DarylKMiddlebrook

With all the hype over Fifty Shades of Gray, it's only natural that there would be several copycat type films tossed out to make a buck off of that market base. However, fans of 1990's late night erotic television can tell you that Fifty Shades is nothing new or in my opinion, all that great. Erotic-psychological fare has long been a staple of HBO and Showtime's After Dark rotation, with actresses such as Shannon Whirry, Julie Strain and Shannon Tweed kicking teenage males hormones into overdrive.

Bound, starring Charisma Carpenter (Buffy the Vampire Slayer, Angel) is more in that HBO-Showtime mode than the Fifty Shades of Gray mode. In fact, it's not that bad a film, thanks in large part to the writers deciding to actually place a plot into the movie instead of depending on the sexual nature of the movie to draw viewers. But don't get me wrong, there is a definite erotic flavor to this film and the delectable and capable Charisma Carpenter looks most appealing dressed and undressed as the story's hero.

Carpenter, known for playing the bossy, assertive prom queen Cordelia Chase in the Buffy-Angel television series displays impressive range as Michelle Mulan, a mundane business woman simply dredging through her comfortable, orderly life which consists of her boyfriend, George (Mark McClain Wilson) who is a bore (in and out of the bedroom) and Dara(Morgan Obenreder), her whip of a teenage daughter who she has no control over. Michelle works at her father's (William Baldwin) real estate brokerage firm, which is on the verge of bankruptcy. Michelle however, believes that the firm can be saved via a merger. Unfortunately, the all-male board view mousy Michelle as nothing more than "daddy's little girl" and her advice and plans for a merger fall on deaf ears. She is even insulted by one of the board members in front of her father, but lacks the fortitude to defend herself and her ideas.

While having dinner at a restaurant with Dara, Michelle finds herself attracted to a handsome, yet shadowy man at the bar. After leaving the restaurant, she receives a call that she forgot to sign the credit card receipt. She returns to the restaurant where she encounters the man at the bar whose name she finds out is Ryan. Unsure of herself, yet helplessly intrigued, Michelle begins to fall under Ryan's Svengali-like charms. Eventually, he takes her completely out of her orderly world and has her smoking joints, drinking during the day and having a sexual rendezvous' in her father's office at the firm. But that's just the beginning. Ryan takes her to a secret S&M club. Michelle becomes intoxicated by her surroundings, fearful, but very much aroused. Soon she finds herself as Ryan's sex slave, submitting to his darkest desires.

Initially, Michelle is excited and intrigued about this new stage developing in her life. However, she soon finds out the truth about Ryan, and the high price that comes with his erotic influence, one that put both her family and career in danger.

The film works because it allows Michelle's character's arch to play out fully. Carpenter is convincing as the woman with everything, but nothing. She is smart, but vulnerable, beautiful but filled with self-doubt. When she begins to lose many of her sexual inhibitions, it is wonderfully shown through Michelle's slow, but effective grasp on a woman with an identity crisis who gradually learns who she is and what she really wants. Carpenter's transformation at the end is believable as the writers give us a reason (her daughter, her career) why she makes the 180-degree turn and is able to stand up against Ryan and his manipulative ways.

Director and writer Jared Cohn does a good job of allowing Carpenter's subtle reactions to her new world to play out. He doesn't try and force-feed us her transformation, instead we see Carpenter debating her choices and then agonizing over her mistakes in a believable manner that leads to a satisfactory end.

The film is visually stimulating, and the S&M scenes come off as both erotic as well as tasteful. Cinematographer Laura Beth Love gives the viewer a rich variety of colors and angles which move the story along, never lingering long enough to create an uncomfortable feeling over the erotic scenes. Carpenter is also filmed beautifully as we see her more dowdy early in the film, and as she gains back control of her life, her appearance softens and becomes more powerful.

If the first erotic thriller you have ever watched was Fifty Shades of Gray, this film might go over your head. However, for fans of the old HBO-Showtime, After Dark films, this is a well-directed, well acted and beautifully filmed movie that is worth a couple of hours.

Warner brother's Suicide Squad hit the theaters this past weekend and to say I was enthusiastically anticipating this film would be putting it lightly. After all the Avengers assembling, Guardians of the Galaxy guarding and Fantastic Four flopping, I was ready for a super hero film a little on the opaque side. The Dark Knight seemed years ago, and after the disappointment of Batman Vs. Superman: Dawn of Justice, I just had the feeling DC was going to get this one right. I was wrong.

Before I get into everything that's wrong with Suicide Squad, let's cover what's right about this movie. Thumbs up number one: Will Smith. It's been a long time since the old "Big Willy" from the Independence Day and Bad Boys days has been on screen, but it was good to see that Will still has some street swagger left in him. His Deadshot is just the right mixture of gangster bravado mixed with family sentimentality to make him a likable man whose life work just happens to be murdering people.

The scene stealer in this movie however, is Margot Robbie. Everything that's this film was suppose to be is summed up in her part as Harley Quinn. She's messed up in the head, but she's really very intelligent. She is in love, but it's fatalistic. She's crazy, but insanely beautiful, a serious paradox for most men to grasp and she uses that as her ace in the hole brilliantly.

Now, what's wrong with Suicide Squad; it's too nice. This movie should be the super hero version of Apocalypse Now, and it actually starts off like that's what the audience is going to get. We're introduced first to Amanda Waller (played by the always perfect Viola Davis). She's conceived a plan to protect the people of Earth from Superman type meta-humans who don't share the big guy's love for the planet. She wants a team of some of the worst criminals on the planet, expendables, who if they can't repel these super threats, then they die in the process, and no one will care.

The trip through the mega-maximum security prison where Waller's Suicide Squad will be drafted is the best part of the movie. With an awesome shadowy soundtrack featuring the likes of The Animal's House of the Rising Sun and the Stones' Sympathy for the Devil, we get a grand tour of the facility and see the atrocious and inhumane way that these meta-menaces to society are held captive. Beaten, prodded, electrocuted and starved this should guarantee that a healthy dose of hate and rage towards the system has been installed in each of Waller's chosen few. But that doesn't happen.

Instead, these heinous criminal, once taken from their respective cages and dungeon pits, and put together for the first time, and get along better than a jamboree of boy scouts. I kid you not, this psychotic group of low lives jell together better than the Avengers, X-Men and Fantastic Four combined. And for this type of movie, that's not a good thing.

