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  • Ghost Ship

    Ghost Ship

    ★★★

    The chief pleasure here derives less from the rather hackneyed old dark boat theatrics than the light, flirty interplay between Hazel Court and Dermot Walsh, who give us a sense of a newlywed couple casually but genuinely delighted by each other's eccentricities, a portrait of amused marital bliss that accentuates the bitter edge to the long flashback sequence that dominates the second half. A bit too pat and rational for its own good, but if the thought of Hazel Court singing a brief snatch of "Popeye the Sailor Man" to deflate her husband's delusions of nautical grandeur amuses you, you won't be too disappointed.

  • Kid Glove Killer

    Kid Glove Killer

    ★★½

    Fred Zinnemann maintains a frustratingly placid surface in a story of political assassinations and police forensics that takes all its cues from Van Heflin's mild-mannered pathologist. Sometimes the sober sanity of confidently classical pre-noir Hollywood B product is reassuring. And sometimes it plays like its own officious style of stubborn madness.

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  • Double Indemnity

    Double Indemnity

    ★★★★★

    All you need to make a movie is a girl, a gun, and a life insurance policy.

  • In the Mood for Love

    In the Mood for Love

    ★★★★★

    A movie about memory, and about clothes and food and cigarettes and Nat King Cole records, all of which play their part in a story not only of lost love, but of an ancient empire in which love collapsed in on itself in a quiet apocalypse. In his attention to minutiae, Wong realizes the aesthetic ambitions of the 1920s film theorist and filmmaker Jean Epstein, the prophet of photogénie, the fetishistic obsession with photographic detail and arrested gesture. In its…