PLEASE DON'T EAT THE DAISIES

 In the late fifties and early sixties a lot of highly colored, widescreen Hollywood drivel passed themselves off as comedies though laughs were largely absent but perhaps the most dishonest of the lot was Charles Walters' "Please Don't Eat the Daisies", a 'comedy' in name only based on Jean Kerr's novel which, in turn, was largely about life with her husband, the drama critic Walter Kerr.

Here David Niven is the drama critic and Doris Day the wife who doesn't like what her husband is turning into. They also have four young boys who are so different from each other it's as if they had four different fathers; certainly none of them could be the progeny of Mr. Niven. This whimsy is meant to be heart-warming. (they even have a big cuddly dog and live, not too happily. in a New York apartment which is why they move to the country), but not a frame of it rings true. It's a one joke movie in which the joke isn't funny.

Day is good in that ingratiating, strident Doris Day way of hers but Niven is horribly miscast while talented supporting players like Spring Byington, Richard Haydn, Jack Weston, Patsy Kelly and, worst of all, Janis Paige, (they don't even give her a musical number), are totally wasted with most of the 'gags' revolving around the appalling children, (and keeping the baby locked in a cage is the most tasteless joke of all). Perhaps what's most unforgivable is that given Kerr's role as part of the Broadway elite this should be so flat, unfunny and false. I cringed throughout.

WELCOME TO HARD TIMES

 Could "Welcome to Hard Times" be the most bizarre western ever made? It's certainly the most bizarre western Burt Kennedy has ever been associated with, (he wrote and directed it). Unusually violent and clearly influenced by the Spaghetti Westerns and not dissimilar at times to Clint Eastwood's "Pale Rider" it's about crazed psychopath Aldo Ray's terrorizing and destruction of the small town of Hard Times. (well, more a couple of buildings calling itself a town), in which Henry Fonda is the mayor who refuses to stand up to him, (there doesn't appear to be a sheriff).

After Ray rides out, leaving very little behind but ashes, Fonda persuades the survivors to rebuild the town, welcoming any newcomers who come riding by and then...you don't have to be too smart to figure what's coming. It's certainly got a sterling cast; as well as Fonda and Ray there's Janice Rule, Janis Paige, Keenan Wynn, Lon Chaney Jr., Warren Oates and Fay Spain and Kennedy's screenplay, from E. L. Doctorow's first novel, is so off-the-wall it's impossible to dismiss it. In fact, if any western from the sixties, or indeed from any period, deserves a cult following it's this one. Is it any good? Of course not but you certainly won't see another one quite like it.

THE FLAVOUR OF GREEN TEA OVER RICE

 In post-war Japan a middle-aged couple's arranged marriage is in trouble. Made just before "Tokyo Story", Yasujiro Ozu's "The Flavor of Green Tea Over Rice" is one of the director's least highly regarded works and yet this is as incisive a study of marriage as anything by Bergman or Albee, the only difference being that Ozu's characters are so much more gentle, more humane. Even as the wife, (Michiyo Kogure, superb), wishes her husband would just disappear there is none of the harshness we find in films and plays from the West. Ozu clearly has a deep affection for all the characters in his films.

The husband Mokichi, (an equally superb Shin Saburi), may be a bore to his wife for no reason other than he is a good, quiet man whose life is simple and unexciting yet neither is she a typical harridan , just a woman who could have had more and who has, not too unhappily, settled for what she sees as her lot.

There is a subplot involving the wife's niece, (Keiko Tsushhima, excellent), who is now rebelling against her own planned arranged marriage and once again Ozu seems very much on her side. Like so much of Ozu's work this is another study of the role of women in Japanese society, mature, often very funny and absolutely essential.

