THE MASK OF FU MANCHU

Director: Charles Brabin

Stars: Boris Karloff, Lewis Stone, Karen Morley, Charles Starrett, Myrna Loy, Jean Hersholt

Year: 1932

Rating: N/R

Politically correct? No. But damned entertaining - mostly due to a sincerely sinister performance by Boris Karloff, here playing the evil Chinese crime genius set upon stealing the crown and sword of Genghis Khan so that - along with his daughter Fah Lo See (Myrna Loy) - he can rule the world and rid it of white White race.

Pure escapist fare, and the special makeup to get Karloff and Loy to look "oriental" for the film may turn off the politically correct ... but the film plays out like an exciting action comic book, or pulp novel, and in that sense it both works and is a whole lot of fun to watch.

Lewis Stone (patriarch of the famous Andy Hardy series of film, still years down the road when this one was made) stars as an archaeologist financing an expedition to find the lost treasures of Genghis Khan. Along with him for the trip to Asia is young beauty Susan (Karen Morley), whose father (who knows where the tomb lies) has been kidnapped by the infamous Fu Manchu, and Susan's boyfriend Terry (Charles Starrett), a handsome leading man type who is soon kidnapped by Fu Manchu, as well.

Only with Terry, it's the evil doctor's daughter who wants Terry for her own. When he refuses to cooperate, the beautiful seductress and her father instead drug Terry, turning him into a slave who will do their bidding so that he may go back to camp and steal the Khan artifacts for their own. When Terry brings back fake relics, however, Fu Manchu's rage is such that he sets out to destroy all who are part of the expedition - determined to achieve his goal of supreme ruler at all costs.

The action and drama remain tense throughout, as do the performances of the cast - especially Karloff and Loy, who do the "mysterious evil Oriental" schtick well enough, considering the film's time frame. Overall the film is just fun and exciting, intriguing as an old Saturday morning serial shown in its entirety - perfect if watched with a big bowl of popcorn and a child's imagination. I loved it. ***1/2 - Reel Cool-Reel Awesome

FAITHLESS

Director: Harry Beaumont

Stars: Tallulah Bankhead, Robert Montgomery, Hugh Herbert, Maurice Murphy

Year: 1932

Rating: N/R

A melodramatic soap opera with a good cast and fairly outrageous storyline (and too-convenient ending), Faithless follows the life of wealthy New York socialite Carol Morgan (Tallulah Bankhead) - who, as the film opens, couldn't give a hang that the Great Depression has put many people in the country out of work and into breadlines; she has her money, a great life, a beautiful home ... and the love of a hardworking man named Bill Wade (Robert Montgomery), whom she loves in return. She and Bill have just become engaged, and things get stormy right off when Bill tells Carol that they'll have to live off of his meager salary working for an advertising agency; Carol's millions are nothing to him, and he wants to be the bread-winner of the household, period.

This causes a couple of major-league fights between the couple, and Bill walks out. Soon after, Carol learns (after finally meeting with her bankers) that she, too, has been wiped out financially by the Depression, and is flat broke.

She makes her way back to Bill with the distressing news, and that's when Bill informs her he has lost his job and income, as well. Bill is actually thrilled with the news, and wants to leave town for a job opportunity, but Carol still refuses to live poor, and instead stays behind to try and find her social footing again.

From here, Carol's life takes a swift downward spiral; at first she stays with rich friends, and remains in the social columns as always "visiting" for the weekend of while on vacation. Soon, however, Carol alienates all her rich friends by borrowing money from them and not paying it back; at one point, she even becomes the mistress of a married man who finally keeps her in the lifestyle to which she's become accustomed (even if she is miserable).

It's with this man that Bill finds her again. He's appalled with how low she's sunk to maintain her material possessions and money, and in return Carol - at last - shows Bill how much she loves him by leaving her sugar daddy and going with Bill at last. The two marry ... and that's when the real trouble begins.

