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The Case Against Mrs. Ames (1936 -b/w) - Bland Paramount mystery.

Mad Holiday(1936 - b/w) - Bland Thin Man-esque Edmund Lowe vehicle, so generic I thought I'd seen this in February.

Gone with the Wind (1939) - The first miniseries.

We Are Not Alone (1939 - b/w) - Faux-British stodge with Paul Muni and Flora Robson.

Juarez (1939 - b/w) - Ludicrously OTT story of Napoleon III in  Mexico with Paul Muni, Bette Davis and John Garfield.

The Letter (1940 - b/w) - Sumptuous women's picture exotica with Bette Davis.

The Wagons Roll at Night (1941 - b/w) - Bogie circus mush.

Sgt. York (1941 - b/w) - Always assumed it was a western, and despite being set in the front of WW1, it still kinda is.

This was Paris (1943 - b/w) - Ann Dvorak propaganda made in Teddington.

Gentleman Jim (1942 - b/w) - Errol Flynn boxes, as James Corbet. Ward Bond is John L. Sullivan. There's a character called Peter Jackson. Nice production design.
See also City or Conquest (1940 - b/w) with James Cagney.


Address Unknown (1944 - b/w) - Ropey Columbia mystery with Paul Lukas.

Shadow of A Woman (1946 - b/w) - Another ropey Warner mystery.
See also South of Suez (1940 - b/w - which features the Bovril/Schweppes-at-Piccadilly sign), Money and the Woman (1940 - b/w), East of the River (1940 - b/w), Lady With Red Hair (1940 - b/w), Knockout (1941 - b/w),  the Nurse's Secret (1941 - b/w), Blues in the Night (1941 - b/w), Nine Lives are Not Enough (1941 - b/w), Flight to Destiny (1941 - b/w), Strange Alibi (1941 - b/w), the Gay Falcon (1941 - b/w), Juke Girl (1942 - b/w), The Big Shot (1942 - b/w), King's Row (1942 - b/w),  Spy Ship (1943 - b/w), Crime by Night (1944), You Can't Escape Forever (1942 - b/w), Uncertain Glory (1944 - b/w, Errol Flynn war-fare), Danger Signal (1945 - b/w), Her Kind of Man (1946 - b/w), Cry Wolf (1947 - b/w, with Errol Flynn), The Unsuspected (1947 - b/w), Possessed (1947 - b/w, with Joan Crawford), The Unfaithful (1947 - b/w), Nora Prentiss (1947), Whiplash (1948 - b/w), Smart Girls Don't Talk (1948 - b/w), Flaxy Martin (1949 - b/w), Homicide (1949 - b/w)

Devotion (1946 - b/w) - Gothy but unrealistic version of the Brontes with Nancy Coleman, Olivia de Havilland and Ida Lupino, and Arthur Kennedy's first depiction of a Northern Englishman of Irish descent. Not his last.
Also watched a ton of Warner melodramas - wartime tosh like Wings for the Eagle (1942 - b/w), The Old Acquaintance (1943 - b/w), The Very Thought of You (1944 - b/w), In Our Time (1944 - b/w), period melodramas like One Foot in Heaven (1941 - b/w - which seems to be a western but then minsiter Fredric March has a milkshake), My Reputation (1946 - b/w) Escape Me Never (1947 - b/w - with Errol Flynn and Ida Lupino dressed as a schoolgirl - yeech), Law of the Tropics (1941 - b/w), Shining Victory (1941 - b/w), Four Mothers (1941 - b/w), Three Secrets (1941 - b/w), The Constant Nymph (1943 - with unconvincing schoolgirl Joan Fontaine), The Hard Way (1943 - b/w, musical melodrama with Ida Lupino),

Winter Meeting (1948 - b/w) - Bette Davis romantic tedium with the barely-there James Davis, who is so nothingy I forgot that he was actually Jim "Jock Ewing" Davis.

Strange Bargain (1949 - b/w) - Generic RKO noir, generic enough to be sequelized in a episode of Murder, She Wrote with the original cast.

The Fountainhead (1949 - b/w) - Dreary Ayn Rand saga of construction with Gary Cooper and Pat Neal.

It's  A Great Feeling (1949)  - Doris Day musical - one big ad for the Warner studios.



Convicted (1950 - b/w) - Rote noir with Brod Crawford and Glenn Ford.

The Flying Missile (1950 - b/w) - Rote militaria with Glenn Ford.

Fortunes of Captain Blood (1950 - b/w) - Dreadful pirate nonsense with Louis Hayward, an insult to Errol Flynn.

711 Ocean Drive (1950 - b/w) - Rote noir with Edmond O'Brien.
See also Between Midnight and Dawn (1950 - b/w), The Tougher they Come (1950 - b/w), The Big Gusher (1951 - b/w), Never Trust A Gambler (1951 - b/w), Two of A Kind (1951 - b/w), Walk East on Beacon (1952 - b/w - Finlay Currie is beautifully out of place),  The Sniper (1952 - b/w), The 49th Man (1953 - b/w), The Glass Wall (1953 - b/w), The Miami Story (1954 - b/w)/Miami Expose (1956 - b/w), Pushover (1954 - b/w), The Crooked Web (1955 - b/w), The Night Holds Terror (1955 - b/w), Crashout (1955 -b/w), Tight Spot (1955 - b/w), Women's Prison (1955 - b/w), Over- Exposed (1956 - b/w), The Garment Jungle (1957 - b/w), The Strange One (1957 - b/w), Case Against Brooklyn (1958 - b/w).

Problem Girls (1953 - b/w) - Columbia juvenile delinquency shite.


Tarawa Beachhead (1958 - b/w) - Dreary Columbia war B-film set in New Zealand.See also Eight Iron Men (1952 - a rare thing - a Hollywood production starring Bonar Colleano), El Alamein (1953 - b/w), Battle Stations (1956 - B/W), The Bold and the Brave (1956 - b/w), Hellcats of the Navy (1957 - b/w), The Ghost of the China Sea (1958 - b/w).

Breakfast at Tiffany's (1961) - Mickey Rooney's convincingly... Scottish.

Patton (1970) - It's long but it manages to capture the war, and it's shot in Cheshire.

Pumping Iron (1975) - Arnie flexes his muscles for the queers.

Risky Business (1983) - Tom Cruise is such a pillock.

Heroes Shed No Tears (1986) - Ace mercenary actioner.

Born on the Fourth of July (1988) - Tom Cruise loses his legs. Are we supposed to feel sorry?

Groundhog Day (1993) - Typically bland 90s comedy.

Once Were Warriors (1994) - A brutal but evocative depiction of working-class Maori life. But it might be a bit too gritty for its own good.

Leon (1994) - Meh.

Heat (1995) - Meh.

Fallen (1996) - Horror Express in the Hood, with angels.

Drive (1997) - Well-made straight to video actioner. Poor Brittany Murphy.

Seven (1997) - It's grungy and stiff.

Any Given Sunday (1999) - American football really is a game for ****s.

Chopper (2000) - Urhgh.

Mom and Dad (2016) - Nicolas Cage schlock.

Terraformars (2019) - God. An overlong mess that just when it seems to end, keeps on going and going. But the CGI cockroach-men are magnificent.  Based on an anime where one of the characters (who is Japanese here) was called Victoria Wood. This film needed a blonde Northern lass with a piano. The leads, who I presumed were lovers, are actually brother and sister. The cast includes Kane Kosugi, son of Sho, and Rinko Kikuchi.