ten of Ten Stars

A parking attendant (Thyne) with a gift for lifting people's spirits falls in love with the one person he can't make smile (Davis).

If you're feeling down and/or are in the mood for a romantic comedy, you need to watch "Validation". Even if you're happy and just want to watch something really fun and entertaining, you need to watch "Validation".  Go ahead and click on the embedded video below! I guarantee you will have a smile on your face at the end of its 15-minutes run-time... and I likewise feel you'll find yourself adding this to your lists of favorite romantic comedies and urban fantasy films. You'll also find yourself humming the theme song, "Smile".

I probably already gave too much away about the film between the teaser summary at the top and the paragraph above, so I'll just add that if liked T.J. Thynes on the long-running Fox series "Bones" (2005 - 2017), you'll love him after seeing his performance here.

I love everything about this short film. It's among the most solid Ten of Ten Stars I've awarded since I began writing reviews again in 2003. If I could, I'd give it Eleven Stars, because it deserves a Star for the punnish title alone. (If you've spent any time on my Facebook page, you know how much I love puns.)

'A Crazy Composer' will brighten your day

The Crazy Composer (1906)
Starring: Georges Méliès
Director: Georges Méliès
Rating: Ten of Ten Stars

A composer suffering from a creative block is visited by Muses and other magical creatures that rekindle his creativity... or is he?

It may be over 100 years old, but I suspect more than a few of those of you out there who work in creative fields can relate to the "crazy composer" in this film. Heck, these days, we can probably all relate to this film's title character, in the sense that we're all going a little stir-crazy with the global pandemic keeping many of us housebound. It's even worse now that the weather is turning good in many places.

Another thing that makes me strongly recommend watching "A Crazy Composer" is that it's the best Méliès film that I've watched so far. The large cast of energetic dancers and musicians perform their bits with flawless precision, and the special effects trickery is so precisely executed that it's clear why Méliès is more than deserving of being called "The Father of SFX". As this film unfolds, the cast on screen keeps growing and the dance numbers keep getting more elaborate and funnier... and the execution remains flawless.

As good as the film itself is, the modern musical score that is featured in the version I've embedded below makes the viewing experience eve better. It's PERFECT and absolutely hilarious, and it proves that these films are so much better served when someone takes the time to actually score them instead of just using some random muzak trck.

I can't recommend "A Crazy Composer" strongly enough. Whether you're homebound, stuck working more than you'd like, or not working at all, due to the current global crisis, I think the four or so minutes you'll devote to this film will brighten the rest of your day tremendously.

'Hard Luck' is one of Buster Keaton's Best

Hard Luck (1921)
Starring: Buster Keaton, Virginia Fox, and Joe Roberts
Directors: Buster Keaton and Eddie Cline
Rating: Ten of Ten Stars

After repeatedly failing to kill himself, a broke, impoverished, and unloved young man (Keaton) gets a sudden opportunity to turn his life around, be a hero, and possibly even find romance with a beautiful woman (Fox).

"Hard Luck" is at once one of the funniest and darkest comedies I've seen from Buster Keaton. It opens with Keaton's character being beaten down by Circumstance one time too many for him to bear, and then follows him through a number of attempts at killing himself (hanging, getting run over by trains and cars, trying to get himself crushed by a falling safe, drinking poison), all of which fail with hilarious results. Yes, you will find yourself laughing at this character who is trying to end his misery.

Even after it looks like his luck may be turning around, and he'll have a chance to find some semblence of stability and happiness in his life, viewers who are paying attention will see that this is initially a false hope; our suicidal hero falls in with a group of rich people among whom he will never fit in and that he will certainly find himself rejected and dejected once again. This is made even clearer when his new friends go on a fox hunt and he tries to join them but is left behind while trying to get on a Clydesdale. The jokes and physical gags during this part of the film are as funny as the various failed suicide attempts, and the humor isn't quite as dark, because you will find yourself buying into the character's new-found hope.