These two characters go through more hell during the Depression than any two people deserve to endure - but the film's message is that it's their love and commitment to each other that sees them through (though that love is put to the test by a single action that Carol is forced into that might end things forever). The mood of the film is somber, yet always with a potential ray of light shining through, as Carol and Bill prove to be there for each other through sickness, hunger, and abject poverty. Tallulah's performance as Carol is one-note in places, and definitely full of melodrama. But she carries the film well, right up to an ending that seems too perfect in resolving things to be real. Robert Montgomery, who I've always felt so-so about as an actor, does a good enough job here, I am now a fan.

The film made me think a lot about the current economy, and how many people are struggling so much to survive now (even if not nearly as badly as Carol and Bill Wade) - so even though seventy-seven years old, I could relate to some of the angst and emotions of the film. Seeing Carol go from high society snob, to become the very kind of person she would step over in the street, became an intriguing story of faith and redemption ... even if over-the-top with melodrama. Definitely worth seeing. *** - Reel Cool

THE HOUND OF THE BASKERVILLES (1959)

Director: Terence Fisher

Stars: Peter Cushing, Christopher Lee, Andre Morell, David Oxley, Marla Landi, Ewen Solon, Francis de Wolff

Year: 1959

Rating: N/R

Years before Hammer would make them both iconic horror film figures in a series of films featuring Bram Stoker's legendary character Dracula, Hammer films cast Peter Cushing and Christopher Lee in a suspenseful, action-filled film version of Sir Arthur Conan Doyle's novel The Hound of the Baskervilles. Meant as just the first in a new series of films featuring Cushing as Sherlock Holmes, Hammer never made it beyond this initial entry; a shame, as this version of the classic tale has a lot going for it, even if you can see the ending coming.

The film opens hundreds of years in the past, in England, where Sir Hugo Baskerville uses his money and power to torment those weaker and poorer than he. Everything's in good fun when the film begins, Hugo drinking with his friends and beating up a local farmer, but things get dark when it's learned that Hugo intends on more than just keeping the man's daughter locked up for awhile. When the girl escapes and Baskerville goes after her, he ends up killing the beautiful young woman on the moors, stabbing her to death in a fit of rage - and thus the Baskerville curse is born, in which it is said that every lord of the house will meet a grisly death.

Flash forward to the present (well, late 19th-century London), when a Dr. Mortimer (Francis de Wolff) pays a visit to the rooms of Sherlock Holmes (Cushing) and Dr. Watson (Andre Morell), seeking their help. It seems that the latest lord of the manor, Charles Baskerville, has just been found dead on the moors, his face horrifically twisted in agony. Mortimer's friend and patient, Sir Henry Baskerville (Christopher Lee) is the last of the Baskerville line, and Dr. Mortimer is determined that the man will not meet the same fate as his predecessors. He relates the legend of the sinister Hound of the Baskervilles, which Holmes of course dismisses as silliness, believing a rational explanation exists, and only needs to be uncovered. Needed in town temporarily, Holmes meets with Sir Henry (and saves his life, when a deadly tarantula left in Sir Henry's shoe nearly bites him), then agrees to take the case but sends Watson on ahead, as a sort of bodyguard for Sir Henry, with a promise to join them later.

Well, things are indeed strange at Baskerville hall, with lit candles being discovered in rooms that have been empty for years, and the baleful howl of a rabid dog moaning from the direction of the moors. Sir Henry barely escapes another death, and Holmes arrives just in time for another murder to occur, but soon Holmes finds himself on the trail of the mystery of the Hound, and discovers an evil rooted just as much in reality as in legend.