THE ETERNAL DAUGHTER

 Having made two films on the essence of cinema or at least on the filmmaker's craft, (her own), Joanna Hogg has now turned her attention to ... a ghost story albeit one without a conventional ghost. "The Eternal Daughter" is set in the kind of hotel that says very loudly either 'Downton Abbey' or 'The Haunting' and it's on the latter than Miss Hogg has decided to concentrate but being an art-house kind of director this is no "Scream"; rather it's closer in tone to the kind of ghost story or horror movie Chantal Akerman might have made in her best "Jeanne Dielman..." mode.

Tilda Swinton is the daughter and she's also her mother and they are staying in this stately pile together and they both seem to be cut from the same cloth but Swinton, who is at her very best here, isn't someone you would want to spend too much time with. For a start all the creaks and bangs and the things we usually associate with haunted houses all seem to start with her, at least with the daughter, (her mother is more amenable).

It appears that the hotel was once the mother's family home and Hogg's film is really a journey into the past, an attempt to reconnect that doesn't appear to be working. In both roles Swinton is superb, the daughter presumably yet another incarnation of Hogg herself and apart from a few minor characters, she's really the only person on screen. In dramatic terms nothing really happens and yet the film is haunting in its own pervasive way, proof that Swinton could hold our attention just reading the telephone book and that Hogg is a singular talent no matter what material she turns her hand to. Hopefully next time, however, she will make something a little more lively.

RIPLEY

 I didn't think it possible to improve on what I considered to be perfection but Steven Zallian's 8 part television series "Ripley" puts all previous screen 'Ripley's' in the shade. Adapted from Patricia Highsmith's novel "The Talented Mr. Riley" it has in Andrew Scott a Ripley not so much talented as lucky. Tom Ripley kills twice in the course of the series without really thinking too much about the consequences of his actions and once he decides to take over the identity of his first victim, Dickie Greenleaf, he seems to be living entirely on his wits as well as on Dickie's money, barely keeping one step ahead of the police.

Scott, one of our finest actors, is simply magnificent as Ripley, full of nervous charm and tightly controlled terror and there's terrific work, too, from Dakota Fanning as Dickie's girlfriend Marge, suspicious of Tom's motives from the start and from Maurizio Lombardi as the dogged Italian detective on Ripley's trail without actually knowing whose trail he's on.

The murders themselves, (the two take up almost all of two of the eight episodes), are messy and gripping in ways that murders seldom are on film and benefit considerably from being shot, 'Psycho-style', in perhaps the best black and white cinematography I've seen on any screen, large or small, certainly in recent times; the cinematographer is the great Robert Elswit. In fact I'm pretty sure I won't see anything better than this again in the coming twelve months. Oh, and it's also very funny in its grisly way and has the best 'performance' by a cat that I can remember seeing...ever.

LUMINOUS PROCURESS

 Clearly aimed, if aimed at anyone, then at a 'midnight matinee' audience turned on by experimental erotica, "Luminous Procuress", like "Pink Narcissus" which came out the same year, came and went in the blink of an eye only to be rediscovered decades later and heralded as something of a cult classic.

Plotless, dialogue free, except for some 'spoken' gibberish, and impossible to describe, this is a partly engaging though, more often than not, mostly boring piece of pop art that makes no real sense and, like so many films of its kind, is also highly pretentious; a home-movie accessible only to those involved and yet, in its wildly over-the-top fashion, it is also difficult to dismiss. Visually it's often remarkable and in the end, like other similar experimental pieces, perhaps best seen as an installation in a gallery rather than in a cinema.

RYE LANE

 When the opening credits of a film announce 'a BBC film and/or B.F.I presents' I still get a frisson of pleasure because I know from past experience the film is likely to be pretty good and "Rye Lane" is certainly no exception, even if the opening scene just might make you cringe which, of course, it's meant to do.

Debut director Raine Allen-Miller has fashioned a genuinely sweet romantic comedy about a couple of strangers who meet in, of all places, a unisex toilet and spend a day together in South London, getting to know each other and basically falling in love.