There is no internal fighting, no trying to be the top guy, no indignity of being told what to do. When they find out that the mission they thought they were on was bogus, do they tear up the city? No, they just take it in stride and even buddy up with Colonel Flagg (the unimpressive Joel Kinnaman), the man who has lied to them and threaten to kill them if they don't cooperate.

The jovial "cheerfulness's of this "Suicide Squad" is symptomatic of this movie's problems. Nothing works the way it should beginning with Jared Leto's Joker. Leto's take on the pasty- faced madman isn't bad as much as it's misplaced. His story and involvement with Harley Quinn seem to be some kind of "bonus movie" added to this film to give it some extra spice. Unfortunately, it just adds to the confusion.

The film's focal villain, The Enchantress (the equally unimpressive Cara Delevingne), may be the worst super villain since Richard Pryor's Gus Gorman in Superman III back in the day. The totally unbelievable love story between The Enchantress' alter ego, Dr. June Moone and Colonel Flagg is completely forgotten when the movie hit's its anti-climatic ending (which is a second rate CGI rip-off of the Avengers).

While Smith and Robbie give top-notch performances, the rest of the cast just seem to be there marking time, ready to give whatever uninteresting scrap of dialog they've been tossed to fill screen time.

Writer/Director David Ayer, who successfully pulled off such grim thrillers as Training Day, and Fury, appeared to be a great choice for making DC's first gritty super hero film outside the Batman trilogy. However, he seriously drops the ball on this one. This isn't the grim, anti-hero vessel we were promised. This is just a cookie-cuter super hero film with no substance; no cohesiveness and nothing left to savior once the credits begin to roll. The cinematography was spot on and it appeared that DP Roman Vasyanov followed his own vision about how this film should look despite what was happening with the script and direction.

Overall, Suicide Squad fails to deliver in much the same way that Batman Vs. Superman hit the wall. Both film seemed to lack vision or direction and didn't do enough to take advantage of potentially powerful and fascinating characters. What should have been DC's finest hour turned out to be nothing more than a big fat lie wrapped in a pretty box.

You get the Jessie Eisenberg/Kristin Stewart vehicle "American Ultra." And while "American Ultra" generates enough excitement, insane violence and flair to compare to those movies, it lacks their fun and originality. As the story goes, Mike Howell (Eisenberg) is an anxiety ridden stoner living in the middle of "Nowhere, USA, along with his patient and loving stoner girlfriend Phoebe (Stewart in a surprisingly charming performance).

Mike's life (or so called), up to this point consists of working at a convenience store and smoking much buddah. The only thing that keeps Mike from smoking his life away is his love for Phoebe. When Mike's anxiety attack forces them to cancel their vacation trip to Hawaii, Mike, fearful of losing Phoebe buys a ring and looks for the right time to propose to her. Unfortunately for Mike, finding that perfect moment may never arrive as his little world is about to be violently turned upside down.

Cut to some covert government operations where we find out that the organization has a dossier on Mike and someone at the top has pegged him for extermination. One of the agents, Victoria Lasseter (the always classy Connie Britton), has a moment of conscious and decides to defy her bosses. She sneaks off to Mike's town in hopes of "awakening him" to the danger ahead. One of the funnier moments in the movie is Mike's first encounter with Lasseter. Dressed in her best spy coat and dark glasses, Mike suspiciously watches her watching him as she drifts around the store. He finally looks away and returns to his favorite pastime, drawing comic book type characters. When he looks up, he's freaked out to see her standing in front of him at the counter. She starts reciting a series of trigger words and phrases to him that are supposed to "wake Mike up." However, the words seemingly have no effect on Mike, and she leaves the store in frustration.

Later that night, while taking a food break, Mike notices someone tampering with his car. Thinking it's just a couple of car thieves; he approaches the men, who turn out to be rogue government agents sent to liquidate him. When the men attack Mike, Lassiter's trigger words begin to register in his brainwashed head. Armed with nothing more than a cup-o-soup and a spoon, Mike goes Rambo on the two agents killing them.

Throughout the night, Mike finds himself violently facing down entire squadrons of elite assassins, yet clueless as to why they're trying to murder him, and how he's suddenly become a Super Ninja. It's eventually revealed to Mike that he's some ultra-violent, killing machine; sleeper agent who the government had determined is too dangerous to be allowed to live.

The film and its premise, as I mentioned are not original. However, the movie is enjoyable to watch, (that is if you're not squeamish). "American Ultra" is peppered with some great performances, particularly Eisenberg's Mike Howell, who comes off as believable (well, as believable as a sleeper cell stoner assassin can be) and charming.

As mentioned, Stewart's performance was great. She thankfully loses' some of her Twilight, and Snow White and the Huntsman iciness to give the movie some surprising romantic magic. It's the chemistry between Mike and Phoebe that drives the film. Nevertheless, I enjoyed the relationship between the two in the first half of the film much more than I did in the second half. Without giving away too much of the ending, the reveal of Stewart's character in my opinion, changed the purity of their relationship. In the beginning, she seems like the best girlfriend ever. But as in films of this genre, things are never what they seem. Unfortunately in this case, the twist causes the film to lose much of its initial magic between the two stoner lovers, which it never gets back.

Britton along with the ubiquitous Bill Pullman (who plays the head of this covert agency; CIA, FBI, Shield, who know?) give strong performances in small parts. However, Topher Grace's performance as the over the top villain became tiring mid-way through the film. By the end of the film you're just hoping Eisenberg's Mike Howell will stuff a spoon in his throat too. John Leguizamo manages to add the only effective comedy relief to the movie as a ghetto slang- slinging drug and fireworks dealer.

Director Nima Nourizadeh (whose only other credit is the teen comedy Project X), manages to create a smooth, fast-paced film. He is smart enough to let his actors run with their parts and not over-direct, which is the film's best asset. The cinematography by Ken Seng (who worked with Nourizadeh on Project X) is breathtaking, as is the editing by Jeff Groth. With so much gratuitous violence, Groth manages a masterful job of quick cuts, which distract from the violence while adding to the films stunning visual effects.

Overall, I liked "American Ultra," which is being marketed as a dark comedy. However, while I got the dark, the comedy aspect left something to be desired. The film just wasn't funny. Still, if you're looking for a fast paced, short (only 95 minutes) adrenalin charge, "American Ultra" just might satiate your palate.

