The Final Option

The Final Option (i.e. Who Dares Wins) (1982)

Runtime: 125 minutes

Directed by: Ian Sharp

Starring: Lewis Collins, Judy Davis, Richard Widmark, Edward Woodward, Robert Webber

From: MGM

Why not have the villain be a leftist terrorist lady who puts on bizarre stage shows and for a few minutes, wears a fuzzy grayish-blue sweater w/ a brown squirrel on the front, green parachute pants, and knee-high black boots? I’ve known of this movie for awhile and it sounded peculiar enough for a viewing. I was amused.

Lewis Collins is Skellen, a badass member of the SAS (the Special Forces of the British Army) who goes undercover to infiltrate a group of leftists known as the People’s Lobby. Now, they have Communist posters in HQ, are against nuclear weapons and are against Thatcher. More than a few will agree with at least one of those points. However, their decision to hold several American diplomats and government officials hostage for nuclear disarmament… you may feel different but for me, that’s a bridge too far.

As for some others, the highlight was Judy Davis as Frankie Leith, co-leader of the People’s Lobby. She has a strong fashion sense throughout, although the squirrel sweater was the highlight. She also does avant-garde stage shows that’d take paragraphs to explain-they’re better seen, anyhow. She’s dressed like the leader of a New Wave band! Yeah, once the hostage crisis occurs, Richard Widmark (among others) chastises the People’s Lobby for how illogical and foolhardy their plan is, but I understand why the filmmakers didn’t want to make the scheme too appealing to certain people…

In any regards, the movie is low-key often, it’s not free of contrivance and Skellen isn’t great at attempting to report or stop the hostage crises. On the other side of the coin, the Roy Budd score is surprisingly funky, Ingrid Pitt (a henchwoman) fires a 9mm Ingram sub-machine gun, and the final raid-based rather loosely on the real-life raid of the Iranian Embassy in London that ended a hostage crisis in 1980-was great. “Ruthlessly efficient” is the best way to describe the SAS in dispatching the villains and rescuing the hostages.

For all the flaws of The Final Option (the title on the print I saw, rather than Who Dares Wins), the conclusion was quite satisfying and worthy of what at times felt like a lengthy journey.

High Pressure

High Pressure (1932)

Runtime: 74 minutes

Directed by: Mervyn LeRoy

Starring: William Powell, Evelyn Brent, George Sidney, John Wray, Evalyn Knapp

From: Warner Bros.

Some will be overjoyed to hear that that this hitherto difficult to track down motion picture can now easily be seen by those subscribed to the Criterion Channel. This month, they have a section devoted to 10 Pre-Code Mervyn Leroy films. Most are his expected hits-and some were already reviewed by me-but the other rarity part of the collection is 1934’s Hi, Nellie!

The plot of High Pressure is simple: William Powell is a cad named GAR EVANS who is a con artist. We first see Gar in the speakeasy after a bender, as drunk as Cooter Brown. A pal and a business find him & bring him to a spa. As he is refreshed in the spa (some will like that he spends several minutes sans shirt), the businessman tells him that he has a way of creating rubber… out of SEWAGE. That sounds like Number Two to me—but this is supposed to be silly yet fun, breezy entertainment.

Of course, Powell is great as the bold, self-assured con man who could sell ice cubes to Inuit people but there’s many Warner Bros. character actors that fill out the cast and there were things I appreciated, such as some great set design—Gar’s office in particular was awesome, rectangle shape-dominant on both the walls & the windows, & an ornate desk. There’s also the expected snappy patter and rapid-fire dialogue you’d expect, and with a romantic subplot, all in a tidy 74-minute package to boot.

The two lead female roles aren’t exactly dynamic but Evelyn Brent-as Gar’s girl-and Evalyn Knapp-as Gar’s secretary-both do a fine job. I’m glad the Criterion Channel made this film easy for fans of Old Hollywood to check out.

Send Help

Send Help (2026)

93% on Rotten Tomatoes (out of 234 reviews) 

Runtime: 113 minutes

Directed by: Sam Raimi

Starring: Mostly it's Rachel McAdams and Dylan O'Brien

From: 20th Century Studios

I didn’t love the ending to the film; it was something I was sour about last night in the hours after viewing Send Help on the big screen. After a good night’s sleep, I still don’t love that they made this narrative decision that was “modern cinema” in a negative sense (that was my problem with it, not my preference to one of the two lead characters in what was mainly a two-hander) and it feels like needless 21st century BS inserted into a motion picture that otherwise felt retro-even the usage of a 20th Century Studios logo that mimicked the old 20th Century Fox logo used in the early 70’s.