"Hard Luck" is at its best when Keaton's character finds himself in the middle of a robbery and kidnapping, and he defeat a gang of desparados led by a hulking brute (who is played by Joe Roberts, who has never been as menacing as he is here). The stakes are as high as they can possibly be--because if Keaton fails, he will be dead and the lovely Virginia Fox will most certainly be raped. The clever way by which Keaton's character singly takes on and defeats an entire gang of armed men features one of the best application of the silent movie standard of characters running in and out of rooms while fighting or pursuing each other. It was an old bit in in 1921, but Keaton puts a different spin on it, as well as adds some dramatic and hilarious complications.

Despite his heroism, however, Keaton's character still ulimately ends up without prospects and love... or so it seems. The film has one last big joke, which, according to sources, was not avaible in prints for decades... much to Keaton's disappointment, because he described it in at least one interview as his favorite part of this, one of his favorite works. (This last gag also ultimately brings light to the darkness of this movie, with a final twist that demonstrates that no matter how hopeless life can seem, no matter how much hard luck you're being beaten down by, happiness can be waiting any moment. That's the message I took from the final moments of the film, so I'm glad that lost footage was found and restored.)

After watching several versions of "Hard Luck" available on YouTube, I think the one I've embedded below is the most complete one that is easily available. I strongly encourage anyone who hasn't seen it to take 25 minutes out of their day to do so. If you are a Keaton fan, you won't regret it... and if you're not familiar with his work, you may just find yourself a new filmmaker to admire.




Note: September is National Suicide Prevention Awareness Month. Look out for those around you... and if you're ever in the mindset of the Keaton character in "Hard Luck", please remember that things CAN get better. I know; I've been there.

Most exciting portrayal of space travel ever?

Astronomeous (1928)
Director: Otto Messmer
Rating: Ten of Ten Stars

Felix proves the feasibility of space travel and the colonization of other planets to the cats of Earth.

The late 1920s was something of a Golden Age for Felix the Cat. Although the character's popularity was starting to wane, many of the cartoons that were released during that period are so over-the-top crazily creative that they are just as fun today as they were 90 - 95 years ago.

But don't just take my word for it... take a few minutes and watch "Astronomeous". I'm certain you'll find plenty of things to chuckle about as the surreal world of Felix the Cat enters the space age, as well as one or two things that give it something of a contemporary feel.

One of the greatest haunted house movies

The Legend of Hell House (1973)
Starring: Roddy McDowall, Clive Revill, Pamela Franklin, and Gail Hunnicutt
Director: John Hough
Rating: Ten of Ten Stars

A parapsychologist (Revill) travels to Balasco House--also known as "Hell House" and reported to be the worst haunted house in the entire world--with his wife (Hunnicutt) and two psychics (McDowell and Franklin) in order to gain indisputable, scientific evidence for the existence of ghosts and other supernatural phenomena. But the evil that dwells within the sprawling mansion never gives up its secrets easily....


"The Legend of Hell House" is one of the greatest haunted house movies ever made. It works, first, because the director and cinematographer manage to convey the sense that the house itself is alive and a character in the movie, and, second, because of the great peformances of the stars, and, third, because it features a script so tight that not a single line of dialogue or action on the part of the characters doesn't feed into the suspense and horror of the film--horror that keeps mounting until the final twist at the movie's end.

This is a movie where everything is done right. The cinematography and lighting is supreme, the actors are all perfect in their parts--with Roddy McDowall as the reluctant psychic shining even brighter than the rest--and the pacing is perfect throughout.

I wish the producers and directors of moden horror movies (particularly ghost movies) would take a look at "Legend of Hell House". This film is far scarier than any ghost movie of recent vintage.

No doubt that 'Shadow of a Doubt' is great

Shadow of a Doubt (1943)
Starring: Teresa Wright, Joseph Cotton, Macdonald Carey, Henry Travers, and Patricia Collinge
Director: Alfred Hitchcock
Stars: Ten of Ten Stars

Ennui-ridden teenager Charlie (Wright) finds her drab world filled with life and hope of excitement when her legendary, globe-trotting Uncle Charlie, the man she is named for, pays a surprise visit to her and family. But Charlie's delight soon gives way to suspicion, then fear, then terror as she gradually comes to realize that he is hiding a dark secret -- that he is a serial killer on the run.