Set in Brazil in the 1970s, the film tells the story of Rocket (Alexandre Rorigues in an excellent, understated performance), a teenage boy living in an extremely violent area of Rio de Janeiro called The City of God. Like most boys his age, all Rocket wants is to get laid, smoke a little blow and chill with his friends. However, the violence around him not only complicates this it throws him smack dab in the middle of it. When he loses his low paying job, he watches with envy the carefree life of the drug lords Lil Zee and Benny (Leandro Firmino and Phellipe Haagensen respectively) who run the ghetto. They flash money and ride brand new motor scooters through the streets of the hood. When he loses his girl to the more enigmatic gangster Benny, Rocket declares in frustration, "It was like a message from God: Honesty doesn't pay, sucker." Seeing delinquency as the only way to prosper, Rocket decides to pursue criminal ventures of his own. Fortunately, Rocket and his equally square buddy, prove to be the most inept of criminals. They don't even have the heart to rob a lost drunk who has unwittingly gotten lost in the slums. Rocket soon resigns himself to the fact he's no criminal. He's one of the nobodies. One of the thousands whose fate is in the hands of a few crazy fools with guns. Luckily for Rocket, fate was waiting around the corner with a better hand for him to play.

Thanks to his love and expertise in photography, Rocket is given a brand new camera by the violent Li'l Zee. For Rocket, the camera is a life changer. It doesn't matter that the camera was bestowed upon him simply because none of Lil Zee's lunkhead bangers knew how it worked. He's been given an identity, something to separate him from the masses. A possible way out of the slums of the city. When Lil Zee "commissions" Rocket to produce a series of photographs of his gang, the pictures mistakenly fall into the hands of the local newspaper. When the pictures of Lil Zee and his gang make the front page, Rocket fears that his life is over. Instead, Lil Zee glories in the publicity and sanctions Rocket to take even more photos of his criminal inner circle. Soon, Rocket has becomes the City of God's chief correspondent.

City of God is filled with a hefty supply of violence, including some pretty cruel things done to children and women. However, the film still manages to leave the viewer mesmerized by, or despite, the chaos and anarchy. Along with the grand performances of Rorigues, Firmino and Haagensen, City of God is filled with memorable characters and performances, such as Seu Jorge as Knockout Ned, who becomes Lil Zee's nemesis for control of the ghetto. Young Douglas Silva, who plays Lil Zee as a boy is spellbinding as well as a little scary. Performances such as his and the others is what makes this film a casting masterpiece. Due to the lack of black actors in Brazil, Directors Fernando Meirelles and Katia Lund decided to use untrained youths and kids from the actual City of God. This obviously adds to the sense of realism that is the film's strength. Credit must also go to screenwriter Braulio Mantovani, who paints a vivid and honest picture of a violent, desperate world very few outside the slums, would ever see or know existed. Telling the story through the eyes of a young dreamer, who's day-to-day existence was never a guarantee is a stroke of genius. The story doesn't attempt to pull on the viewer's heartstrings with melodramatic scenes or narration. The audience is simply allows to flow with the story, as one would in real life. The viewer is transformed into an unseen companion to the hero Rocket's actions, vision, and emotions as he navigates us through violent menagerie of the City of God.

What is an artistic masterpiece? If you're talking about music, take a listen to Miles Davis' Bitches Brew. Looking for artistry in films? Get comfortable on your couch and check out Jean-Luc Godard's 1960 beauty Breathless, or David Lynch's 2001 mystery Mulholland Drive. Those pieces of work are artistic things of beauty. Unfortunately, 2013's The Forbidden Girl, only wishes it were. Written and directed by German Til Hastreiter, this stylishly shot film is a convoluted mess. Almost two hours in length, this movie plods along at a snails pace. There is no attempt to infuse the characters with any backstory, or understanding of what is going on. The movie treats the viewers like passerby's more than as an audience.

For what it's worth, the story is centered around Toby (the capable Peter Gadiot), a young man raised by a psychopathic religious zealot father is warned that he must never love anyone. Why? I was never quite sure why. From what I could gather, Toby has been marked to be some type of evil repellent. However, Toby doesn't adhere to his father's orders and finds himself in love with a young girl named Becky (the interesting Jytte-Merle Bohrnsen). The two decide to consummate their love inside an abandoned mausoleum only to have Becky suddenly snatched away by some ominous demonic force. The next thing we know, Toby is in an insane asylum for allegedly killing his father.

Things only get worse from this point. Toby is released six years later and is given the worse job in history, a tutor for a couple that would give Gomez and Letitia Addams a run for their money. Weirdness takes center stage from this point, but not good weirdness. Ghostly guys pop in and out, Toby finds a girl who is the identical twin of Becky only blonde, crazy and going by the name Laura.

As I'm watching this film, I'm hoping for some revelation, some accountability to the audience as to what's going on, but this never happens. As I mentioned the movie looks great, cinematographer Tamas Kemenyffy does a great job, and would appear to have a bright future in filmmaking. The acting is better than I would have expected, and I can only imagine that with a better script they would have had some work to be proud of. The special effects weren't bad considering the budget for this film had to be miniscule.

Overall, Forbidden Woman is neither artistic or scary. There are moments in this film when you can see what the director was grasping for. Unfortunately, it always managed to stay beyond his talent to obtain. Overall, I couldn't recommend this film to anyone other than an insomniac, who after a few minutes of this somniferous offering would find themselves in peaceful sleep.

Adapted from the best-selling novel by Ronald Kirkbride of the same name, 1962's A Girl Named Tamiko touches on the then taboo subject of interracial romance. In this situation, it happens to be between a Japanese woman and a mixed-race white man. While taking into account the sensibilities and cautiousness of sixties movie studios, A Girl Named Tamiko was very ahead of it's time in dealing with racial intolerance in both Western and Japanese culture. Whereas I found the more heralded film Sayonara slightly condescending in its handling of the subject of race, A Girl Named Tamiko, in my opinion comes across more honestly. Another interesting note, this film sets the Japanese girl on the higher social level of than her white lover. In other films from this era dealing with interracial romance, it's usually the ethnic girl (Asian, Latina, Black) who is "moving up the ladder" by winning her white lover. It was a pleasant surprise to see that role reversed in this film.

Set in 1960s Japan, Eurasian photographer Ivan Kalin (the underrated British actor Laurence Harvey) lives life with a chip on his shoulder concerning his Japanese hosts. His disdain stems from the fact that both his mother and father were killed due to Japanese military aggression. Ivan sees their culture as cold, structured and racist and is convinced there is no room for success there for a foreigner, despite his talents. Seeing the United States as a better opportunity for him to become successful, Ivan becomes a "user" and there seems to be no end to the people he will use to get what he wants including those closest to him.

