The Wild One (1953)

Is this title ironic? Because Brando, as the leader of a motorcycle gang, is more brooding than wild -- and his gang is about as threatening as a pack of junior high school boys annoying the hell out of their science teacher.

C-

The Big Heat (1953)

During the investigation of a colleague's suicide, straight-arrow cop Bannion becomes convinced that a crime syndicate is to blame and that some of the force is on their payroll.

It's got a great vibe and Gloria Grahame, as the girlfriend of the mob's top enforcer, is at her best. But there's a squareness to the telling -- it's all very black and white. And the burn makeup near the end of the film is downright laughable: it was actually peeling off around the edges.

B-

Julius Caesar (1953)

Dry as dust filming of the Shakespeare play. If it hadn’t been for the fact that I’ve seen the HBO series “Rome,” I would’ve probably gotten confused about who was whom and what was going on.

C

The Cruel Sea (1953)

We follow the “Compass Rose,” a ship in WWII’s British Navy, as they acquire a green crew and go to war. I never did learn to differentiate between all of the main members, but that’s not a huge deal. The film did a good job of showing the tension and alliance that exists in a group of men living and working together for years.

Although the opening voice over told us that the sea is the only enemy, that seemed rather an overstatement -- rough waters and storms were barely seen.

B-

The Robe (1953)

The soldier who nailed Christ to the cross loses his mind until he becomes a follower of His teachings.

A story of power and forgiveness and martyrdom...OK but ultimately an overdone melodrama.

C+

The Moon is Blue (1953)

I might have been more charmed by this if I didn't find the lead so very off-putting. She had that kind of studied cutesiness that makes me want to cut a bitch -- she was like an older Vanessa Hudgens but with a LOT more dialogue (trust me, that's much worse than a quiet cutie pie).

Every time David Niven was on screen, the proceedings came to life and made the whole thing almost worth the time.

C+

Mogambo (1953)

It's Clark Gable (I love him!) as a great white hunter in Africa and Grace Kelly (hey! I love her too!) as the prim married Brit he falls for and Ava Gardner (hey! Um...Ava Gardner!) as the showgirl who falls for him.

Yeah, that sounds a whole lot better than it actually is. What's actually delivered is a bunch of safari footage with a contrived love triangle pasted over it while the female members of the triangle point and coo "Beautiful!" and "Look at that!" toward animals which are obviously in another film altogether.

C-

The War of the Worlds (1953)

Oh my word -- what a mess.

Sure, I understand that these special effects were good enough to win the Oscar more than 50 years ago despite the fact that they made me giggle in a "Plan 9 from Outer Space gets flak while this gets praised?!" way. But, even if the aliens didn't look like silly rubber finger puppets you can get in a plastic bubble out of a candy machine and the spaceships weren't obviously bobbing along on strings, there's still no forgiving the "acting" or the lack of tension in the script (which must have read something like "aliens land and shoot; repeat enough times to fill 80 minutes; aliens break").

Between this and the 2005 version, I'd recommend that one.

D

Pickup on South Street (1953)

Pickpocket ruins a sting operation when he unwittingly lifts a wallet that contains more than cash. This is a decent noir -- the first half-hour or so is particularly excellent.

Thelma Ritter's in it (always a good thing) and she brings some heart to the proceedings as a stoolie who isn't begrudged her living by the criminals on whom she informs. There is an unfortunate "Commies! Oh no!" foundation, but it's clunky and really beside the point. According to one of the trivia entries on IMDb, the French version changed the dialogue and title to make it about drugs rather than Communist spies -- which just goes to show how little the what in this story matters. It's all about the how.

B-

It Came from Outer Space (1953)

Does what it can, but it's all pretty square and the aliens look ridiculous. Still, fun enough and it's a different take on the alien story (they crashed and don't want any trouble).

C+

Take the High Ground! (1953)

Drill sergeant knocks fresh-faced recruits into soldierly shape by insulting them less harshly than junior high girls insult each other. Yawn. Drill sergeant has a love interest (who's shot only through a filter when shown in close-up) with a somewhat questionable past, allowing him treat her like crap. Double-yawn.

C-

Titanic (1953)

An extremely good film. The central family's story would have been effective set anywhere - it's made all the more poignant as we're armed with the knowledge that these will be their last arguments and we are full aware that they are wasting precious time at odds with those they love.

I'm not ashamed to admit it made me cry. Hard.

A-

Hondo (1953)

I'm neither a big western nor John Wayne fan, but this film really worked for me. Nearly the only thing getting in the way of my enjoyment was Geraldine Page – she was horrible. I liked the manly-men Wayne and the Apache chief a lot. I also liked the thought that a brave little boy could earn the respect of those warring with his people.

B

Torch Song (1953)

The male lead single-handedly breaks apart the "sensitive blind man" stereotype. Looks MATTER to him, dammit, and he's not going to take some broad's and all of his friends' word that she's a looker...he only wants one he KNOWS FOR SURE is turning all of the sighted-boys' heads. How can he accomplish that? By dating a star, baby!

Overly colorful (and I'm talking actual magenta/fuschia color, here) melodrama that is short and watchable, but altogether forgettable.

C

Desert Rats (1953)

Strict English leader comes in to whip his Australian command into shape, against their wishes. I don't know how historically accurate it is, but Rommel's featured and the strategy is mildly interesting. It just seems subdued and drawn-out and I felt apart and little invested in the people.

C+

I Confess (1953)

This movie isn't bad -- it's just not really anything. It suffers badly as it is now completely outdated with its blackmail and adultery premise. Even Montgomery Clift as a stoic priest is outdated. In our age of "Law and Order" and "Matlock," we all know that priests can't talk. It seems that this fact escaped this films' detectives and it doesn't occur to the priest to explain this to them: "I'd like to help, but I am constrained by my vows." But no, he'd rather look as though he's hiding something (trust me -- I'm not giving anything away, here).

Like I said, it ain't bad, but it's not good...and that it's Hitchcock makes it all the more sad.

C