This is said to be Hitchcock's personal favorite among all the movies he made, and he was well within his rights to be very, very proud of it. With a script that is absolutely perfect in every way, a setting that captures the essence of the idyllic small American town so perfectly that Ray Bradbury would be moved to tears, and a cast that all deliver great performances in parts it seems they were born to play, there simply is not a single sour note in this movie.

It starts with a script that deftly sets up all its characters and manages to draw them as fully realized, three-dimension people within minutes of their first appearances on screen... usually through subtle character actions or exchanges. The most impressive of these is the film's lead character, a typical whiny restless teenager who in a script from lesser writers and interpreted by a lesser director would have been extremely annoying and someone you might wish ill upon. However, the character is so deftly written here and her reactions so believable--a mixture of childishness and adult and perception of what it means to be an adult--that you are rooting for her almost from the moment she is introduced into the story.

The same is true of the opposite side of the coin, the film's other Charlie... a man on the run with a secret, who may or may not be a serial killer. Like Young Charlie, he is deftly established a few touches that are followed up with further development that lends texture and deep character to him.

These two characters, and the oft-referenced "special bond" that exists between them, are the solid center around which story and other characters rotate, each developed as they relate to the two Charlies and each eventually emerging as fully realized as they are. Even the "special bond" ends up taking on personality, evolving from childish imaginings born of coincidences to something more real and that gives sinister weight to either Charlie when the younger of the two promises she will kill the older one if he hurts her mother.

Heck, this script is so perfect that the insta-romance the develops between Young Charlie and one of the detectives who come into town on Uncle Charlie's tail doesn't bother me one bit. Where this has nearly ruined a couple other Hitchcock films for me, here it

Of course, as well-written as these characters are, they would have withered in the hands of the wrong actor. Here, the casting is so absolutely perfect that the actors have an exponential impact when it comes to breathing life into the characters. Casting Joseph Cotton as a serial killer, who up to this point in his career had played nothing but lovable good guys, was a stroke of genius, and petite Teresa Wright nails her teenaged character perfectly despite being 25 at the time this film was made. Even the bit-players--like the small town's librarian and traffic cop--fit their roles perfect and instantly make the audience feel they know the person in question.

The great script and the perfectly cast actors are further supported by a great location and even better sets. A problem I sometimes have with Hitchcock's American films is sometimes jarring and obvious difference between footage made on sets or the studio back lot versus footage made on location. The quality of the environments change so drastically that I am sometimes pushed out of being absorbed in the movie. Not so here. Location and sound stage merge seamlessly and undetectably to form a perfect whole.

If you only watch one Hitchcock film, this is the one to choose.

'The Maltese Falcon' is a mystery classic

The Maltese Falcon (1941)
Starring: Humphrey Bogart, Mary Astor, Peter Lorre, Sydney Greenstreet, Gladys George, and Elisha Cook Jr.
Director: John Huston
Rating: Ten of Ten Starts

When private detective Sam Spade (Bogart) tries to solve the mystery surrounding the murder of his partner, he finds himself drawn into a struggle between eccentric treasure hunters (Greenstreet and Lorre) and a beautiful con artist who may or may not also be a coldhearted killer (Astor). At stake is the Maltese Falcon, a treasure of almost unimaginable value.

"The Maltese Falcon" is one of the few movies that truly deserves the label "classic." It's a perfectly paced detective story, with just the right mix of suspense and humor to bring out the maximum effectiveness of both elements as they play off each other.

The characters are quirky and unpredictable to the point where the final outcome of the story remains in question until the final few minutes of the film, and each actor is perfectly cast in their role. Even better, every line of dialogue is perfectly crafted and delivered with spot-on timing.

In fact, everything in this film is about as perfect as a film could possibly be. If you're a fan of the hardboiled detective genre or mysteries in general and you haven't yet seen this masterpiece, you owe it to yourself to change that.

Humphrey Bogart as the deeply flawed hero Sam Spade is particularly excellent in the part, as a man with questionable moral values yet a firm personal code of honor who finds a woman (Mary Astor's Brigid O'Shaughnessy) who at first seems capable of bringing out the best in him, but who ultimately may end up bringing out the absolute worst in him. While Spade is constantly fighting verbally and physically with the Lorre, Cook and Greenstreet's villains, it is Brigid who is Spade's main foil and she turns out to be one of the screen's greatest femme fatales, because Astor brings a vulnerability to a character who may be the hardest of any of the hard cases that populate this story that goes a long way to keeping the mysteries swirling through the plot open questions until the very end. As amusing and dramatic as Lorre and Greenstreet's performances are, it is Astor who is the true driver of the story, providing a great portrayal of a character that is almost as important as Bogart's Sam Spade when it comes to the success of this film.

