Of Mice and Men (1992)

George and Lennie work on ranches and, to hear them tell it, those are usually the loneliest guys in the world. But these two aren't like that because they look out for each other. They've got also got a plan for the future, including buying a little house they know about with some chickens and rabbits, which Lennie will be allowed to tend. They'll have to get some money together first though and Lennie needs to practice being careful because he's too simpleminded to always understand his own strength.

But, for now, they've got new jobs bucking barley at Tyler Ranch. Curley, the owner's son, has a mean streak and believes Lennie to be an easy target. Then there's also the issue of Curley's wife, who's very pretty and very lonely. But George and Lennie prove themselves in the field and are accepted by the rest of the crew, eventually even bringing the aging Candy into their dreams of the future.

It's gorgeously shot and comes by its emotion honestly by staying true to the source material. Though I admit that I had to get acclimated to Malkovich's choice for Lennie's speaking voice, I was fully invested once I did and -- even with foreknowledge of how their story ends -- I truly bawled. It's a a confusing shame that this is the last thing Gary Sinise has directed.

B+

Act of Violence (1948)

A few years after the war, a veteran with a grudge comes looking for a successful suburban family man with the obvious intent of killing him. It becomes clear that the target knows what what's happening and may even feel it's justified, but that doesn't stop him from running while keeping his wife in the dark.

Though it builds a real sense of dread, the poetic justice feels equal parts too neat and unbelievable to be completely satisfying.

C+

The Racket (1928)

Scarsi, the big bootlegger in town, has bought off the district attorney and other politicians to keep his operation running without interference. Because Police Captain McQuigg is incorruptible and keeps doing what he can to stop their lawlessness, Scarsi has him transferred to a middle-of-nowhere precinct. The reporters in McQuigg's new jurisdiction know there's a story there and catch a break when Scarsi's screw-up of a little brother drags their business to the backwater.

There's nothing special about this silent film -- classic good vs. evil with a dash of romantic tragedy thrown in -- but it's not bad either.

C+

Much Ado About Nothing (2012)

You can't fault the dialogue. It's clever and it has worked for literally hundreds of years. But putting the words into the mouths of pretty people in the settings and hairstyles and clothing of the 2000s is wrongheaded, to say the least. And if that were the only problem with this, I might have been able to see past it -- but that's far from the only issue. I mean, the very first scene completely negates both the entire culture of chastity as well as the premise of mutual annoyance of the central couple for each other. What was that about?

Maybe it could've worked in a modern-day setting that deliberately refuses to evolve, perhaps a fundamentalist Mormon compound or in an Amish community, but a woman being put to death for an accusation of promiscuity is not traditional suburban behavior. The overall effect is complete affectation, including the choice to present in black and white. 🙄

D

The Maltese Falcon (1941)

Humphrey Bogart is Sam Spade, the prototypical hard-boiled detective -- unfazed by anyone including beautiful women in distress and slimy shake-down men. Everyone's after the titular statuette and they're all sure Spade can help.

Though there are better stories out there, as one of the first and most-referenced noirs, it is a must-see. Doesn't hurt that it's also entertaining with some fantastic performances.

B+

Deep Cover (2025)

A cop recruits an improv teacher and a couple of her students to do a quick undercover drug buy. Though nervous, their commitment to the bit gets them in deeper than expected. They are so successful in proving themselves to the gang, that it only makes sense that they keep up the ruse to get even deeper. Yes, it beggars belief, but somehow still works. 

The chemistry between the full-of-himself method actor (Orlando Bloom) the socially-awkward IT guy (Nick Mohammed) and the capable yet in over her head Kat (Bryce Dallas Howard) was silly yet solid. I'd watch a sequel.

B

Bull Durham (1988)

Crash (Kevin Costner) is a veteran catcher in the minor leagues, brought on to mentor the Bulls' new pitcher (Tim Robbins) who's got a million-dollar arm and a five-cent head. Local Annie (Susan Sarandon) chooses one player each season with whom to hook up and guide and with a 100% success rate in improving that guy's game, she's earned some club respect. Crash takes himself out of the running, leaving her with the pitcher who adopts the nickname "Nuke" at Annie's insistence. But neither Annie nor Crash is comfortable with the arrangement.

What a fun story. Though Costner's line readings aren't as loose as they should be, it almost doesn't matter because the other points of this triangle are absolutely wonderful (probably didn't hurt that they were falling in love offscreen at the time). "Nuke" is dumb as a bag of rocks, but he grasps -- after much trial and error -- that Annie and Crash know their stuff and he's better when he follows their instructions. Meanwhile, Annie and Crash are committed to improving the kid but can't help what their hearts want.

On top of all of the relationship stuff, there's the baseball stuff. I admit that the first time I saw this way back when (I had this poster up in my dorm room senior year of college) it was all about the relationship and those "long, slow, deep, soft, wet kisses that last three days." But this time I also appreciated hearing the internal monologues of the players as they walked up to the plate or wound up for the pitch. Yes, it's about romance, but it's also about ball. They're only together because they love this glorious game played on cool spring evenings and hot summer afternoons that only really works live, not through a screen. Magic.

B+

A Room with a View (1986)

Lucy and her chaperone are vacationing in Florence when Mr. Emerson and son George offer to trade rooms with them so that the women can enjoy the view. Unlike the other British travelers staying in the same hotel, the Emersons lead with joy and passion for all the world offers. Lucy, like the rest, isn't sure how to navigate such unexpected behavior, but can't help but get briefly swept up by George. Once back home, Lucy goes back to coloring within the lines again and gets engaged to the snobbish Cecil.

I started this at the end of the night, planning to just watch 30 minutes or so before turning in. But then, there I was, watching the credits and crying lovely happy tears.

B+

Argylle (2024)

I'd seen the bad reviews, so it was quite a nice surprise that I was having such a great time with this! It had the same vibe as Romancing the Stone or The Lost City: sheltered lady writer is thrust into a dangerous situation in which they're required to basically live the things they've written. Bryce Dallas Howard was perfect as the terrified yet still quick-thinking author here.

But then we find out what's really going on and the bad reviews made perfect sense. I still think it might've come off with my thumb pointing more up than down if it hadn't also gotten incredibly silly. Figure skating on oil-covered concrete with improvised knife boots was a scene that should've been scrapped once the screenwriter sobered up.

C-