While at a nightclub, Ivan's life is changes forever when he meets a beautiful, intelligent Japanese girl named Tamiko (played by the enchantingly beautiful and unsung France Nuyen). Simultaneously, he rekindles an affair with vivacious, and influential Fay Wilson (all-time favorite bad girl beauty Martha Hyer). While obviously attracted to Tamiko, Ivan nevertheless sees Fay and her connections as his "free ticket" to the United States. With fame and fortune within his grasp, Ivan abandons the matters of the heart and pursues Fay until he has her in the palm of his hand. However, Ivan can't stop thinking about Tamiko, who in herself is the epitome of Japanese culture, everything which he despises. However, in Tamiko, Ivan sees the purity, and spiritual essence of Japanese culture stripped of its rigid structure and caste system. Tamiko, herself having lost her parents during the war, understands Ivan's hurt and anger against her people. Of course their path to romance is blocked not only by Ivan's selfish affair with Fay but also by Tamiko's brother Minya (played by great character actor John Fujioka). With his sister contracted into an arranged marriage with a Japanese of nobility, Minya forbids Tamiko to even be seen in public with Ivan. Nevertheless, the attraction is too strong and not even the rigidness of racism and social barriers can keep them apart.

While made in the melodramatic style of early 1960s Hollywood films such as The Best of Everything and Peyton Place, A Girl Named Tamiko manages to be a touching, honest and romantic journey into cultural differences, prejudices and intolerance. The performances by the two leads Nuyen and Harvey are both engaging and believable. Neither attempts to force an emotional response, rather they allow their budding romance to blossom into a simmer leaving only the censors to keep it from boiling over into something more "steamier."

The film was directed by John Sturges whose string of action-Western hits (The Magnificent Seven, Bad Day at Black Rock and Gunfight at the O.K. Corral), kind of made him the James Cameron of his time. Unfortunately, A Girl Named Tamiko was not a box office success when it was released. However, in watching this film, this doesn't appear to be the result of Sturges inability to handle softer material. In fact I feel it's just the opposite. Sturges effectively balances the sensitivities and delicacies of this "controversial" material without wimping out when it came to showcasing the prejudices of both Asian and Western cultures towards one another. His actors seem relaxed and at ease with the material, which is reflected in the steady, yet understated performances.

Focus, the new Will Smith vehicle is a slick, sleek, and sexy film that delves into the intriguing world of chicanery, cons and hustles. Smith plays Nicky, a master con artist who's at the top of his game when he meets Jess (the drop-dead gorgeous Margot Robbie), a down-on-her-luck small-time scammer.

Nicky initially wants nothing to do with Jess, but her beauty, charms, and persistence pay off and he brings her into his organization of highly skilled con artists and thieves. In an amazingly filmed scene, Smith's band of pickpockets and hustlers proceed to separate a reveling New Orleans Super Bowl tourist crowd of more than one million dollars of their money, jewelry and credit cards.

Jess is a quick learner and it's not long before she's one of Nicky's top scammers, it's also not long before the sexual chemistry between the two ignites and they become lovers. However, for Nicky, that's an emotion that a con man can do without. He unceremoniously breaks ties with Jess, who has obviously fallen in love with him.

Three years past and Nicky is working on a new scam that could net him millions, when in walks Jess on the arms of the man whom Nicky is working his con. Seeing Jess again has triggers feeling inside Nicky that he has subjugated all his life. He loses his focus and becomes consumed with thoughts of Jess. With millions on the line, as well as his life if he's caught, the last thing he wants is to fall in love. However, it soon becomes the only thing he desires.

While Smith has the charm necessary to play a charlatan, it's Margot Robbie who steals the film. Robbie's Jess is the game changer; her emotional roller coaster is the ride that keeps us in suspense. Robbie has the smoldering sex appeal of the old school Hollywood movie stars such as Marilyn Monroe or Jane Russell. Her presence on screen often upstages Smith, and while the story is Nicky's, it's Jess who has won our hearts and in whose story we've become invested.

Smith's performance isn't bad, in fact his somber, "good guy" persona is what makes him a credible con artists (who wouldn't trust that face?). However, in a film as slick and sexy as this, he often comes off as too subdued, almost dull. You can almost picture smoother actors such as Denzel Washington, Lawrence Fishburne or Terrance Howard having better control of the character.

Had Smith or directors Glen Ficarra or John Requa decided to make use of Smith's endearing wit or street charms, I feel the film would have had the prerequisite fire and edge to make it a classic. All in all, Smith still manages to pull off an admirable performance and with Robbie, creates a high-class film, filled with enough suspense, action and twists to keep audiences entertained.

Erez Tadmor and Guy Nattiv's short film Strangers is a compelling and thought-provoking film that reveals the barriers created in society by religion and ethnicity. The film begins with two passengers sharing a subway car. One of the men is Muslim (assumed based on the Arabic newspaper he's reading), the other Israeli (the tip-off here is the Jewish Star of David he proudly displays around his neck). As the title says, they're strangers, but their cultural animosity is centuries old.

As the Jewish passenger takes his seat, he immediately reacts to the other passenger's Arabic newspaper. Knowing nothing of this man, he begins making his own judgments, is this stranger on the train sympathetic to terrorists? Is he one himself? It's not long before the Arabic passenger is cognizant of the strange man "dirty looks" towards him. His eyes quickly fall on the Star of David symbol dangling from the man's neck and begin to reciprocate similar emotions. Is this man Israeli military or police? Has he gunned down protesters and jailed innocent people?

What looks like a film about Arab and Jewish relations is given a sharp and unexpected twist when the threat of a common adversary cause the two men to reevaluate their own prejudices. But can they work together for their own good, or are the wounds of cultural antagonism ingrained too deep?

Shot with no dialog, the filmmakers have succeeded in piecing together a movie that will keep you spellbound for its entire seven-minute length. The suspense at first between the Arab and Jewish passenger merely sets the stage for the intense action to come, an accomplishment that would have made the legendary Alfred Hitchcock proud.

Boredom is the last thing you will have to worry about when watching Salma Hayek's new action gorefest Everly. In fact, if you have a heart condition, you might want to keep the nitro pills within arms reach because this film doesn't give you too many opportunities to get off the edge of your seat.