This is a pretty cool film for its time, with Cushing making for quite a sharp Sherlock Holmes. The action and suspense never lag, and though Watson finds himself in his own trouble at one point, here he comes off overall as much more intelligent and competent than Nigel Bruce played him in the original (and best) series of Holmes films starring Basil Rathbone. Lee is suitably stiff and regal as Sir Henry, loosening up at last when he finds himself falling for a local farmer's daughter, and the film is shot in a way that highlights the somber moodiness required to tell the tale. Very entertaining, and a shame more films featuring Cushing as Holmes were never made. *** - Reel Cool

RATATOUILLE

Director: Brad Bird & Jan Pinkava

Stars: Patton Oswalt, Lou Romano, Ian Holm, Janeane Garofalo, Brad Garrett, Peter O'Toole

Year: 2007

Rating: G

A Pixar film is always a treat - a real feast for the eyes - and Ratatouille, in that sense, might be the company's best film yet. The animation is nothing short of breathtaking, Paris coming to life majestically on the screen as the story starts off in the French countryside ... with a field rat named Remy (voiced by actor and stand-up comic Patton Oswalt) who has the passion - not to mention talent - of his idol and mentor from Paris, the great chef Gusteau (Brad Garrett).

No eating out of garbage cans for Remy; no, this rat has fine dining tastes and an impeccable palette, even as he tries to convince his dad, brother, and the other rats of his colony that food should be eaten fresh, blended together for the best combinations of flavor and smell, and savored instead of swallowed without even enjoying the taste. When Remy and his colony are driven off the country land where they've been living for some time, Remy gets detached from the group and eventually finds himself in Paris, the City of Lights, known for its culinary excellence ... and the home of Gusteau and his four-star restaurant.

But Remy is shocked to find, on his arrival, that the great chef has passed away - and, worse yet, the wickedly derisive critic Anton Ego (Peter O'Toole) has since blasted the restaurant to three-star status with a scathing review. Sneaking his way into Gusteau's, Remy is just in time to help - without the guy's knowledge - a fledgling young mop boy/chef wannabe named Linguini (Lou Romano) to create a soup that immediately bowls over the entire eatery clientele that evening. Even as Linguini discovers Remy, acting fast to hide him (a rat, after all, discovered in a three-star restaurant isn't exactly going to be met with enthusiasm by customers or health inspectors alike), the other kitchen workers and chef believe a new culinary star is born ... even as the head chef, the diminutive but rather crotchety Skinner (Ian Holm, wonderful here), suspects something is not quite right with the situation.

It's Skinner, in fact, who ends up out to get Linguini - even as Linguini and Remy (though Remy can't talk, only communicating with Linguini via gestures) become friends, and work out a system where Linguini can cook Remy's recipes at Gusteau's with no one around them being any the wiser (Remy hiding under Linguini's oversized chef's hat). As Linguini's fame and popularity grows, Linguini himself begins to fall for the lone female chef in the kitchen, who's been assigned to train him - the lovely, outspoken Colette (Janeane Garofalo). Meanwhile, Skinner plots to take over Gusteau's restaurant and legacy, by marketing the great chef's image out for a series of frozen-style dinners, as (per Gusteau's will) he prepares to legally control the entire Gusteau empire in just three days' time. That is, until Skinner learns that Linguini is, in fact, the illegitimate son of Gusteau - making the young boy not only the sole legal heir to the famed chef's restaurant and fortune ... but also a threat to all of Skinner's plans.

Again, the look of this film is truly amazing. Streets and characters and even Gusteau's restaurant all come to life with such energy and color and vitality, you won't be able to take it all in. Remy is a lovable character, as is Linguini, and the two form a friendship that - despite the fact that Remy is a rat - seems genuine, complete with imperfections (it's even kind of cool that, though we the viewers can understand Remy, no humans in the film can; none of the cutesy, talking animals of Disney here). Skinner and even Anton Ego, as the "bad guys" in the film, hold up their end wonderfully - especially Skinner, who, in a style reminiscent of Inspector Dreyfus (Herbert Lom) in the Pink Panther films (another reference to France), gets himself into more trouble than ever trying to spy on Linguini and learn his secrets.

But the end of the film, to me, is where things go awry. Without giving anything away, a series of circumstances leads Remy to call on his family and buddies of the rat colony to cook a very important meal in the kitchen of Gusteau's - and it might be me, but something about seeing a restaurant kitchen overrun with rats preparing a meal for human consumption (even though the script/storyline accounts for the rats who are handling the food to wash up beforehand) really turned me off to that entire scene in the film. Further, the ending of Ratatouille was a bit too "pat" for me, with things winding up all too conveniently (also a bit unrealistically, even given the subject matter and characters of the film) ... even as one of the bad guys goes from bad to good in an instant, also an unconvincing plot point for me.