However, my negative opinion on that decision has lessened. Much of it I did enjoy; as hinted at in the trailers, Rachel McAdams is an awkward nerd at an office job (who loves reading survivalist literature & watching Survivor) who has a new A-hole boss that is the spoiled inexperience son of the old boss, and he’s a bratty jerk. After a plane crash, only those two remain, stuck on a stunning tropical island in Thailand.

The key to the film: both Rachel McAdams and Dylan O’Brien were great in their roles; I even believed that a conventionally attractive woman like McAdams could be an awkward nerd. The relationship between the two & how it evolved during their time on the island, how both weren’t black-and-white caricatures, the bloody and/or visceral moments… I was enjoying the movie even if you don’t factor in the detail that this is an original idea instead of a reboot, remake, or sequel.

I was happy that a great veteran director was able to make an original R-rated genre movie, w/ an interesting score from Danny Elfman. The CG has been the target of complaints; valid, although there was only a time or two where it was distracting and that’s more a modern industry problem so that doesn’t impact my opinion of Send Help.

I am disappointed that the ending fell flat with me. The movie otherwise was well-constructed w/ nice hints early on of the final act. Despite my misgivings, I still found the movie to be pretty good & am glad it was seen at a Dolby Cinema.

Arlington Road

Arlington Road (1999)

Runtime: 117 minutes

Directed by: Mark Pellington

Starring: Jeff Bridges, Tim Robbins, Joan Cusack, Hope Davis, Robert Gossett

From: Screen Gems 

This is another movie where I can deliver an interesting backstory related to it. In this case, around a quarter-century ago, a college roommate saw that the movie was on either HBO or Cinemax (our university’s dorms offered both on the cable package) so the channel-surfing stopped as Arlington Road was something he had seen before. Unfortunately, we only saw the final 20 to 25 minutes; despite being intrigued by what little I saw, because I am me it took literal decades for a full viewing.

A movie starring Jeff Bridges, Tim Robbins, & Joan Cusack is worthy of checking out, I say. Cusack is someone I should have seen more of by now, anyhow. Bridges is a paranoid college history professor who suspects that his neighbors are terrorists. What an interesting movie to watch in 2026 with all the talk of right-wing militias, distrust of the federal government, the FBI screwing up, bombings, and what have you.

It's an interesting film where Robbins has a suspicious past but is Bridges (who doesn’t trust the government; his wife was an FBI agent who died in a raid gone bad) making a mountain out of a molehill and is Robbins a changed man, or is Bridges right? In hindsight, I don’t mind waiting until I saw some 70’s paranoid conspiracy thrillers to view this late 90’s version of one. The movie isn’t as engaging or thrilling as something like All the President’s Men or The Conversation; that does not mean Arlington Road isn’t pretty good.

There’s electrifying scenes, a quality final act, good performances from the leads-including Hope Davis as the graduate student turned girlfriend-how awkward that is did get mentioned. The film is refreshingly like one from the 70’s-what reminded me of that era the most of course won’t be elaborated upon, because spoilers. The score from Angelo Badalamenti is a further asset. This isn’t without contrivances if you scrutinize the plot too hard. If you can avoid that…

It shouldn’t have taken a quarter-century but I’m relieved this loop has finally been closed.

 

Shrek 2

For the first time in over 20 years, I finally revisited Shrek 2. As mentioned in my review for Shrek a few months ago, the first sequel was witnessed on the big screen; unlike most, I didn’t love 2 as much as 1. Perhaps it was me as a young man then (now, I’m middle-aged, head full of grey hairs) but the specific reasons as to what let me down was lost long before finally revisiting the movie last night.

In 2026, I can’t explain what in the world I was thinking 22 years ago. There’s still laughs, pop culture references, lovely animation, interesting soundtrack choices (I did NOT remember that someone covered a Buzzcocks song) and further light teasing of fairy tales & their mythos as newlyweds Shrek & Fiona along w/ Donkey visit the in-laws, & we meet new memorable characters in the Fairy Godmother & Prince Charming, but of course the true highlight in newcomers is Puss in Boots. The voice acting from Antonio Banderas was top-notch, although the major stars new here (Julie Andrews, John Cleese, Rupert Everett, Jennifer Saunders, etc.) also equated themselves rather well.