The film opens up with the horrifying screams of a woman being sexually abused. Thankfully, we don't see anything until a traumatized Everly, (Hayek turns in a marvelous performance) stumbles nude, into the bathroom. Physically and psychologically battered, she retrieves a gun and cell phone from inside the toilet tank. Everly attempts to reach out to an undercover cop who promised to help her escape. However, it's not long before the deviants are bellowing at the bathroom door for round two of their debauchery. So traumatized, Everly initially thinks of using the gun to end her life, instead, she surprises the rapists/mobsters killing them all.

Sitting in a room full of dead bodies, Everly is contacted by Taiko, the man who abducted her, and who kept her as his personal sex slave. It seems Everly stole a huge sum of money from him and attempted to escape, which led to his turning her over to his wretched men to use for their pleasure, and eventually kill. He quickly lets her know that she is all alone, as evident by the gift wrapped head of the cop who was supposed to help her escape. With death inescapable, Everly channels her fright and trauma into a single focus. She must stay alive long enough to get the money into the hands of her mother, who has been caring for her young daughter (the ridiculously adorable Aisha Ayamah) since her abduction.

The Petite Salma Hayek stands tall beside the male action heroes of the past, Schwarzenegger, Willis, and Stallone, as she manages to accumulate a pretty impressive body count. Besides the five rapists, she sends at least another twenty mobsters, hooker assassins and sadistic sickos to meet their maker before the inevitable confrontation with Taiko (played with creepy effectiveness by Hiroyuki Watanabe). Hayek has all of the charisma to pull off such a film without it seeming campy or stretching the realm of believability too far. Her natural sex appeal is an added treat for male fans, something that I found lacking in other female oriented action films such as Kill Bill and Resident Evil.

The film's cinematography (courtesy of DP Steve Gainer) is as breathtaking as Ms. Hayek. Director Joe Lynch, in his first turn with a major budget and star, offers up a film at neck break speed, pausing only long enough for Hayek's personality to shine through. Lynch also benefits from the expert hand of veteran editor Evan Schiff (Pan's Labyrinth, A.I. Artificial Intelligence) who effectively maintains the story below the non-stop action.

I hesitated seeing this film because I couldn't wrap my mind around watching another slave film where there's that white character who is so understanding of the African slave's plight. I just couldn't fathom watching another movie where there's that sadistic, over-acting white master, who we're so obviously supposed to hate that we cheer when he gets his just desserts. I definitely didn't want to be subjected to that well-known sympathetic white wife or child who battles their own soul to find balance with the Ol' South's tradition of slavery, and it's apparent evil against mankind. Finally, I didn't want to see another Django Unchained, which, I'm well aware, many people found enjoyable. However, Quentin Tarantino's grindhouse Blaxploitation rip-off left a bitter taste in my mouth, as I felt he dealt with slavery in an almost whimsical, comical manner. As an African American, I found this appalling since White America has never apologized, given restitution, nor accepted its role in one of the most-inhumane periods in human history. However, this is a film review, not a history lesson, so first off, let me say that 12 Years a Slave IS NOTHING LIKE DJANGO UNCHAINED! They are two different movies, two different genres, and two different directors. 12 years A Slave is the horrific journey of Solomon Northup, a black man born free who is kidnapped and sold into slavery. What transpires is one man's visual diary of the atrocity, hypocrisy, and inhumane world of Southern American slavery. There are no heroes, no melodramatic Hollywood moments, only a man trying to find his way back home to be with his family. What sets this film apart in my opinion, are the magnificent performances of its cast, in particular, Mr. Chiwetel Ejiofor and Ms. Lupita Nyong'o. Where there are no over-emotional moments, no grand Hollywood speeches to the white master, these two actors succeed in taking us back in time, and drawing us into the character's lives and pain. Ejiofor's Solomon Northrup tells us his internal pain with his eyes, as they seek out justice but find only despair. His words are few, but when spoken, they convey his slipping grasp on his former freedom, something he will not, can not let go of, throughout his living nightmare. Rising up with the same breathtaking performance is talented newcomer Lupita Nyong'o, whose portrayal of Patsey is the counter opposite of Ejiofor's Solomon. Patsey has known nothing but slavery; her life consists of survival, doing what's necessary to keep the lash from her back. However, even that's not good enough, as she must also contend with the master's lust, and the hatred of his wife because this black woman is her husband's mistress. Through Nyong'o performance, we're aware of Patsey's troubling slow-death. Hers is the coupling that connects the two worlds of the Negro in America; Solomon, born free, an educated man of talents, with a loving family, and Patsey, uneducated, a workhorse who's known nothing but hard labor and the lust of her perverted master. Two separate lives, two separate existences, bound together because of one skin color.

Throughout the telling of this visual nightmare, two significant scenes stand out: The first scene is at the beginning of Solomon's horrific journey, having been duped into believing he was being offered a job, he is drugged and wakes up in a basement. The screen is dark, all we hear is the sound of chains scraping against concrete. Our hearts race as we realize that something dreadful has happened to this carefree violinist. The second haunting scene takes place after Solomon's attempt for freedom suffers a significant setback. A distraught Solomon stares out into space. The camera stays on his face for about thirty seconds. All faith and hope seem a distant and unattainable dream. There is no music for dramatic effect as we are left to suffer with a man whom no words can console. Accolades to director Steve McQueen for taking on a challenge he must have known would draw both critical and negative attention. McQueen succeeds in telling the story of Solomon Northrup and the horrors of slavery, without "telling us" the story. Whereas many directors must put their "stamp" on their work, McQueen allows us to graze through the scenery, the imagery, and the emotions. He doesn't force-feed us lessons on bigotry and racial hatred, but instead allows us to graze the field of social injustice and the inhumane treatment of humans beings until we have gorged ourselves and the reality of this country's dark slavery past spews forth from the belly of our consciousness.

Frivolous, silly, unrealistic, take your pick, any of those adjectives could fit The Pleasure Seekers (20th Century Fox, 1964). However, if you like escapist fare, if you like films that offer nothing more than pure entertainment, and if you like films that feature incredibly beautiful actresses, then this film is definitely for you, and for me.

I've probably seen The Pleasure Seeker at least ten times; it's truly one of my cinematic guilty pleasures. However, this is the kind of film that made me love movies. Its Hollywood at it's superficial best. It's mesmerizing Ann-Margret breaking out in song and dance accompanied by that invisible orchestra. It's beautiful cinematography, capturing magnificent Spanish landscapes and romantic old towns. It's gorgeous people having sex, without taking off their clothes.