So as much as I enjoyed the film, and marveled in watching one of the most technically-perfect animated films of all time, in the end it's the story of Ratatouille that is a bit of a letdown. Like a no-hitter baseball game that's suddenly decided in the 13th inning by walking a man home, Ratatouille has a wonderful build up, and is a great ride for most of the way - only to end with a fizzle instead of a bang. Not a bad film, by any means ... but just not quite as good, in the end, as the first three-quarters of the film would lead you to believe. ***1/2 - Reel Cool-Reel Awesome

MR. SARDONICUS

Director: William Castle

Stars: Oscar Homolka, Ronald Lewis, Audrey Dalton, Guy Rolfe, Erika Peters

Year: 1961

Rating: N/R

Corny yet effective and creepy at the same time, William Castle's Mr. Sardonicus stars Ronald Lewis as famed British physician Sir Robert Cargrave, recently knighted for his groundbreaking work in medicine and with the relaxation and reanimation of stiff or frozen muscles. Sir Robert, famous worldwide, has indeed become well-known all over; not long into the film, he receives a letter from the one and only woman he was ever in love with years ago, Maude, who invites him to her home in a remote castle, telling him she's in urgent need of his help.

Cargrave cancels all appointments and puts his life on hold to make the trip, immediately learning on his arrival in the village that Maude's husband - the Baron Sardonicus - is a much-feared man; no one even wants to take Sir Richard to the castle until Krull, the baron's disfigured manservant, shows up to do so. Wary but determined to help Maude, Sir Robert heads up to the castle ... and immediately finds out things are a bit freaky there, when soon after arriving he finds Krull using leeches to "help" a young female servant in the castle with her supposed illness.

It soon becomes apparent, behind the scenes, that Baron Sardonicus is a vicious psycho who gets off on torturing people - but meanwhile, an unaware Richard has reunited with Maude, and tries to get out of her why his help his needed. Maude hems and haws, but eventually everything is explained by Sardonicus himself (Guy Rolfe), when the baron shows up wearing a mask that completely covers up his face, and at last tells Richard of his plan.

Years ago, Sardonicus was a poor farmer, living with his first wife and father on a run-down farm. Sardonicus' father always love to play the lottery, but never won. One day, the father dies unexpectedly, and is properly buried ... only for Sardonicus and his wife to learn, shortly later, that the guy's most recent lottery ticket was the big winner, and a small fortune is ready for the taking. Unfortunately, the ticket resides in the pocket of a vest the old man was buried in, so at the wife's urging Sardonicus is forced to desecrate the remains of his beloved father to retrieve the ticket - and when he opens the casket, the sight of the grinning, half-eaten away face of his father causes Sardonicus' own face to freeze into a hideous, jackal-like grin that is terrifying to look at ... and quite, quite permanent (and yeah, even though they show his face more than once, and the makeup effects are definitely of the period - it's fairly gruesome, even by today's standards, to look at). It evens drives his first wife away, as Sardonicus claims the prize and pretty much buys his status as baron, now a rich landowner.

What Sardonicus seeks now, however, is Sir Richard's help, via the doctor's groundbreaking research in working with damaged or destroyed musculature. Richard reluctantly agrees, but after his first failed attempt he's sure there nothing even he can do. And that's when Sardonicus tells him he'd better not only try again - but succeed, or else he will torture or even kill Maude before letting Sir Richard ever leave his castle.