Shrek 2 satirized Hollywood & its foibles in Far, Far Away; this was a further asset in my enjoyment of the film. There’s more than one fart joke but otherwise the adult humor can easily fly over the head of youngsters, making this better/more enjoyable for families & adults than too many 21st century animated pictures. This broadened the scope and gave the viewer more of what they liked about the original. Public opinion tells me that the third and fourth entries in this franchise are clearly lesser than the first two—there’s no rush for me to FINALLY see those for the first time.

Hex

Hex (Xie) (1980)

Runtime: 97 minutes

Directed by: Kuei-Chih Hung

Starring: Tanny Tien, Wang Yong, Chen Szu-Chia, Shum Lo, Lee Sau-Kei 

From: Shaw Brothers

A Shaw Brothers version of Les Diaboliques? Heck yes. Hopefully no one minds me spending the last few days viewing films from the same era. The 70’s and 80’s are something I dig, as implied or explicitly stated many times over the years. Furthermore, Arrow’s streaming platform is one that is always not viewed enough by me.

In 1919, Chun Yu is a real vile SOB; his wife’s family have experienced a downturn and she has both tuberculosis and pulmonary heart disease. He constantly physically abuses his sick wife, not to mention the maid. There’s also verbal and even sexual abuse. He’s so OOT in his awful behavior, everyone will be happy about his accidental turned on-purpose demise. The wife is haunted by the death by the death… how much this follows the model of the 1955 movie’s plot of course won’t be spoiled by me.

Disappointment will be had if you expect this to be nonstop bonkers like The Boxer’s Omen (this movie’s director also directed that) or was filled w/ gross-out gags. There are some goopy moments but the scares are more traditional. Sadly, there’s a 5 minute segment of bad “comedy” involving a pair of insufferable goofball men, one cross-eyed and the other such a sap that he pissed his pants out of fright. I was happy that only this segment featured the bad “comedy.”

The finale features the wackiness that more than a few likely prefer in their old Hong Kong horror. A female character (I won’t mention which one) suddenly appears fully nude in a row, gesticulating around as Moroder’s The Apartment-from the American Gigolo soundtrack-plays. She is then what I’ll describe as “beaten by la chancla!” Then, we get a scene “inspired” by a famous bit in 1964’s Kwaidan. Like I said, wacky.

The denouement is baffling in a bad way & is best recognized by me as not happening in my canon. Regardless, those knowing that this is a fun riff on a great movie in Les Diabloiques will go in w/ the correct expectations.

Futureworld

Futureworld (1976)

Runtime: 107 minutes

Directed by: Richard T. Heffron

Starring: Peter Fonda, Blythe Danner, Arthur Hill, John P. Ryan, Stuart Margolin

From: AIP

Viewing the sequel of the last film I watched seemed like a logical idea. 

I don’t plan on checking out the 5-episode Beyond Westworld TV show from 1980, but that may change one day years in the future. Naturally, Futureworld suffers in comparison to Westworld and Michael Crichton is missed. That said, my love of 70’s kitsch is an asset; how can I not smile at seeing pea green shag carpeting ON THE STAIRS of a two-story apartment in what was 1985 in this universe? Richard T. Heffron is at least a competent veteran director. The Prime Video description sadly gave away too much of the plot-although there was some obvious hints dropped early on that suggested where the story was headed… heck, the movie’s official posters also gave unsubtle hints as to the plot! 

Somehow, Palpa… er, I mean somehow Delos the resort reopened two years after the catastrophe presented in Westworld despite several dozen civilians dying. Spending the equivalent of almost 9 billion dollars evidently does wonders. Peter Fonda (print reporter) and Blythe Danner (TV newscaster)-who of course have a history w/ each other-are among the dignitaries invited to a preview of the new & improved Delos.

Even I can’t deny the flaws in logic, the preponderance of scenes set in the basement of a factory, the focus on the two leads after the opening act featured other characters in several different lands. There’s no character as menacing as The Gunslinger in Westworld, who many have accurately noted was a proto T-800, nor will you be reminded of Jurassic Park. Be that as it may, the 70’s sets and color schemes did some of the heavy lifting for me, as did the score from a returning Fred Karlin. Some of the sets were fancy, there’s hologram chess that reminded me of the scene in A New Hope, and there’s other wacky ideas present of life in this alternate 80’s. I also dug rogue employee Hank and his old model android lackey Clark. 

Heck, there’s even the first usage of CGI in this movie & even odder, this of all movies was apparently the first American movie to be wide-released in China, in 1979. Early CG in movies I know only a few things about… the latter, nothing is known about but both are rabbit holes that could possibly explored one day in the future.

