HARVEST

 Set in an indeterminate period in the past and presumably in Scotland judging by the accents "Harvest" could best be described as folk-horror but not as we might know it. This may be a difficult film to pin down but it's utterly absorbing. Director Athina Rachel Tsangari seems to have found a way to transport us back to the Middle Ages while keeping a very 21st century eye on things.

It hasn't much of a plot as such, just a community so close to nature that it dictates their every waking moment but it's a nature which, together with the outside world, seems intent on destroying the community with every day that passes. It's also stunningly photographed by the great Sean Price Williams while heading an extraordinary cast of actors and musicians are Caleb Landry Jones and Harry Melling. They are the faces we recognize in what is essentially an ensemble piece, (Neil Leiper, Rosy McEwen, Arinze Kene and Frank Dillane are all excellent).

Of course, it won't appeal to everyone, most particularly to horror fans. This is an art movie almost experimental in its execution but if you give yourself over to it then there are treasures to be found in almost every frame.

MISERICORDIA

 If there was ever a movie you had to piece together yourself it's "Misericordia". It's the kind of movie Hitchcock might have made if he were gay and French, (think a more twisted "Rope" laced with a dose of "The Trouble with Harry"), but I doubt if even Hitchcock at his most contrary would have made anything as off-the-wall as this. 

At the beginning if you join the dots you assume they will add up to...what? Only to find it going into places you didn't see coming as it gets progressively weirder by the minute and, I might add, surprisingly funny in a way that Hitchcock would definitely have appreciated. Of course, what the characters in "Misericordia" get up to may defy belief but as Mr. Hitchcock himself would have said, 'It's only a movie' but one you're unlikely to forget in a hurry.

PHARAOH

 This Polish epic about the intrigues that went on in the court of Ramses XII and his young successor Ramses XIII is the very antithesis of anything Hollywood might have turned out. It's certainly stately and visually superb and its battle scenes smack of 'realism' rather than artifice but it's also ponderous and with a plot that's convoluted at best, (being a mid-sixties Polish film its problems had to reflect the Poland of the time), and is finally something of a bore.

Yes, Jerzy Kawalerowicz's (he of "Mother Joan and the Angels" fame), "Pharaoh" is an intelligent epic, modern not just in its outlook but in its style and with none of the anachronisms of DeMille or those widescreen American spectacles of the fifties but there were times when I would have given my right arm for something cruder, something garish, for a dollop of bad taste but no such luck; this is a Polish art-movie after all and it's as po-faced as they come.

On the plus side Jerzy Zelnik, (still only twenty-one when the film was made), brings real gravitas to the part of the young pharaoh, (he also plays his double, the scheming Lycon), though again I wished he would lighten up a bit  on occasions and it was clear even at this early stage his career was assured. It's certainly not a bad film by any means and it does have its admirers, ( critic and scholar Michal Oleszczyk being one as he clearly demonstrates on his very in-depth 'Afterword'), but if I must go back to ancient Egypt give me Hawks' "Land of the Pharaohs" any day.

THIS ISLAND EARTH

 The best and certainly the most imaginative of all the 'flying saucer' movies. The effects may be crude and hardly special and the acting more wooden than a row of book shelves but an outstanding use of color, a reasonably intelligent script and some amazing art direction, (considering the budget), put "This Island Earth" in an altogether different league from its contemporaries. A sci-fi movie that both adults and kids can enjoy in equal measure.

CAUGHT STEALING

 A very black crime comedy from, of all people, Darren Aronofsky which means it's also quite nasty, (for a 'comedy' it's very violent and not really that funny), but it's more than redeemed by Aronofsky's usual visual style and the brilliant cinematography of Matthew Libatique, an unusually original take on a well-worn plot with a few nice curve balls thrown along the way and by a superb performance from Austin Butler as a hapless, heavy-drinking ex-football player who accidentally falls foul of some very unpleasant Russian and Jewish gangsters.

It's also got a first-rate supporting cast that includes Regina King, Matt Smith (nicely cast against type), Zoe Kravitz, Griffin Dunne, Liev Schreiber, Vincent D'Onofrio and Carol Kane. Of course, there's not a frame of it that's really believable, made up as it is from tried and tested ideas but it still may be the most enjoyable film Aronofsky has made to date. (And make sure you stay for the off-the-all closing credits).

DANGEROUS ANIMALS

 I've said it before but it seems to me that Australian serial killer movies are ten a penny so if they are to make any kind of mark they really need to up the ante which is what "Dangerous Animals" does ten times over. The premis is very simple; Jennifer Lawrence lookalike Hassie Harrison finds herself prisoner on a fishing boat  in shark-infested waters skippered by mad, bad and very dangerous to know Jai Courtney who has a habit of feeding his catches to the sharks. 

Needless to say none of what happens to Hassie or her boyfriend Josh Heuston, who comes to her rescue, is particularly pleasant, (this is a very violent film), but director Sean Byrne knows how to keep the suspense at boiling point and provide a few very neat twists in what is basically a tired genre and this one had me yelling at the screen, something I haven't done in quite awhile. In fact, I have a feeling that "Dangerous Animals" could be a cult classic of the future. It's certainly the best shark film I've seen since "Jaws".