The movie is quite campy but still quite entertaining - made even more so by the director himself, William Castle, coming on-screen right before the ending, and giving the audience a chance to decide Sardonicus' fate, good or bad. It was supposedly a great marketing tool (something Castle was known for) when the film was in theaters, and of course now the same ending is shown regardless of how a viewer might "vote" - but it's a fun, almost comical blip in the film that's kind of cool to watch. Will Sir Richard succeed? Will Maude be spared? Will Sardonicus' face ever be restored - and/or will he ever be paid back for all the terror and pain he's caused? All questions are answered, and the ending is even a bit cornball, but it's a fun ride getting there, especially if you like these kind of suspense thrillers. Not a great movie, Mr. Sardonicus, but a fun afternoon's diversion for sure, and Homolka especially is wonderful at chewing up the scenery as the icky, loyal-to-his-master Krull. *** - Reel Cool

THE BLACK DAHLIA

Director: Brian De Palma

Stars: Josh Hartnett, Scarlett Johansson, Aaron Eckhart, Hilary Swank, Mia Kirshner

Year: 2006

Rating: R

Let me cut to the chase right off by saying this film is a huge mess. Adapted from the novel by James Ellroy (the same writer behind L.A. Confidential), The Black Dahlia is a fictionalized account of the infamous "Black Dahlia" murder case of the 1940's, where Hollywood starlet and actress wannabe Elizabeth Short (played here, in flashback, by Mia Kirshner) was brutally murdered, her body severed in half at the waist and mouth cut open from ear to ear to resemble a ghastly, Joker-like death mask.

The film opens with two L.A. cops who also happen to be good buddies, Bucky Bleichert (Josh Hartnett) and Lee Blanchard (Aaron Eckhart). We're given a fairly detailed history of the two men, as both friends and cops, to the point where its understood that both men are very close friends who definitely have respect for the law; no bad cops on the take, here. Blanchard is married to a very hot blonde named Kay, whom Bleichert is obviously attracted to, but the three are all close and do things together as friends, and you know it would never even be in Bucky to cross that line with his partner's woman.

Then comes the Black Dahlia case, and suddenly each of their lives is thrown into a tailspin. Bucky and Lee, now detectives, both become obsessed with solving the murder and bringing Elizabeth Short's killer - Lee to the extent of it taking over his life, as he becomes addicted to prescription drugs he needs to even have a shot at getting any sleep. But it's Bucky who seems to make some headway, at last, when he meets one of the "Dahlia wannabes" (women who dress up like the Black Dahlia), named Madeleine Linscott (Hilary Swank), who leads Bucky down a path the just might be strewn with landmines, as he tries to solve the most horrific, heinous murder in Los Angeles' history.

I've always been fascinated by the Black Dahlia case - especially the fact that Elizabeth Short's killer was never caught - and did not know, when I sat down to watch this film, that this was a fictionalized account of the murder in which, per Ellroy's storyline, a solution to the case is reached. Problem is, the solution seems a long time in coming ... and meanwhile, the overacting, silly noir-style lighting (or lack of it), and hopeless miscasting of Hartnett (and especially Swank as femme fatale Madeleine) make the film almost unbearable to watch. Everything about this movie is over-the-top, from the performances to the score to the melodramatic story, and if De Palma was going for the look and feel of true 1940's melodrama in Hollywood's hey-day, what he created instead was a cheap imitation bordering on parody. Even flashback scenes of Elizabeth Short and some of the things she had to do to get by in Hollywood come off as nothing more than cheap attempts at titillation more than a revelation of Short's victimization by those out to use her. I had high hopes for this film, wanted so badly to like this film, and in the end simply couldn't wait for it to end ... rolling my eyes most of the way. *1/2 - Get Reel-Reel Mediocre

MONSTERS VS. ALIENS

Director: Rob Letterman & Conrad Vernon

Stars: Reese Witherspoon, Seth Rogen, Hugh Laurie, Will Arnett, Kiefer Sutherland, Rainn Wilson, Stephen Colbert

Year: 2009

Rating: PG

This okay-but-not-great animated comedy begins as Susan Murphy (voiced by Reese Witherspoon) is in the middle of preparing for her wedding day. As with any other day, chaos reigns supreme as Susan - already the nervous type - readies to walk down the aisle. But before any vows can be shared, or any bouquet can be thrown, from out of the sky a meteorite falls to earth ... and close enough to Susan to transform her into a giant maybe fifty high.

