Hatchet For The Honeymoon (1970)

Crazy man John Harrington (Stephen Forsyth) is an unhappily wedded husband. John runs his deceased mother’s company which is also owned by his wife Mildred (Laura Betti). Also, Mildred will not give John the divorce he wants. There is no surprise where the plot is headed and a key matter is quickly handled in the opening minutes (hence the title). Regardless, the tone, pacing and director Mario Bava’s visual touches allow the movie to waft through without excessive cerebral harm. In the meantime, Forsyth has a piercing stare which adds to the creep factor and his character's crack-up is fun to watch. Hatchet For The Honeymoon may not have been one of Bava's greatest but it certainly wasn't his worst. Video distributor Image did what it could with a less than desirable looking print.

Cairo Time (2009)

Ruba Nadda’s love letter to Cairo and to romance. The film fascinates without the use of montages, fast cars, quick cuts, cute facial expressions or any of the forced formulas that plague the bulk of Hollywood’s movie output. On display are two adults, by way of passing moments and conversation, that develop a shared appreciation of one another. They speak with intelligence, without insulting catch phrases or one-liners and their pacing is never forced. Juliette (Patricia Clarkson) and Tareg (Alexander Siding) ignite an amorous dance, which smolders throughout. Surprisingly, the importance of the storyline gives way to a distinct fact. That attraction or the possibility of love can come down to situations of chance. Director Nadda lovingly films Cairo without spectacle and with the use of the Nile; gives Cairo it’s own voice. A voice that is evocative of Rome or Paris.

Obscene (2007)

Documentary on Barney Rosset's public and personal battles as owner of Grove Press and publisher of the Evergreen Review journal. The documentary demonstrates how Rosset sadly has become a footnote to many of the situations he was associated with instead of being as famous as the situations themselves. The first half of the documentary uncovers remarkable information about Rosset’s acquaintances in school and adventures in China via the US army. This later led to marriage, divorce and a chance to own what would become Groove Press. The film continues to present the reasons why Rosset began selling daring and important literature. Literature that would put him at odds with the law and become instrumental in expanding the notion of freedom of expression in media and defending first amendment rights. At this point the strength of the documentary stalls as the process of Rosset defending everything he puts out is mixed with office turmoil and personal politics. This could have been omitted to streamline and clarify Rosset’s struggle against the then, conservative social dispositions encased in the law. Although true, it diffuses any type of emotional return until the final 10 minutes, where an older, but not necessarily wiser Rosset reappears and sits down to talk until the credits.

Eat Pray Love (2010)

This review is strictly based on the film. Liz (Julia Roberts) leaves behind the shells of an ex-husband and rebound boyfriend, while both are deeply in love with her....unhappy with her status in life, Liz decides it’s time to find herself. The character of Liz comes off self-centered and selfish as she barrels through several relationships and plates of food from three countries (Italy, India and Bali) in the quest of inner-peace, self discovery and happiness. I guess if I had a chance of pulling off a paid vacation (Liz writes for an unnamed publication) to three fantastic countries to "find myself" I probably wouldn't care who the people around me were either. People do the darnedest things when in love...with themselves. Although I have a problem with Liz's thin excuse, dumping the responsibility of properly nurturing or ending her relationships for obnoxious self discovery, strangely I did find Roberts attempt to humanize this dreadfully spoiled and pampered person endearing. If you can skip the characters imperfections- even you will enjoy this film which is almost lost in its editing and lack of additional expositional footage. Realize how lucky you are Liz.

I Am Curious: Yellow (1967) And I Am Curious: Blue (1968)

Pseudo political film within a film. Lena Nyman playing a version of herself for director / friend Vilgot's (real director Vilgot Sjöman) "documentary." Lena is "curious" about the social, sexual and economic politics in Stockholm with a detour in the Swedish countryside. Lena hates her father, seen as promiscuous (for 1960's standards) and fears living in a reactionary nationalist environment, getting old, fat and boring (like most of us) but ultimately wants to be loved and (maybe) have a family. Enter Bill (Börje Ahlstedt) who becomes Lena's lover but whom is also "acting" as a version of himself. The film has wonderful moments of frank dialogue and dark humor but at 43 years old- the movie is a tad boring. Of the two films Yellow is much more focused and entertaining than Blue which had me checking the time feature on my DVD player more than a few times.

A Lizard in a Woman's Skin (1971)

Lucio Fulci's drugged out, sex, 60's gambol. Carol Hammond (Florinda Bolkan) has dreams of herself and another woman who turns out to be murdered neighbor Julia Durer (Anita Strindberg). The movie throws in a few red herrings including Carol's husband's roaming eye, her father's personal dealings, a prying sister-in-law and Carol's possibly promiscuous friend. As with most Giallos, style overcomes logic and anything else in our current dimension. Since this reviewer has now gone mad, the end of the film entirely and completely made sense in its warped way and kept my attention throughout! Shriek Show's two disc edition comes in dubbed English and dubbed Italian. This edition also pissed off a lot of collectors by featuring the longer (dubbed Italian) cut as an "extra" presented in a abysmal full screen print. Some of which was corrected by Shriek Show's "Remastered" edition. Both are now out of print but are still available via Netflix.