FILM FRENZY

Tom Burke and Michael Fassbender in Black Bag (Photo: Universal & Focus)

By Matt Brunson

(View From The Couch is a weekly column that reviews what’s new on Blu-ray, 4K and DVD. Ratings are on a four-star scale.)

THE ANDROMEDA STRAIN (1971). Although best known as the Oscar-winning director of The Sound of Music and West Side Story, Robert Wise dabbled in horror and science fiction as well, creating such gems as 1945’s The Body Snatcher, 1951’s The Day the Earth Stood Still, and 1963’s The Haunting. He bookended the 1970s with a pair of sci-fi efforts that have been praised in some quarters but criticized in others for their leisurely pacing and almost fetishistic attention to futuristic hardware. I’m among the supporters, finding much to admire in both 1971’s The Andromeda Strain and 1979’s Star Trek: The Motion Picture. In the case of Andromeda, it was based on Michael Crichton’s first bestselling novel, although its slick and sterile visuals appear to take their cue from Kubrick’s 2001: A Space Odyssey, released three years earlier. A U.S. satellite crash-lands in a small New Mexican town, where its arrival kills everyone with the seemingly inexplicable exception of an elderly drunk and a newborn baby. It’s determined that the satellite brought back a deadly organism from outer space, and four scientists (Arthur Hill, David Wayne, James Olson, and Kate Reid) are selected to hole up in an underground facility and not only isolate the lethal strain but also work out how to neutralize it. Aside from a climactic race against the clock, The Andromeda Strain foregoes the usual thriller elements to fashion a thoughtful drama that ultimately serves as a condemnation of this country’s constant obsession with warfare. This earned a pair of Oscar nominations for Best Film Editing and Best Art Direction-Set Decoration; overlooked were the efforts by the visual effects team (including 2001’s Douglas Trumbull and Earthquake’s Albert Whitlock).

Extras in the 4K edition include a making-of featurette from 2001; a 2001 piece on Crichton; and an image gallery.

Movie: ★★★

ANORA (2024). Writer-director-producer-editor Sean Baker, whose remarkable work The Florida Project earned my vote as the best picture of 2017 (go here for that year’s complete Best & Worst), here offers a romantic comedy for modern times. Initially, Anora is carved from the Cinderella / Pretty Woman mold, as a Brooklyn stripper (Mikey Madison) appears to find true love with an impetuous kid (Mark Eydelshteyn) from a powerful Russian family. So far, so fairly pat. But then comes one of the very best set-pieces found in 2024 cinema — that explosive and uproarious living room scene — and we’re suddenly off to the races, as the punk’s parents want the marriage annulled and Anora and various goons (including a soulful sort nicely played by Yura Borisov) are forced to embark on an after-hours jaunt of seemingly Homeric proportions. Anora is fast and furious and funny, but prepare for some tenderness and tears to possibly hit you before the end credits appear. Nominated for six Academy Awards, including Best Supporting Actor (Borisov), this won five, four of them for Baker (tying him with Walt Disney for most Oscars won by an individual in a single year): Best Picture, Actress, Director, Original Screenplay, and Film Editing.

Extras in the 4K + Blu-ray edition include two audio commentaries by Baker, one with behind-the-camera personnel and the other with Madison, Borisov, Eydelshteyn, and other performers; a making-of piece; interviews with Baker and Madison; a Q&A with Madison and actor-stripper Lindsey Normington; footage from the movie’s Cannes Film Festival press conference; deleted scenes; and audition footage.

Movie: ★★★½

BLACK BAG (2025). Directed by Steven Soderbergh and written by David Koepp, Black Bag is a smooth and seductive addition to the catalog of cinematic spy games. Koepp has been maddeningly inconsistent as a scripter — credits range from the first Jurassic Park, Mission: Impossible, and Spider-Man flicks to such infernal efforts as Inferno and Tom Cruise Meets The Mummy — but here he presents one of his finest efforts. Michael Fassbender is George Woodhouse, a British intelligence agent who’s informed that one of his colleagues is stealing secrets. There are five suspects, one of whom turns out to be his wife Kathryn (Cate Blanchett); the others are Zoe (Naomie Harris), a psychiatrist, Clarissa (Marisa Abela), who oversees satellite imagery, and mid-level agents Freddie (Tom Burke) and James (Regé-Jean Page). Without informing them of his purpose, George has all of them gather for dinner, turning the meal into a psychological exercise. He continues his surveillance at all hours, occasionally running afoul of his superior, Arthur Stieglitz (Pierce Brosnan, the former Bond now relegated to a desk job). It’s to Koepp’s credit that he wrote this from scratch, since it certainly seems as if it might have been adapted from a Cold War-era bestseller. It initially feels as coolly detached as Fassbender’s character, but as it continues to ping pong between its sharply written suspects, it grows more emotionally involving, particularly when it comes to the relationship between George and a spouse he might soon discover is a traitor. The plotting is dense but not necessarily so (see the latest M:I flick, reviewed here), and this is one of those rare times when the villain really could be anyone, as opposed to those films where the least likely suspect is of course the guilty party.