There are only a handful of movies that I've watched more than once. "The Maltese Falcon" is one of those. Check it out, and I'm sure you'll see why.






Trivia: "The Maltese Falcon" was the third adaptation of the Hammett novel by the same title. This goes to show that not all remakes are bad. Some are even improvements on the original film. (Although, by all accounts, the 1931 and 1936 versions are pretty good, too, with the 19365 version being a spoof. I haven't seen either of those older movies yet, but both other versions are included in the DVD edition I've linked to above while the Blue-Ray edition only includes the 1936 comedy version, "Satan Met a Lady".)

Maybe this is why your mom told you,'Never talk to strangers'?

Strangers on a Train (1951)
Starring: Farley Granger, Robert Walker, Ruth Roman, Laura Elliot (aka Casey Rogers) and Patricia Hitchcock
Director: Alfred Hitchcock
Rating: Ten of Ten Stars

A professional tennis player (Granger) has what he believes is an idle conversation with a very strange fan (Walker) while traveling by train. The fan proposes that he kill the athlete's slutty, unfaithful wife (Elliot), who is denying him a divorce, white the tennis player kills his domineering father. It's the perfect murder, as neither of them have a motive to kill their victim and no one knows they know each other. Although the athlete refuses to take part in the scheme, his wife turns up murdered, and the man from the train appears on his doorstep and demands that he follow through with his part of the arrangement.



"Strangers on a Train" is one of Hitchcock's finest movies. The performances from all the actors are top-notch, with Farley Granger playing his part so effectively that even when it's obvious that he repulsed at the idea of committing murder when it his proposed to him--escially the murder of someone he doesn't even know--there is still just intrigued enough that he might give into the temptation to be rid of his nasty wife.

Co-star Robert Walker is equally excellent as the psychopath who is intent on forcing Granger to be his partner in murder. From his first appearance, the audience can tell that there's something queer about Walker's character--and I'm using that word in any sense you choose to apply it--even if he he initially seems nice enough, if just a bit socially awkward. As the film unfolds, and we become fully aware of just how deranged and evil this man is, Walker becomes the main source of tension in the film... a threat greater to Granger and those he cares about than even the possibility of being arrested for a murder he didn't commit.

Aside from the great acting "Strangers on a Train" is also a showcase for perfection in film editing; if it's not being used in film studies classes, it should be. There is not a wasted second anywhere in its running-time, and the third act is nail-biter it thanks primarily to the editing. The sequence where Granger has to finish and WIN a tennis competition in record time so he can stop Walker from planting incriminating evidence framing Granger once and for all at the murder scene is absolutely spectacular. The same is true of the way we follow Walker on his trip back to the scene of the crime with the damning evidence in hand. Finally, there is the rightfully celebrated climactic and deadly confrontation between Granger and Walker on a out-of-control carousel, a symbolic fight pushed to the height of suspense by artful use of cinematic tricks.

If you have watched and liked any Hitchcock films, I believe you absolutely must see this movie. That goes double if you are an aspiring writer or filmmaker yourself. Few movies are a better one-stop showcase for how to do this right than "Strangers on a Train."

Bates Motel is a little like Hotel California

Psycho (1960)
Starring: Anthony Perkins, Janet Leigh, John Gavin and Vera Miles
Director: Alfred Hitchcock
Rating: Ten of Ten Stars

Marion Crane (Leigh) steals $40,000 from her employer and heads off to start a new life with her lover, Sam Loomis (Gavin). Before she can meet up with him, however, she vanishes without a trace. Sam and her worried sister, Lila (Miles) track her to the isolated Bates Motel, where a soft-spoken young man named Norman (Perkins) struggles under the heavy hand of his shrewish, possessive mother. But Norman is a man who has many dark secrets....