In any event, I happened to enjoy this movie and its relaxed pacing; many don’t but I won’t fault them for finding the picture “dull” or even somnambulistic. The most WTF scene by far: Yul Brynner returned as the Gunslinger, albeit for only one like three minutes, in a moment shoehorned in which bears no relation to the rest of the plot. Danner has a dream inspired by the final few scenes in 2001: A Space Odyssey which involve the Gunslinger in increasingly bizarre moments; what a way for Brynner to end his career in either the last or next-to-last movie he filmed.

Westworld

Westworld (1973)

Runtime: An economical 88 minutes

Directed by: Michael Crichton

Starring: Richard Benjamin, James Brolin, Yul Brynner, Norman Bartold,  Alan Oppenheimer

From: MGM

In another later than posting for me, my plans for Wednesday changed so another rare phenomenon occurred: posting a review for a movie less than an hour after viewing. Finally tackling Westworld wasn’t a bad Plan B. Considering the movie was famous enough to inspire a prestigious HBO show that had a first season most loved and subsequent seasons that had a more polarizing reception… about time for me & a famous effort from a decade whose cinema I typically enjoy.

Through cultural osmosis, for years I’ve known of Westworld’s plot; this allowed me to write a decent amount of this review even before checking out the picture on Turner Classic Movies. Long ago I learned this concerned human-presenting androids in the theme park Delos that has three lands (Western, Roman, Medieval Europe; what I didn’t know was that this (according to Wiki, at least) was in the far-flung future of… 1983. For those concerned about AI, the malfunctioning and their subsequent murderous streak won’t assuage those fears. 

My opinion of a film that I should have viewed & reviewed many years ago: I had a very good time. A simple yet effective storytelling trick was used: Richard Benjamin is a nervous lawyer visiting for the first time while James Brolin (sadly w/o facial hair but still delivering a quality performance) is a veteran to the experience, explaining Delos, answering questions and offering encouragement on how to interact w/ the androids. Arguably, the best way to dump exposition and explain the world to the viewer as well.

I do understand why the idea was turned into a TV show; it’d be a great adult amusement to cosplay in a historical era and live out fantasies, including that of a badass hero. You can also have sex with the androids! It’s also wholly believable those machines would malfunction. Heck, while not related, when the plot point was mentioned that humanity “hadn’t perfected the hands” of the androids, of course I thought of AI and its issue w/ hands.

Westworld was quite enjoyable; of course I’d be fond of the early 70’s computer tech and witnessing the 1973 version of a screensaver. However, I was most captivated by the full, complete story that was satisfying despite the length of only 88 minutes. While I’d be curious to see the in-world explanation for how this was all created, but that was extraneous information for the story presented here. What we got was incredibly economical.

Much of the focus is on Benjamin and Brolin. At first, the former was kind of a dweeb but it wasn’t long before he was an enjoyable protagonist to follow. I’d never actually seen a Benjamin movie in full before. After the first two acts, Yul Brynner’s Gunslinger character (dressed like his character from The Magnificent Seven deliberately) becomes integral to the story. Further assets included the strong directing from Michael Crichton, some rad moments of cinematography from Gene Polito that sadly is missing from modern film and the vivid score from Fred Karlin which was more than just the expected Western score in the appropriate area.

As sometimes proclaimed by me, what a fool I was for not viewing the movie much sooner. Who knows if I’ll ever bother w/ just the first season of the Westworld TV show; despite its more lukewarm reputation, the 1976 sequel flick Futureworld is still on the table for me.

J.D.'s Revenge

J.D.'s Revenge (1976)

Runtime: 96 minutes

Directed by: Arthur Marks

Starring: Glynn Turman, Louis Gossett, Jr., Joan Pringle, Carl D. Crudup, Fred Pinkard

From: AIP 

In this late night (at least by my standards of posting reviews on Letterboxd) posting, I discuss a film that has nothing to do with J.D. Vance. Rather, J.D.’s Revenge is a blaxploitation horror film I’ve known of for years and was happy to watch once it was added to Shudder. With any luck this won’t be the only Black nor the only horror during the month of February.

