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  • Undercurrent

    Undercurrent

    ★★★

    A newly married woman becomes suspicious of the disappearance of her long missing brother-in-law. Overly long and melodramatic screenplay wastes good performances by a great lead cast of Robert Taylor, Katherine Hepburn and Robert Mitchum (who is underused appearing in only three scenes). Cameo roles by Edmund Gwenn and Jayne Meadows. Good noirish cinematography courtesy of Karl Freund provides sufficiently moody atmosphere.

  • Crossroads

    Crossroads

    ★★★

    A French diplomat suffering with amnesia is blackmailed for a murder he can't remember. An interesting plot idea that unfortunately was poorly executed due to a bland screenplay, direction that lacked pace and a predictable ending. This could have been a very good film in the hands of a skilled suspense director like Hitchcock. William Powell and Hedy Lamarr were capable in the leads. The standout performance was by Basil Rathbone in his usual role as an evil scoundrel. Claire Trevor was equally good as his partner in crime.

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  • The Train Robbers

    The Train Robbers

    ★★★

    Widow hires an aging gunman and his gang to retrieve stolen gold from a wrecked train. The story emphasizes character development and Southwest scenery rather than action. There was little extraneous plotlines that allows the viewer to concentrate on any individual characters. Filmed in Panavision that creates great wide angle shots of the desert and a deserted town. Interesting plot twist at the end. One of John Wayne's better performances during the 1970s augmented by more than passable efforts from Ann-Margret, Rod Taylor, Christopher George, Bobby Vinton and Ricardo Montalban.

  • The Fountainhead

    The Fountainhead

    ★★★

    Overly melodramatic adaptation of Ayn Rand's novel about one man's battle against conventional opinion. The film, like the book, contains a heavy dose libertarian ideology. Even the stellar leading cast - Gary Cooper as the idealistic architect whose career suffers when he refuses to compromise his aesthetic principles, Patricia Neal as his love interest and Raymond Massey as the muckraking newspaper publisher - could not save the film from its heavy handed message.

    Good use of lighting and cinematography created…