EDDINGTON

 With only four feature films to his credit Ari Aster has already become one of those directors whose name screams 'auteur' or maybe just 'cult' as he hasn't quite cut it yet at the box-office, (his detractors will say he's been working his way down since his first feature "Hereditary" and since nothing he's done since has been as successful either critically or commercially, they may he right), but if his subsequent films haven't quite nailed it there are few American filmmakers this ambitious.

A genre director Aster has always worked outside the box, subverting our expectations at every turn. Fundamentally he makes horror movies but they are not like anything else in the field. These are nightmares that sneak up on you and his latest, "Eddington" has its own nightmare already built into its scenario. Set in 2020 Covid has hit America if not the small town of Eddington, at least according to its covid-denying sheriff, (another superb Joaquin Phoenix performance), whose stance pits him against the town's mayor, (Pedro Pascal), so Joaquin decides to run for mayor, too. Meanwhile far from Eddington the Black Lives Matter movement is gaining ground and suddenly it seems the outside world is coming to town and not in a good way.

A black and bloody comedy "Eddington", like "Midsommar" and "Beau is Afraid" before it, can't quite sustain its length nor can Aster fully tie the many threads of his plot satisfactorily together but if you want to call this a failure it's definitely a brilliant one; smart, crazy, prescient and displaying real imagination. It also confirms its writer/director as someone whose films are fast becoming 'event' movies and who surely must have a masterpiece waiting in the wings.

FLESH AND THE DEVIL

 If "Flesh and the Devil" is remembered at all today it's for the onscreen passion of Gilbert and Garbo but there's a lot more to this tragic melodrama which is one of the last great silent films. There's Clarence Brown's direction for one thing, keeping the novelistic plot sensible and approachable and drawing from his two leads beautifully modulated performances and then there's William Daniel's splendid cinematography, (it's little wonder actresses loved him). The plot itself is that old chestnut of two friends falling out over a faithless woman, (Garbo milking it for all its worth), but in Brown's hands it takes on the status of potentially real tragedy. This is a film that really deserves to be better known.

THE OPPOSITE SEX

 OK, so it's not "The Women" and David Miller is no George Cukor but this 1956 musical remake has a cracker cast, is in Cinemascope and color and retains enough bitchy dialogue to make it something of a treat albeit a minor one. In their own way even the musical numbers are above average but it's that cast, (June Allyson, Joan Collins, Ann Sheridan, Dolores Gray, Ann Miller, Joan Blondell, Agnes Moorehead), that makes it so enjoyable.

Since the title is "The Opposite Sex" this version's got men, in this case Leslie Nielsen, Jeff Richards, Sam Levene, Alan Marshall and Dick Shawn amongst others and while not really necessary, (Cukor managed without them), are not unwelcome even if none of them can compete with the dames.

Allyson is a lot tougher than Norma Shearer was though poor Joan Collins is no match for Crawford but Dolores Gray makes for a perfect bitch and Ann Sheridan steals her scenes as the tough-talking broad who sticks by her friend. At best it's entertaining froth and very watchable but the original is the Real McCoy.

THE LICKERISH QUARTET

 This infamous soft-core porn movie is notorious, not for its sex scenes which are tame by any standards, but for its pretensions to be 'about something'. "The Lickerish Quartet" finds director Radley Metzger stepping into the shoes of Antonioni only to find they don't fit at all. This is porn for the art-house crowd, (the so-called 'dirty mac' brigade would get bored very quickly), but then the art-house crowd would see through this immediately, (it's way too glossy to pass for camp).

Shot in Eastman Colour it's certainly easy on the eye and whatever Silvana Venturelli lacks in acting talent she undoubtedly makes up for in looks. The only 'name' in the cast is Frank Wolff who, despite some energetic humping, doesn't look particularly happy. (he committed suicide only three years later). Perhaps best seen as a curio it's just weird enough to be of passing interest.

SHAKE HANDS WITH THE DEVIL

 "Shake Hands with the Devil" isn't much of a movie and its plot, set during the Irish War of Independence, takes some swallowing and yet in its crude way it's highly entertaining. James Cagney, sporting an atrocious Irish accent, is the IRA (here simply referred to as The Organization), commander who takes his role perhaps more seriously than might be necessary, Don Murray is the young Irish-American who is drawn into 'the cause', Dana Wynter, the English girl who is taken hostage and Glynis Johns, again sporting another atrocious Irish accent, the colleen in love with Murray.

The excellent cast also includes Michael Redgrave as 'The General' (I'll take the role but I'm not putting on an Irish accent) and Dame Sybil Thorndike as Lady Fitzhugh, (Countess Markievicz in all but name), while the Irish players include Richard Harris, Donal Donnelly, Cyril Cusack and Ray McNally. Politically it's all over the shop; is it pro-IRA? pro-British? Or are we just meant to enjoy it as another Cagney gangster movie in an Irish setting? Regardless, it's a cracking yarn well directed by Michael Anderson and clearly aimed at the American market. Just don't take it too seriously.