It's a small film with a very big heart and leads David Jonsson and Vivian Oparah are superbly cast; they don't seem to be acting at all, just being themselves which works perfectly in a film like this. At times it might look like a series of sketches but it also looks great, makes terrific use of its London locations, is funny, charming and inventive and of how many films can you say that these days. I loved it.

FREMONT

 Jim Jarmusch and Aki Kaurismaki would be proud. Babak Julali's gorgeous "Fremont" is minimalism gone wild. So little happens over the ninety or so minute running time you might (just) be forgiven if you drift off. Donya, (newcomer Anaita Wall Zada), is an Afghan who worked as a translator for the US military and who now lives in Fremont, working in a fortune cookie factory in San Francisco. Desperately lonely and unable to sleep she cheats her way into seeing a psychiatrist, (a wonderfully deadpan Gregg Turkington), who just wants to read Jack London's "White Fang" to her.

One day Donya slips a message into one of the fortune cookies giving her name and phone number and waits for the result, hoping it will lead to romance or at least a blind date like the ones her friend and colleague Joanne, (Hilda Schmelling), goes on. What happens next is as sweet and unexpected as you will find in any rom-com for, in its quiet, unassuming way, that's what "Fremont" surely is. Beautifully photographed in black and white by Laura Valladao and superbly acted by the entire cast this is an out-of-nowhere gem that really shouldn't be missed.

THE TEACHER'S LOUNGE

 Nominated for Best International Film at this year's Oscars "The Teacher's Lounge" is a genuinely disquieting thriller and one that is all the more chilling since it involves children. It begins with an investigation into a number of thefts at the school with a child the prime suspect, (he is also the child of immigrants), but the child's teacher, (a superb Leonie Benesch), has considerable reservations about the way the school authorities are conducting their investigations. As she pursues her own line of enquiry what she discovers makes her question where she stands in her relationships both with the students and her fellow staff members.

The fact that Ilker Catak's film only once, and then briefly, leaves the confines of the school adds to its claustrophobic effect and the heightening tension. What begins as perhaps a small problem becomes a powder keg about to explode. Here is a thriller filmed with an almost documentary-like zeal and it's brilliantly played by the entire cast, adult and child alike. It's definitely a movie to put knots in your stomach and yet one that is ultimately deeply moving. Hitchcock himself would be proud.

CARRIE

 A camp horror classic and one of the most enjoyable horror films ever made, "Carrie" was the film that really launched Brian De Palma and Sissy Spacek into the big time. Based on Stephen King's novel it's about the high school ugly duckling with telekinetic powers who is the victim of a truly cruel 'prank' at her school prom and who then uses her powers to take revenge on the perpetrators.

As Carrie, Spacek is simply magnificent and Piper Laurie, in her first film role in 15 years, is scene-stealingly brilliant as Carrie's mad-as-a-hatter mother. As somewhat over-aged students John Travolta, William Katt, Amy Irving and Nancy Allen work wonders with their formulaic roles. It's also, as you might expect from its director, ultra-stylish while the bloody prom climax and final shock ending have already passed into film folklore Almost 50 years on it still stands up and in 2010 was voted the greatest horror film ever made by the Guardian newspaper.

OTHELLO

Trimmed to a sharp ninety or so minutes and 'told' in flashback, (Othello's dead, Iago's a prisoner), Welles' version of "Othello" is naturally more Wellsian than Shakespearean and is none the worse for it, (no written credits; they are spoken by Welles and it's visually stunning despite, or perhaps because of, the five credited DoP's).

It had a troubled production and was filmed over a period of three years so it's not just remarkable that it's as good as it is but that it exists at all. It's not perfect and purists may hate it but if it seems less than great Shakespeare, it's certainly great Welles. He's a wonderful Othello yet even he is upstaged by Micheal MacLiammoir's Iago. Suzzane Cloutier's Desdemona is a weak link as is Michael Laurence's Cassio but when everything else is so good that's a small price to pay. It's also a hundred times better than Welles' disastrous version of "Macbeth".