Needless to say, the guests and neighbors freak, fleeing from the huge "monster" in their midst. Susan tries setting things right, calming everyone down, but is almost immediately whisked away by the military, renamed Ginormica, and taken to a secret government complex where other monsters found amongst humans over the years are being held.

It's here where Susan meets B.O.B. (Seth Rogen), a gelatinous blue glob of mass with one probing eye and the IQ of a pasta salad; Dr. Cockroach (Hugh Laurie), a highly-intelligent bug with big eyes and a five-star vocabulary; The Missing Link (Will Arnett), a B-movie version of the Creature from the Black Lagoon with more bravado than bravery; and the giant Insectosaurus (my personal favorite), who - for his size - is far more goofy and lovable than he is monstrous. Together, the group makes up a motley crew to say the least - but when an alien attack suddenly manifests itself on earth, General Monger (Kiefer Sutherland), the man in charge of this secretive holding place for monsters, is the very guy who has to rally them all together to fight the alien attack ... which is led by a mean little alien dude named Gallaxhar, determined to suck the earth dry of all its resources for himself.

To say the less-than-horrific monsters are not up to the challenge is a real understatement (though they pull through the first battle), and this is where the film gets most of its humor - from the total ineptness of the "good guys" in battling the bad. The film is beautiful to look at, colorful and masterfully animated in typical Dreamworks style (actually, not typical; this film really is a feast for the eye). The characters are suitably charming and funny, and even Stephen Colbert as the rather stupid President of the United States is a treat.

But somehow, it just doesn't gel - not even as well as B.O.B. does. The film lags in more than a few places where I found myself checking the time and trying to figure out how much longer the movie was), and while the movie is cute enough and harmless enough and easy to like ... there just wasn't a whole lot there to love. No "oomph" factor, or jokes that made you laugh out loud, and even a deep connection with any of the characters just wasn't there for me. A great cast, and charming story idea, for sure -but the film just never takes off enough to make it anything more than just ... "okay." The film has a couple of really good moments, but otherwise - overall - just fails to rouse. **1/2 - Reel Mediocre-Reel Cool

ESCAPE

Director: Mervyn LeRoy

Stars: Norma Shearer, Robert Taylor, Conrad Veidt, Nazimova, Philip Dorn

Year: 1940

Rating: N/R

An intriguing melodrama set in Germany during early World War II, Escape stars Robert Taylor as American Mark Preysing, who comes to Germany to search for his mother when a routine trip to sell some land results in her disappearance. The film starts off showing Preysing's mother, actress Emmy Ritter (Nazimova), in a concentration camp where she is being held and tortured for being a traitor to her country. Near death, the actress finally gains the sympathies of Dr. Ditten (Philip Dorn), the man charged with keeping Ritter alive until her execution; as a child he was a huge fan of the actress, and agrees to help her write a letter that he will make sure gets to her son upon her death.

Meanwhile, Mark arrives and immediately learns he is on the Nazi's radar; every question he has about his mother, or about what happened to her, is met with suspicion or downright intolerance. No matter what, he can't get any answers - and in fact is greatly discouraged from even asking questions, to the point of being vaguely threatened and told to leave town. This only spurs Mark on further, and soon he meets The Countess Ruby von Treck (Norma Shearer), an American-born widow who is also a fan of Emmy Ritter, and soon sympathizes with Mark's plight. Complicating matters, though, is the fact that the Countess is being romanced/befriended by a high-ranking Nazi official, General Kurt von Kolb (Conrad Veidt) ... who, the Countess soon learns, is the man behind the order to have Emmy Ritter executed.