The opening is set in 1942 New Orleans; a woman is killed and Lou Gossett, Jr. (w/ hair) is present. The rest is set in modern times. A hypnotism stage act allows for the titular J.D. Walker to possess the body of Ike (portrayed well by Glynn Turman), a budding law school student who drives a cab. For a long while, the two souls fight over Ike’s body; don’t expect the titular revenge to happen until late in the proceedings. Until then, we get to see Lou as a charismatic preacher (who I scoffed at playing someone in his 50’s… until learning he was almost 40 during filming. Whoops!), his brother and in addition, Ike’s girlfriend, who unfortunately is abused more than once by the persona of J.D., including sexually.

Yeah, this features no shortage of 70’s sleaze. Early on, a double-date occurs… at a topless bar. The N word is uttered often. J.D is great at sex; no, really, that’s a plot point! For some today, seeing women be abused (which happens more than typical in Revenge) is a bridge too far. That’s understandable to me-such titillation is a product of a bygone era, and many blaxploitation films don’t portray women well, or have them abused.

Thankfully-for me, at least-the usual blaxploitation bravado was present and that amused me. Always nice is a funky score, which in this case was from Robert Prince; aside from plenty of work in TV and cinema, he also released some jazz albums. If the sleazier elements aren’t a turn-off, this blaxploitation horror effort is worth a look. The two leads are a key component as to why.

 

633 Squadron

633 Squadron (1964)

Runtime: 96 minutes

Directed by: Walter Grauman

Starring: Cliff Robertson, George Chakiris, Maria Perschy, Harry Andrews, Donald Houston

From: Mirisch Films

I swear, it’s a coincidence this is my second Cliff Robertson film in a row; I was surprised when his name was the first to appear in the opening credits. My main reasons for checking this out: I hadn’t seen a war picture in awhile, and many Star Wars fans know that one of the inspirations for the trench run at the end of A New Hope was acknowledged to be this film, along with The Dam Busters. Thankfully, this did not have any unfortunate names for a black dog… I only saw Top Gun: Maverick one time but from my memory, suspicions are high that this inspired that as well.

While this was purportedly based on real RAF operations, this tale of the UK military in 1944 bombing a Nazi factory in Norway that produces rocket fuel is fictional. Not as much time practicing this run was presented as I expected. Instead, time was spent with the crew that Robertson is the commander of. Unlike the evil President he portrayed in Escape from L.A., that commander role is one where he is cynical concerning war itself but he has love for his squad & the feeling is reciprocated; there’s great camaraderie. 

This focus was to make a death (or is it deaths?) of the squad more impactful. There is a hint of romance w/ a pretty Norwegian lady who is the sister of the Norwegian resistance leader who the RAF is collaborating w/ on this mission.

The movie isn’t the best in its genre and is not a must-see unless you’re a huge Star Wars fan. Be that as it may, 633 Squadron still has exciting action beats, especially the aerial sequences. The effects were good, at least for their era. The performances were fine in general; Harry Andrews was the only other actor I recognized. Fine drama was present throughout. Another key aspect: the rousing score from Ron Goodwin; that also stirred the emotions, including the finale.

633 Squadron was a nice film to view during the task of (hopefully) checking out many different genres during the month of February.

 

Escape from L.A.

Escape from L.A. (1996)

Runtime: 101 minutes

Directed by: John Carpenter

Starring: Kurt Russell and many famous faces, usually in small roles

From: Paramount

Escape from L.A plays different in 2026 than it did the last time I watched this movie many years ago. I could be asking for trouble pointing this out, but in the opening minutes, we learn that Los Angeles has become an island after a massive earthquake, and it’s a place to “send undesirables” by the “United States Police Force” because we have a fascist President who changed the Constitution to declare himself Commander-in-Chief for life & wants a moral America… right or wrong, many people will think of 2026 in the United States… and this feeling actually continues throughout the movie via other moments.

In the past, I was annoyed at how similar this was compared to Escape from New York. That’s still a valid point. Hotshot Snake Plissken visits another lawless wasteland to retrieve someone (or something) the government wants, he meets wacky characters, etc. This does have silly moments; Carpenter let his love of basketball tell him that it was a great idea to have that sport be part of a big sporting scene in front of a crowd when it was just absurd. The CG has famously aged poorly, especially during another absurd scene… Snake and Peter Fonda surfing! The graphics can at least be laughed at.

That said, the movie was like a campier version of New York and I can’t complain that the sequel was a carbon copy. Entertainment was to be had, buttressed by a great cast full of familiar faces-even if many appeared for only a few minutes. Besides Kurt Russell (no relation, sadly) it was nice to see larger roles for the likes of Stacy Keach, Steve Buscemi, and Cliff Robertson. At least in the United States, of course this is by far the most famous movie of European star Georges Corraface; he did a fine job, even if the actor of Greek ancestry was portraying a Peruvian. A.J. Langer was also memorable as the President’s rebellious daughter; did you know that she’s been married for two decades to a British Earl, albeit they’re separated now?