I think everyone reading this knows what Norman is hiding, as well as where Marion and the $40,000 vanished to... but in case someone hasn't seen one of the greatest horror films ever made, I'll keep to my policy of not offering any spoilers.

Suffice it to say that I think this movie must have been absolutely, jaw-dropping in its audacity with the plot-twist that happens about 15-20 minutes in. I doubt anyone could have been prepared for it, and "Psycho" is still remarkable for flawless way it pulls it off... few films can take such a shocking left turn and not spill the audience on the curve. Instead, after the shock wears off--and it IS shocking if you aren't expecting it, even in this day and age when movies go back for reshoots to add violence and nudity--the audience is even more captivating. Where can the movie go from there, they're asking themselves.

"Psycho" is one of Hitchcock's finest movies. The cast is perfect; the script is perfect; the sets are amazing; the camerawork and creative use of lighting is astonishingly creative and effective; and the Bernard Hermann score is absolutely mindblowing (even if I'm not as fond of the "Murder Theme" as so many others are... there are far better bits of music in the film).

If you haven't see it, or if you've seen the pale imitation that was released in 1998 under the guise of a "remake" (and it was an imitation... to call that travesty a "remake" is an insult to genuine remakes, no matter how bad they might be), you need to see "Psycho". It's a film every movie lover should experience.

Myth meets reality in 'The Man Who Shot Liberty Valance'

The Man Who Shot Liberty Valance (1962)
Starring: James Stewart, John Wayne, Vera Miles, Edmond O'Brien, Lee Marvin and Andy Devine
Director: John Ford
Rating: Ten of Ten Stars

A successful 19th century politician (Stewart) reveals the true events behind his legendary gunfight against the feared outlaw Liberty Valance (Marvin) that led to the taming of an entire region of the United States.


"The Man Who Shot Liberty Valance" is at once a fantastic western with an all-star cast giving top-notch performances, a commentary on the evolution of a society, and an exploration of how appearances and legends are sometimes more important than reality. It's a film with a multi-layered story of a timeless kind that speaks as solidly to viewers today as it did when it was released 45 years ago, just as it will speak to viewers 45 years in the future. This is one of those very rare films that truly deserves to labeled as a "classic".

Among the many excellent performances in this film, particular notice needs to be given to John Wayne. To the inattentive viewer, the character of Tom Donaphin is little more than a stereotypical "white hat" cowboy of the kind that Wayne played dozens of times during the 1940s and 1950s. However, Tom is a deceptively complex man whose macho bearing and sincerely held patrician beliefs and attitudes are both his greatest strength and fatal weakness. It's a complex character that Wayne does justice with what may well be the subtlest performance of his career. I suspect anyone out there who likes John Wayne has already seen this movie, but if you haven't, you need to seek it out. It will give you a whole new appreciation for the man's talent as an actor.

Greatest chiller of the silent movie era?

The Cabinet of Dr. Caligari (1919)
Starring: Werner Krauss, Conrad Veidt, Friedrich Feher and Lil Dagover
Director: Robert Weine
Rating: Ten of Ten Stars

A sideshow performer (Krauss) and an eternal sleeper with prophetic powers (Veidt) engulf a small town in a wave of nightmarish terror and death.

Anyone who's taken a film history class has almost certainly seen "The Cabinet of Dr. Caligari". If you haven't seen it, and if you consider yourself a fan of horror movies, or a movie buff in general, you absolutely must see this movie. It is one of the most chilling horror movies ever made.


It might be a bit slow in the wind-up from the point of view of the modern audience, and you might be a bit amused by the Dr. Suess-like set design of the village in which the movie takes place... but you'll soon be rivited by the stark moods this film invokes through the sharp use of contrasts, the spooky appearance of the actors, and the brilliantly concieved sets. Dr. Suess will be very far from your mind, unless you want to view the film as "Horton Has a Psychotic Break and Hallucinates."

Although dating from 1919, this film still stands nearly unmatched it its ability to draw the audience into a disturbing, twisted world where ultimately nothing can be taken for granted or assumed to be true. And, depending on how you choose to interpert the very effective twist ending, it may well be a world from which there is no escape.

Every filmmaker has certainly seen this movie. It's too bad so few of them seem to have taken away any lessons from it.