What it's not is a great movie; don't get me wrong it's not a bad movie, far from it. It's just pretty predictable, and slightly unbelievable, yes, a little sexist, but it's fun to watch and well, it has Ann-Margret breaking out in song and dance in bikinis and tight dresses. But I digress. So what is the movie about? It's about the romantic adventures of three delectable girls who share an apartment one summer in Madrid, Spain. Ann-Margret plays a struggling nightclub singer and dancer, who's been unlucky in love. Her roommate, super sexy Carol Lynley is the efficient and smart secretary her boss can't do without, literally, They are joined by the scrumptious Pamela Tiffin, who plays Lynley's naive but adorable friend visiting from America, and on the prowl for a husband.

The film progresses through each girl's roller coaster relationship with their prospective love interest. Ann-Margret falls head-over-heels for a Spanish doctor (handsome Andre Lawrence) whose dedication to providing medical care for the people of his village threatens their relationship. Tiffin's adorable dingbat character falls for a smooth talking gigolo (Tony Franciosa, Hollywood's favorite 1960s cad) who of course, manages to break her heart, and finally, Lynley has the most-complicated situation of the three, as she finds herself in a love triangle between her boss (older gray fox Brian Keith) and a slacker journalist (Gardner McKay). If she chooses Keith, she could find herself as his permanent mistress, but if she chooses McKay, does she really love him, or is she merely settling?

Thanks to cinematographer Daniel L. Fapp (West Side Story, Let's Make Love, Our Man Flint among many others) The Pleasure Seekers is a vivid feast, and the three gorgeous actresses are the main course. There is one particularly awesome shot, where the girl's entire apartment can be seen, as they frolic about in various stages of undress going from one bedroom to another (sort of reminiscent of Jerry Lewis' revolutionary open apartment shots in 1961's The Ladies Man).

Veteran director Jean Negulesco (How to Marry A Millionaire, Johnny Belinda, three Coins in The Fountain, of which this film is a remake) takes the simple plot and creates an enjoyable quickly paced film that takes advantage of the witty dialog, and his stars, (male stars included), good locks and sex appeal. One-time screen heartthrob Gene Tierney has a cameo role as Brian Keith's neglected wife. Still a beauty, this would be Ms. Tierney final film as she was suffering through the early stages of Alzheimer's disease.

I'm so glad vintage film channels such as Turner Classic and Fox Movie Channel have resurrected this film Its a slice of American film history, and an example of how movies don't always have to teach a lesson, or expose the dark side of life. Sometimes we just want to escape into our fantasies, our dreams of romance, and that's where The Pleasure Seekers succeeds. Oh, and did I mention that Ann-Margret dances and sings in a bikini?

Just caught the movie Black Coffee on BET tonight. I wasn't familiar with the director (Mark Harris) nor the two lead actors, and I have to admit my expectations were not high, as a matter of fact, the only thing I was expecting was to be changing the channel after about fifteen minutes. Well, let me just say, that as the final credits rolled by, I found myself having been pleasantly entertained.

First, let me give you a synopsis of the film; Robert (the charming Darrin Dewitt Henson) is having a bad day. First he gets fired from the company his father started, by Nate (Josh Ventura), the man he brought in to resurrect the business. The cloudy day continues when Robert arrives at home only to find his gorgeous but vapid girlfriend of two years Mita (Erica Hubbard of BET's Let's Stay Together) is leaving him for another man. Robert's luck doesn't get any better when he later finds out that the man Mita is leaving him for, is none other than Nate. At his lowest ebb, no job, no woman, betrayed, Robert has a quick encounter with a beautiful woman named Morgan (the enticing Gabrielle Dennis) at his local bookstore. With a little push from his hustler cousin Julian (Christian Keyes), Robert arranges to meet Morgan, and after some initial hesitation, Morgan soon finds herself as attracted to Robert as he is to her.

From this point, the film turns into a romantic comedy with Robert and Morgan going through the usual motions of falling in love, with several potholes in the road as expected. Where this movie falls short is in its ability to build up emotional conflict and drama. For example, one of those potholes the couple encounters is Morgan's ex- husband Hill (the versatile Lamman Rucker) who, unable to keep his wife from leaving, refuses to release a million dollar property to her unless she keeps away from other men. This, and Mita's attempt to come back into Robert's life should have provided ample conflict, but unfortunately, become merely a soft sub-plot. Now please understand me, I was not looking for Tyler Perry crack mama, sadistic husband, drag queen crazy aunts, type drama. What this film lacked were the stair steps that make us invest in the characters, and reveal how deep or shallow their love is.

That being said, where Black Coffee does work is in its funny, witty dialog, charismatic, lovable characters, and an attractive cast, that makes this movie a pleasure to watch. Henson as Robert shows great chops as a leading man, and if this performance is any indication, he should be showing up in more films. Keyes as hustling, wise- cracking Julian steals the scenes he is in and Hubbard's Mita takes a role which could have been annoying but adds just the amount of sass to make her believable. The star of the movie for me is Dennis, who blends a mixture of sophistication and sexiness to her role that rivals any of the A-List girls such as Halle Berry or Kerry Washington.

Director Mark Harris pulls everything together smoothly; reining in his actors so that there is no Perry-ish moments of over-acting, and allowing the movie to glide along at a steady, if not spectacular pace. Adam Lee's cinematography is as smooth and mellow as Harris' direction, allowing the actor's charm and attractiveness to be the film's finest special effect. While you're not going to be taken on the head-spinning roller coaster ride of most of today's romantic-comedies, just like Black Coffee, the film will stimulate and satisfy.