The action was fun, I was never bored, and of course the score from Carpenter & Shirley Walker (a rare female composer of the time) was quite rad. As messy as the movie is and New York is better, there’s something to be said for a wacky, fun adventure with personality from a great director. While some won’t like the reminders of modern life, I’ll look at the other side of the coin and appreciate how this compares favorably to the films we get now. A bold ending I’ll presume we won’t get in modern Hollywood for what was a big release at the time: yet another reason to appreciate Escape from L.A.

Shelter

Shelter (2026)

64% on Rotten Tomatoes (out of 77 reviews)

Runtime: 107 minutes

Directed by: Ric Roman Waugh

Starring: Jason Statham, Bodhi Rae Breathnach, Bill Nighy, Naomi Ackie, Daniel Mays

From: Black Bear/Punch Palace Productions

This sure was a January Jason Statham movie release.

I am not saying this as a negative. I haven’t even seen his last few films-the last one was (unfortunately) Expend4bles. Shelter is a masterpiece compared to that catastrophe. Rather, once you hear the premise-Statham lives alone on a remote Scottish island, but is required to take care of a 12-year-old girl who is the niece of the dude that delivers supplies to him each week after a bad storm… this doesn’t subvert expectations, yet that’s not a demerit. Being formulaic is not always a shortcoming either.

Of course, Statham is in exile because he’s a badass who is hiding due to necessity. Of course the dog that was his only companion doesn’t make it off the island-that’s a warning to those like me that love canines-and of course you can’t trust everyone in the federal government, this case the UK government. What’s important to those interested in such a film… the action beats. Well, all of it is fine; nothing Earth-shattering, but still fun. It’s filmed in a modern style yet it never becomes migraine-inducing. Statham and the other two names I knew (Naomi Ackie, Bill Nighy) all delivered decent performances.

Importantly for me: was the little girl an irritating, precocious, preposterous wise-cracking character? Thankfully, no. Jesse (Bodhi Rae Breathnach; what a name) was a likable kid who was a believable kid & core relationship of Shelter was charming. In terms of acting craft, I thought she was actually the highlight. There’s also a memorable scene in a nightclub and the score from David Buckley was better than expected.

As an aside, judging from my Letterboxd mutuals, my skipping out on last year’s A Working Man was the right decision. As it’s a David Ayer joint, the presumption is that a certain word would be used constantly and that alone is a turn-off. In Shelter, that word’s only used a few times so that was a non-issue.

For those that like the most Dad Cinema of Statham’s filmography (or the Dad Cinema of Liam Neeson, such as Honest Thief or The Marksman) then Shelter and its unflashy yet solid style should entertain you. As one last aside, when the expected raid on Statham’s island occurs, he has some Home Alone-style traps set up that are used. RIP Catherine O’Hara; sometime in February I’ll properly pay tribute.

The Criminal Code

The Criminal Code (1931)

Runtime: 96 minutes

Directed by: Howard Hawks

Starring: Walter Huston, Phillips Holmes, Constance Cummings, Boris Karloff, DeWitt Jennings

From: Columbia

Snitching was a big deal even in 1930.

In this special later than typical Friday night posting, I mention that this Howard Hawks movie will leave the Criterion Channel after Saturday; as I should see more from him anyhow along w/ more from the 30’s, Thursday night was not a night featuring a long struggle determining what to check out.

Walter Huston portrayed district attorney Mark Brady, who prosecuted young Phillips Holmes (Robert) for an involuntary manslaughter due to a misunderstanding. Bobby eventually experiences a mental decline; the lawyer becomes the warden of that prison (which is a little far-fetched, even if they address that most of the convicts despise him… it’s hand-waved away) and because he’s a caring dude, Robert becomes his valet. Of course, Brady has a pretty young daughter in Constance Cummings.

The crux of the film is snitching; someone spills his guts concerning an attempted prison break, then the expected happens to him, which results in others keeping their mouth shut and not snitch despite strong pressure to. This was a compelling drama where the lack of musical score and obvious play origins was irrelevant when I was interested in the story and characters.

As the other famous face in the cast was Boris Karloff, who was-get this-the heavy, and this was a drama w/ a bit of romance I was happy to have tackled.