4K + Blu-ray extras consist of a featurette centered on the actors and their characters; a piece on the film’s look; and deleted scenes.

Movie: ★★★½

FALLING IN LOVE (1984). Robert De Niro and Meryl Streep have of course been long known for their acting intensity: an accent here, a few pounds gained there, a dash of Method madness everywhere. That’s why it’s often a kick to watch them play what to them must be the most fantastical creatures ever: ordinary people. Reuniting for the first time since they co-starred in 1978’s The Deer Hunter, they play two New Yorkers who sense their mutual attraction despite being married to others. Frank Raftis and Molly Gilmore first meet at a bookstore during the Christmas season, accidentally getting their packages mixed up — thus, December 25 finds Frank’s wife Ann (Jane Kaczmarek) receiving a book on boating and Molly’s husband Brian (David Clennon) receiving a book on gardening. Frank and Molly later meet on the train, and they eventually get around to agreeing to see each other frequently — their affair finds them enjoying the NYC sights but never actually making love. It doesn’t matter, as the seeds to the possible destruction of both marriages have already taken root. Falling in Love often plays like a modern version of David Lean’s 1945 classic Brief Encounter, but while that film can be seen as being against the notion of an affair, this one celebrates infidelity with gusto. That only becomes apparent at the very end; before that, the film is content merely showing two normal people doing normal activities together, occasionally taking time out for each to confide in their best friend (Harvey Keitel as Frank’s pal and Dianne Wiest as Molly’s buddy). Every situation in the film is presented in the same sedate, leisurely, and even-keeled manner, and if there’s one thing a movie called Falling in Love should not be missing, it’s raging passion.

Blu-ray extras consist of film historian audio commentary and an image gallery.

Movie: ★★

FULL METAL JACKET (1987). The plight of Stanley Kubrick’s final two films served as a depressing example of movies morphing from something worthy of discussion and analysis into mere matinee fodder for teens. Had 1987’s Full Metal Jacket and 1999’s Eyes Wide Shut been released in the late 1960s/early ‘70s, in the midst of serious works by Bergman, Bertolucci, and Kubrick himself, they doubtless would have been universally acclaimed conversation starters. Instead, Eyes Wide Shut divided critics and bored audiences (the latter far more interested that summer in crap like Inspector Gadget and Adam Sandler’s Big Daddy) — while Full Metal Jacket fared better with both factions, it still qualifies as one of Kubrick’s most underrated pictures, and it’s second only to Apocalypse Now as the best Vietnam War movie ever made. In most of the director’s films, there exists the theme of the corruptibility of man. Here, it’s triggered by the experience of war with all its trimmings: the mental and physical training, the relocation to a foreign territory, and the confrontation with the enemy. The first half is set in a Marine training camp as cold and aloof as the young soldiers are expected to be, while the second part takes place largely in a Vietnam we rarely ever see on screen: a bombed out town, as opposed to the thick jungle foliage we’re used to witnessing. Kubrick filmed the entire project in England, with Anton Furst (an Oscar winner for Batman) expertly recreating the American and Vietnamese terrains. Superbly shot and scored, this offers memorable turns by R. Lee Ermey as the unrelenting drill instructor and Vincent D’Onofrio as the simple-minded “Gomer Pyle.” Its sole Oscar nomination was for Best Adapted Screenplay (Kubrick, Michael Herr, and Gustav Hasford, adapting Hasford’s novel The Short-Timers).

Extras in the 4K + Blu-ray edition include audio commentary by D’Onofrio, Ermey, co-star Adam Baldwin, and film critic Jay Cocks.