I wanted to like this movie for a number of reasons; first off, it was shot, and about, my hometown Detroit, Michigan, second it stars the delectable and underrated N'Bushe Wright. Unfortunately, despite a very gritty Motor City feel, the film fails to reel in the audience with it's characters, led by Wood Harris (The Wire, Remember the Titans), in a stoic performance. Harris plays Tony Smalls, a successful Detroit lawyer, primed to make the move to the more lucrative side of law practice, that is, until his sister Nia (Wright) recruits him to save her street thug boyfriend Big Boy, from a murder charge. What follows is a generally captivating journey through the seedy and corrupt world of Detroit politics and street crime. Director and Detroit native Harry A. Davis, manages to capture the natural ambiance and general "scariness" of inner-city Detroit. Where he, and the film falls short is in the unevenness of the story, and the general lack of character depth. We know that Tony and Nia, while brother and sister, were given unequal chances on making it out the hood, but we never get a pulse on just who they are. Why Tony and Nia are at odds, why Nia is so driven to "dangerous" guys like her boyfriend Big Boy (a strong performance by Christian Mathis). N'Bushe Wright gives another solid performance, but is highly misused. The film would have benefited from having her on the screen more, and developing her character more evenly. Kevin Jackson as Ray, Tony's investigator steals every scene he's in. The cinematography by David Phillips is at times surreal, but at some points seems overindulgent. Overall, the film is worth watching (for native Detroiters, it's a looking glass into the hood, the true hood), the political corruption is right out of the headlines of today's Detroit; however, it misses the mark as an action-drama, with a sluggish pace, and undefined characters.

Zombies! Can't understand the obsession with the undead, but as zombie movies go, this one was at least entertaining. Gerry Lane (Brad Pitt in an appreciated understated performance) is a former United Nations operative who battles the entire state of New Jersey to get his family to safety aboard the only refuge not infested with zombies, an aircraft carrier in the middle of the Atlantic Ocean. Once aboard, Gerry is briefed on the news that the entire world has been contaminated. Unfortunately, as the viewer, I would have liked just a little more discovery on what the possible cause of the zombie virus was. Gerry soon finds out that his being able to harbor his family in this safe compound comes with a price. The military wants him to escort a scientist to South Korea who may hold the key to a cure. When Gerry refuses, he is given the ultimatum, become unretired and lead the mission or his family finds another refuge. His family's safety his only concern, Gerry leads the team into South Korea which has also become zombie land. Pitt basically puts on a one man show from this point on, with an occasional assist from a human or two. This easily could have turned into a Swartzenegger hero against the world blockbuster, but Pitt takes the lower road, showing something that movie super heroes rarely show, fear; fear of the unknown, fear of failure and fear he will never see his family again. I didn't expect to like this film, but it was a pleasant surprise and I would recommend this for it's entertainment and intensity value. While there isn't a lot of actual bloodshed as one would expect from a movie about walking cannibals, the film might be too intense for younger viewers.

Caught the beginning of this film on cable, found it interesting enough, that I purchased the film on Amazon. Honestly, I didn't expect much, women's prison films are notoriously bad or depressingly sad; however, I have to say that I was surprisingly pleased with Civil Brand. While the story initially seems to revolve around Frances Shepherd (lovely LisaRaye)) a women convicted to life for killing her abusive husband, the film quickly transforms into an ensemble event, with an interesting, and for a women's prison film, very attractive cast. First we're introduced to Sabrina (rapper Da Brat) who narrates us through this tale. Once inside we meet Lil' Momma (gorgeous Lark Voorhies) the religious teen doing time for killing her rapist step-father; militant Wet (always impressive Monica Calhoun), prison snitch Aisha (the underrated Tichina Arnold) and finally gangster girl Nikki (the delectable N'Bushe Wright). Instead of focusing, as most prison films do, on infighting between the inmates, the film successfully sheds light on the abuse women prisoners often encounter while locked up. In Civil Brand, that abuse is orchestrated by the notorious Captain Deese (the always worthy Clifton Powell). From slave labor to rape, Deese is the perfect despicable villain needed for such a movie. While the performances range from watchable to very good, none stand out more than that of N'Bushe Wright. Not since Pam Grier have I seen an actress pull off the role of a tough-as-nails bad girl, and look so hot doing it. Those that don't know her by name, may remember her in similar roles in the films Blade and Dead Presidents. This woman should be an A-List actress, why that hasn't happened is a mystery to me. Anyway, I digress, Civil Brand is worthy of 91 minutes (the actual running time) of your day. If you like action films, if you like action films with great looking actresses, this is the film for you.

First and foremost, who is Gillian Hills? And second, why didn't she become a major star? After looking for this film for some time, I finally got a chance to check it out the other night. As JD films go, it wasn't a classic, yet it wasn't a clunker either. However, what compelled me to write a review of the film was the sexy young star of the film, Gillian Hills. Going by her bio, she was born in 1946, making her all of fourteen when she made Beat Girl. Well, this has got to be the sexiest fourteen year old ever! Brooke Shields, Jodie Foster, Sue Lyons, even Tuesday Weld can't hold a candle to Ms. Hills. Her performance is the glue which holds the bare thread plot together. Gillian plays Jennifer Linden, spoiled, rich teenager who, along with her beatnik friends, rebel against British society and it's rigid rules and traditions. If one thinks that Jennifer is being led astray by her friends, think again. If anything, it's Jennifer who is leading her friends down the dark and tawdry path. Jennifer is no one's puppet, and proves this in a game of "Chicken" on a railroad track. When her father brings home a much younger Parisian wife Nicole (Noelle Adams), Jennifer makes the woman's life a living hell. She tries to turn her father against Nicole when she finds out that the woman once danced as a stripper in Paris. Jennifer's scheme quickly turns against her and soon she finds herself being manipulated and lusted after by the sleazy strip club owner (played by the always villainous Christopher Lee). The ending to the film was a disappointment, wrapped up rather conveniently despite the fact a murder is committed. Still, Gillian Hills is a vamp on par with some of the best the screen has ever offered. I would assume that maybe it's her resemblance to Brigitte Bardot that may have stymied her career. I would love to see a film of her as an adult, and see if she still possessed that smoldering sexuality she displayed as a teen.

I Bought this film on DVD a couple of days ago not expecting much, and my intuitions were correct. Very slow with dialog that goes all over the place. We never get a grasp of where the film is taking place, who are these people and why anyone is doing what they do. Master horror icon Boris Karloff is basically exploited for name recognition (something that would happen quite frequently in the later stages of his career)and has little if anything to do. His relationship to the cult and how it evolves is never explained. The only reason I finished this sleep enhancer is the sexy dancing of Mexican actress (and exotic dancer) Yolanda Montes billed here as Tongolele. Nearly forty years old at the time it was made, Tongolele still possessed a knockout figure and sexy aura. Her two dance sequences are the only thing that will keep you awake while trying to finish off this turkey.

I use to catch this show every weekend on our local Spanish language channel. It was on around midnight which was appropriate because it was definitely NOT for Junior and little Katie. The show dripped with T&A and featured some of the hottest Latin ladies this side of Salma Hayek.