Norma Shearer, after years of being the Queen of MGM, here actually plays a supporting role - but, as always, plays it to the hilt. The suspense builds terrifically here, as Mark gets closer and closer to finding out his mother's fate even as the threat of death looms ever closer. It's pure melodrama with a great cast, in a film that - for its time - very much pushed the envelope, as it was made during the war in Europe, and with many European actors (some of whom, supposedly, used stage names instead of their own in the credits). Filmed with two endings, so far I've only been able to see one - but it was, for me, an ending that fitted and worked with the film, making it an enjoyable treat to watch. I was never much of a Robert Taylor fan, but seeing this movie changed my mind a bit ... and Norma Shearer, well I was hooked on her long before the Countess. Escape is (pun intended) pure escapist fare, full of suspense and intrigue. Maybe a bit over the dramatic top, sure - but no less enjoyable for being so. *** - Reel Cool

Trailer: TOOTH FAIRY

ALL THROUGH THE NIGHT

Director: Vincent Sherman

Stars: Humphrey Bogart, Conrad Veidt, Kaaren Verne, Peter Lorre, Jane Darwell

Year: 1941

Rating: N/A

A wonderful - and wonderfully rousing film set during World War II, All Through the Night is one of my favorite of all of Humphrey Bogart's film; certainly one of the most entertaining films he ever made. With exactly the right amounts of drama, humor, and intrigue, the film also benefits from an amazing supporting cast of some of best character actors working from that era (some of whom would grow into major stars in their own right) - Frank McHugh, William Demarest, Judith Anderson, Phil Silvers, Jackie Gleason, and Barton MacLane all shine in their own right, in this tale of a gang of "fifth columnists" (Nazis) accidentally discovered plotting in the heart of New York City.

Bogart - terrifically relaxed and so much fun to watch here - stars as Gloves Donahue, a big-shot in Manhattan's theater district whose actual occupation is a bit shady; he is affiliated with the horse racing industry, but also seems to be the kind of guy who has his hands in several pots (not all of them strictly on the up-and-up), always has money ... and is loved by his buddies and community not only because he gives back to them - but the guy also even has a loving mother (Jane Darwell) he dotes on. The cops constantly seem to be keeping an eye on Gloves (whose nickname comes from the fact he is always wearing gloves on his hands) - but it's not even clear if they know why. Gloves is a bit shady, in other words, but overall a good guy.

It's Mrs. Donahue (Gloves' mother), in fact, who draws Gloves into the case of a murdered bakery owner - Gloves' favorite maker of cheesecake in the entire city of New York. When Gloves finds the body of Mr. Miller in the basement of the bakery, soon after a mysterious woman with an accent (Kaaren Verne) comes asking for the baker - and scrams fast when she learns from gloves that the guy has been murdered. Gloves leaves everything to the police, but Mrs. Donahue has "a feeling" - and when she has a feeling, it won't go away; she follows the mystery woman to a nightclub the girl sings at ... then goes to Gloves and asks him to please follow up, by questioning why the girl wanted to talk with Mr. Miller in the first place.

Gloves agrees, and soon after entering the club finds out that something is, indeed, screwy. His probing leads to the girl being whisked out of the club against her will by a pair of bad guys - and another dead body that the police end up blaming Gloves for, after he accidentally leaves one of his telltale gloves behind near the corpse.

Now wanted for murder, Gloves has no choice but to follow the clues and clear his name - and in doing so, along with a couple of buddies, stumbles across the hiding place for a gang of Nazis plotting some very nasty local sabotage. The trouble is in getting the police to believe him ... while not getting himself arrested for murder ... while finding out what the girl's involvement is in the whole thing, as she seems to be the key to his troubles.

This is such a great film, pure propaganda with a capital "P" - but so much fun, so pro-American/anti-Nazi, you can't help but stay hooked until the end. There's a lighthearted, even sarcastic and funny edge to the film that, despite the serious subject matter, is why it works so well - thanks, again, to the terrific supporting cast of character actors, most of whom play Gloves' buddies that band together like a bunch of over-anxious Teamsters to rescue him in the end. Fun, exciting, exhilarating and suspenseful in all the right places, this is one of Bogie's best roles - and a film deserving of more attention, in relationship to Bogart, than it usually gets. **** - Reel Awesome

Trailer: NINE

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Trailer: THE CRAZIES

Trailer: 2012