Movie: ★★★★

LAW ABIDING CITIZEN (2009). Vigilante justice in real life is, to put it mildly, highly problematic, but when it comes to cinema, who doesn’t occasionally feel some measure of catharsis in watching a sympathetic protagonist skirt around a deeply flawed legal system and exact his revenge on his own terms? Law Abiding Citizen starts that way, as loving family man Clyde Shelton (Gerard Butler) must watch helplessly as his wife and little girl are murdered right in front of him. The killers are apprehended, but while Clyde wants them to pay for their crime, his lawyer Nick Rice (Jamie Foxx), who’s only interested in maintaining his high percentage of convictions, negotiates a deal. Cut to 10 years later, and Clyde sets out to get his revenge, not only on the criminals but also on the whole judicial system. Initially, this makes all the right moves, and it’s fun to watch Clyde punch holes in the manner in which this country handles its criminal cases. It soon becomes clear that the film is going past the simpler morality of Death Wish, which is fine had it continued to offer viewers thought-provoking scenarios. Instead, it turns into an ugly, sordid affair, a gruesome melodrama that, too afraid to tackle the issues it brings up, instead elects to transform into a ridiculous thriller about a psychopath terrorizing a city. Foxx’s character is ostensibly supposed to be the hero — or at least eventually turn into one — but Nick remains a shallow, unrepentant lout whose final act is designed to earn audience approval but instead goes down about as easy as spoiled milk. By the end, the murdered wife and daughter are all but forgotten, and Clyde Shelton’s pain has been trivialized to an offensive degree. Justice may be blind, but it’s got 20/20 vision when compared to a movie that stumbles around in the dark with no hope of providing illumination.

Extras in the 4K edition include a making-of piece and the trailer.

Movie: ★½

PRESENCE (2025). The year’s second Soderbergh-Koepp coproduction (see also Black Bag above) isn’t as satisfying as the other picture, but those seeking a spooky saga with a bit of a twist should find this to their liking. Reminiscent in its mood, its pacing, and its single setting to David Leitch’s hotly debated 2017 effort A Ghost Story (reviewed here), Presence is unique in that the film takes the POV of the apparition rather than of the living characters. The film follows the members of the Payne family as they move into a new home, one seemingly haunted by a specter tagged as the Presence. Mom Rebekah (Lucy Liu) is a brusque sort who might be involved in shady dealings at work; dad Chris (Chris Sullivan) is a roly-poly, touchy-feely type; teenage son Tyler (Eddy Maday) is almost all attitude and aloofness; and teenage daughter Chloe (Callina Liang) is emotionally damaged due to the mysterious deaths of two of her friends, who died separately but under similar circumstances. Only Chloe is able to sense the ghost in their midst, but that changes once it decides to get a bit more frisky. Chloe is really only distracted from the presence of the Presence when she’s hanging out with her new boyfriend Ryan (West Mulholland), unaware that she will soon be encountering a very real danger in the physical world. Presence is interesting if not always effective — the decision to keep most of the characters underdeveloped and their activities unexplained might have made Koepp and Soderbergh feel like they were adding to the overall mystery, but they were undermining it instead, with the lack of the surrounding details distracting from the spook stuff. The twist ending is the sort that will thrill some viewers and leave others feeling cheated — or, in the case of some folks (like me), find them experiencing both reactions.

There are no Blu-ray extras.

Movie: ★★½

PROPHECY (1979). Given that title, it would be logical to assume that Prophecy was a sequel to The Omen — even more so since they were both written by David Seltzer — but instead of a satanic child, its antagonist is a mutant bear. A horror movie with an environmental twist, this stars Robert Foxworth as an EPA-sanctioned doctor who, with pregnant wife (Talia Shire) in tow, travels to Maine to investigate a dispute between the Native American community (represented by Armand Assante) and a lumber company (represented by Richard Dysart). It’s soon revealed that the lumber company has been dumping mercury into the water, and the pollution has resulted in various deformed and crazed critters. None, however, is as frightening as the mutated bear with a nasty habit of tearing humans apart. Many consider Prophecy the nadir of director John Frankenheimer’s career, but despite its occasional dopiness, I’ll take it in a heartbeat over the likes of Reindeer Games and that truly bizarre Brando version of The Island of Dr. Moreau. The effects are often solid (although just as often not), and Frankenheimer, while clearly miles removed from such career highs as The Manchurian Candidate and The Train, keeps this moving at a respectable clip. Besides, those of us who first saw this in our youth (in my case, upon its original release at the age of 14) have never forgotten that sleeping bag sequence.