Jorge Porcel was a well-respected comedian from Argentina, who had made a grip of sexually tinged films throughout the years. A portly fellow with a baby face, Jorge was joined by a salsa band, four lovely leggy showgirl type dancers and a human fireball by the name of Lilly. This sexy senorita had the most gorgeous body I have ever seen and would open each show with a scintillating, gyrating dance wearing only the barest of attire.

If you could survive Lilly's entry, then the rest of the show was made up of a couple of five to ten minutes skits, with Jorge usually dressed in drag. My Spanish is a little weak, but I could make out the majority of the jokes and the man was funny. The show went off the air a few years ago, but I was lucky enough to get a few episodes on tape. It would be great if this show was released on DVD. By the way, does anybody out there know anything about Lilly? What was her last name and is she still in show business?

Let me start by acknowledging that Breakin 2 (the sequel to 1984's Breakin, which was a box office hit) IS NOT a great movie. The acting is weak, the plot very "Andy Hardy," and the dialog, well let just say, it wouldn't have been any better if Golan/Globus would have gotten Denzel Washington and Meryl Streep to star in this film. That being said, let me now state that Breakin 2 IS NOT a "bad movie" either. It is what it is, mindless entertainment. The dancing, while not as riveting as it's predecessor, is enjoyable. The clothes (remember this is the 80's), well they're a laugh in themselves. The cast are all attractive (Lucinda Dickey looks hot as hell in this one, and check out Sonny Bono's sexy ex-wife Susie Coelho playing Kelly's rival).

The thinly written plot of Breakin 2: Electric Boogaloo takes up where Breakin left off. Kelly (Dickey), Ozone (Aldolfo "Shabba Doo" Quinones) and Turbo (the phenomenal Michael "Boogalo Shrimp" Chambers have finished up what appears to have been a short run of their musical "Street People." Having gone their separate ways, Kelly is finding life in the chorus line a dead end. Unlike Ozone and Turbo, Kelly is not a product of the streets, and must also deal with her stereotypically written "rich parents," who want her to stop wasting her life dancing and go to Princeton. Needing a break from the lifestyle of the rich and famous, she goes to visit her "boyz in the hood" buds Ozone and Turbo, who seem to have found a better niche in life, teaching kids at a community center in East Los Angeles.

Enter bad guy real estate developer Mr. Douglas (character actor Peter MacLean), who wants to buy the land where the rec center sits and build a shopping mall. Kelly rejoins her ghetto comrades to stand against Douglas, and the city, who holds the lease on the building. The city does gives the trio one month to raise $150,000 to get the old center up to building standards or lose it to Douglas. How will they do it? How else, by putting on a street carnival (I told you this wasn't Pulp Fiction). Sub-plots include Kelly's racist parent attempting to bribe her by offering to bail out the center(only if she denounces her street friends and goes to college), and Kelly and Ozone's phantom romance (they never seriously kiss or get romantic in either film, which was the norm for interracial affairs in the 80's).

As stated earlier, where this movie shines is in the dancing. Ozone's rooftop number and Turbo's dancing on the ceiling are very enjoyable. The soundtrack wasn't as ripping as the original, but it's listenable without being annoying. The one other redeemable trait of Breakin 2, is it's attempt (no matter how lame an attempt) to portray a part of American culture that few people outside of major cities such as Los Angeles and New York knew anything about. In the eighties, you could count the number of minority themed films on one hand, so given it's very low budget, Breakin 2 at least served up a decent laugh and some head bobbin "make you smile" hoofin'.

Bottom line, if you're looking for Academy Award performances, solid acting, excellent writing and a thought provoking storyline, AVOID THIS FILM. However, if you want a look (albeit a somewhat watered down, white bread look) at a phenomenal eighties American fad called Break Dancing, check it out and enjoy the music and the dancing. That's all Golan/Globus was trying to make, and that's all this movie has to offer.

One of Director Preston Sturges' most enjoyable films, Unfaithfully Yours is a dark comedy which uses the skills of it's leading actors Rex Harrison and Linda Darnell, to perfection.

Harrison plays Sir Alfred De Carter, a famous symphony conductor who has recently wed the beautiful and much younger Daphne (Darnell). Upon returning from a successful concert tour, Sir Alfred is confronted by his brother-in-law August(Rudy Valle), whom he had charged to look after Daphne while he(Sir Alfred)was away. Merely wanting August to drop in on Daphne on occasion, Sir Alfred is shocked to find out that August instead, enlisted a private detective to shadow his wife around town. Outraged when presented with the detective's file, Sir Alfred refuses to even look at it. However, he is eventually confronted with the sleuth's findings, which to his chagrin, reveals that while he was away, Daphne made a very suspicious late night call to a man's room wearing only a negligee. He is further devastated to find out that the rogue in question is his own right-hand man, Tony (Kurt Kreuger), a handsome, dapper fellow more closer in age to Daphne. Believing the worst, Sir Alfred's pristine world is suddenly turned upside down, and he becomes a man consumed with jealousy and suspicion.

From here we watch Sir Alfred's gradual meltdown as the thought of his wife's infidelity haunts his every moment. Even the concert stage can't provide him any solace. While performing before a sold out audience, his mind is less on the music and more on how he will deal with the adulterous duo. With his baton wailing wildly, his mind plays out various fantasies; his first thoughts are of murder, concocting an elaborate scheme which will leave Daphne dead and Tony framed as the killer. In another scenario he sees himself as the forgiving saintly husband, allowing his young wife to leave with his blessing, even going so far as to write her a check to cover their anticipated needs. Finally, he envisions himself cast him as the crazed, pitiful victim, confronting Daphne and Tony and committing suicide before their guilty eyes. As the music ends Sir Alfred has settled on murder as his method of revenge. He abruptly ends his performance and proceeds to put his plan into effect. Hilariously, nothing seems to go quite as smoothly as it had in his vision.

Harrison is masterful as the prim and proper husband who becomes the green-eyed monster bent on revenge. Under Sturges direction, Harrison succeeds in conveying the frailty of the male ego, when faced with the possibility that the little lady may have found the grass a little greener in the neighbor's yard. Darnell as Daphne looks ravishing as the suspected spouse. She ably plays innocent enough to draw doubts about her husband's charges, yet sexy enough to make you believe that the accusations just might be true. A very entertaining movie, I would definitely recommend Unfaithfully Yours particularly for Rex Harrison fans, as this is one of his finest performances.