Extras in the 4K + Blu-ray edition include interviews with Shire, Foxworth, Seltzer, special effects artists Tom Burman and Allan Apone, and mime Tom McLoughlin (who was inside the mutated-bear costume, sharing duties with Kevin Peter Hall); radio spots; and the theatrical trailer.

Movie: ★★½

THE SOCIAL NETWORK (2010). Like the screwball comedies and film noir staples of yore, The Social Network exhibits an extraordinary gift for gab. Words fly like machine gun strafes, and arguments generally end with the more verbally adroit speaker standing over the other person like a wave that’s managed to tumble a surfer. If screenwriting was considered a sport, Aaron Sorkin’s script wouldn’t have just been competing for movie awards but for Olympic gold as well. This is the fascinating story of how Harvard nerd Mark Zuckerberg (Jesse Eisenberg) created Facebook and in the process became the world’s youngest billionaire. Yet this isn’t an inspiring movie about a plucky underdog beating the odds as much as it’s a prickly piece about a genuine prick, and how his insecurities led to material gains even as his personality remained stuck in an arrogant, off-putting zone. Director David Fincher keeps the proceedings moving along, a task made easier by Sorkin’s breezy, biting dialogue and great performances by the entire cast. The Social Network is one of only three movies to win Best Film from all four major critics groups (NY, LA, National Board, National Society), joining Schindler’s List and L.A. Confidential. (Only Schindler’s List went on to win the Best Picture Oscar, as L.A. Confidential was defeated by Titanic and The Social Network was bested by The King’s Speech.) Nominated for eight Academy Awards, including Best Picture, Actor, and Director, it won three: Best Adapted Screenplay, Film Editing, and Original Score.

Extras in the 4K+ Blu-ray edition include audio commentary by Fincher; audio commentary by Sorkin and the cast; a making-of feature; and an interactive multi-angle scene breakdown.

Movie: ★★★½

FROM SCREEN TO STREAM: Movies for Memorial Day

THE BIG PARADE (1925). It may no longer be as famous as, say, Buster Keaton’s The General, Fritz Lang’s Metropolis, or any of a half-dozen Chaplin flicks, but back in its day, The Big Parade was the real — and reel — deal, a mammoth production that by most accounts remains second only to D.W. Griffith’s The Birth of a Nation as the top-grossing movie from the silent-film era. Running 2½ hours and featuring a cast of literally thousands, this anti-war spectacle follows James Apperson (John Gilbert) as he gives up his life as a wealthy layabout in order to go serve in World War I. He hooks up with two other soldiers, Bull (Tom O’Brien) and Slim (Karl Dane), and together they form a friendship that continues to be strengthened as the war rages on. Despite having a fiancée (Claire Adams) back home, James falls for a French villager (Renée Adorée); even though they can’t speak each other’s language, their romance proves to be a respite from the carnage around them. Masterfully directed by King Vidor, The Big Parade swings easily between comedy, romance, and tragedy without missing a beat, and there are numerous set-pieces of enormous power — even today, the harrowing battle scenes would rank among the best ever put on film. Gilbert, long the poster child for silent stars who didn’t survive the coming of the sound era, is excellent, while Adorée has a beguiling screen presence; sadly, both actors died young (Gilbert from a heart attack at 38, Adorée from tuberculosis at 35). Incidentally, the title cards were written by Joseph Farnham, who would win the only Oscar ever given for Best Title Writing four years later at the first Academy Awards presentation (the category was axed before the second Oscar shindig).

Movie: ★★★★

FROM HERE TO ETERNITY (1953). Life of Pi and The English Patient qualify as more modern examples of acclaimed movies made from books once deemed “unfilmable,” but back in the ’50s, it was James Jones’ 1951 novel that posed a problem to scripters seeking a way to omit the sex and profanity that would never make it past the censors. Daniel Taradash’s script made the grade, and evidence that some measure of sexiness still managed to survive can easily be found in the film’s iconic image of two illicit lovers locked in a clench as the waves wash over them. Burt Lancaster plays Sgt. Warden, who’s having an affair with Karen Holmes (Deborah Kerr), the neglected wife of his obnoxious commanding officer (Philip Ober). One of the men under Warden is Robert E. Lee Prewitt (Montgomery Clift), a headstrong soldier who pals around with the jovial Maggio (Frank Sinatra) and falls for a “hostess” (read: prostitute) named Lorene (Donna Reed). As if their lives weren’t already filled with enough drama, these characters are all situated on or near the Hawaiian military base at Pearl Harbor toward the end of 1941. Fred Zinnemann’s strength as a director was less on the technical side and more in line with coaxing stellar performances out of his actors, and with this film, he drew a royal flush. Lancaster is forceful as a decent man whose crucial flaw is that he’s married to the army, wholesome actresses Kerr and Reed are sharply cast against type as women tainted by scandalous behavior, and Sinatra turned around his floundering career with his bright turn as the garrulous Maggio. Best of all is Clift, who mixes sincerity and intensity as a conscientious soldier who won’t bow to anyone. Nominated for a whopping 13 Academy Awards, including Best Actor bids for both Lancaster and Clift and Best Actress for Kerr, this won eight, including Best Picture, Director, Screenplay, Supporting Actor (Sinatra), and Supporting Actress (Reed).

Movie: ★★★½

PORK CHOP HILL (1959). Lewis Milestone’s 1930 classic All Quiet on the Western Front — one of the seminal anti-war flicks — earned Oscars for Best Picture and Best Director, so Milestone was a logical choice to helm this Korean War drama that also offers a less than idealistic view of combat. Peck stars as Lieutenant Joe Clemons, who’s tasked with recapturing a worthless plot of land that offers no strategic worth but serves as a who’ll-blink-first test of wills between American and Chinese bigwigs weighed down in peace negotiations in Panmunjeom. Clemons doesn’t like the idea of sacrificing his men on what’s basically a suicide mission — particularly when peace might be mere hours or even minutes away — but he steadfastly follows his marching orders, even when it appears that no supplies or reinforcements will be coming his way. A grim reminder of the absurdity of war, the arrogance of military leaders, and the expendability of the common soldier, this doesn’t match the brilliance or bite of the decade’s premiere anti-war effort — Stanley Kubrick’s 1957 Paths of Glory — but it nevertheless makes its salient points with great economy. The supporting cast is an eye-popping roster of up-and-comers, with many of them heading to lengthy careers in television — Martin Landau (Mission: Impossible), Robert Blake (Baretta), Norman Fell (Mr. Roper on Three’s Company), George Peppard (The A-Team), Gavin MacLeod (The Love Boat) — and others finding success as character actors in film — Landau again, Rip Torn, Harry Guardino, former Los Angeles Rams player Woody Strode, Bert Remsen, Harry Dean Stanton (uncredited but also unmistakable).

Movie: ★★★

RIDE WITH THE DEVIL (1999). Director Ang Lee’s Ride With the Devil suffered from a bumpy limited release at the close of 1999 and then proceeded to bypass most of the country, resulting in a disastrous $635,000 gross against a sizable $38 million budget. Certainly, it’s no Brokeback Mountain or Sense and Sensibility (two of Lee’s more successful pictures), but the movie deserved a better fate. Based on Daniel Woodrell’s novel Woe to Live On, this Civil War drama focuses on two young men (Tobey Maguire and Skeet Ulrich) from Missouri who, initially separated by distance from the war raging further east, join up with the Bushwhackers and wage their own guerilla battle against Union soldiers and sympathizers. Pop singer Jewel makes an acceptable acting debut as a young widow who befriends the men, but the real acting fireworks come from Jeffrey Wright as a former slave who fights alongside the Bushwhackers. Lee may have chosen to relate a tale about the Civil War from the POV of the South (always an irksome angle), but it’s made clear that his loyalties rest not with either side of the cause but with the ordinary men who, regardless of their alliances, were forced to fight against their friends, neighbors, and countrymen.

Movie: ★★★

THE THIN RED LINE (1998). Based on James Jones’ classic novel but reshaped to fit writer-director Terrence Malick’s blissful sensibilities, this is ostensibly about the pivotal battle of Guadalcanal, one of the turning points of World War II. But Malick isn’t interested in the specifics of the skirmish as much as he’s interested in how the natural beauty and harmony of the earth is mercilessly disrupted by the carnage that modern man brings to the scene via his weapons of mass destruction and glorified notions of victory and conquest. And with a generous three-hour running time, he’s also able to show the dehumanizing effects of war on its participants, although this theme was admittedly handled more adroitly by Stanley Kubrick with the aforementioned Paths of Glory and Full Metal Jacket (reviewed above). There are several notable turns by members of the all-star cast — Nick Nolte (as a bullying officer) earns the highest marks, with top-billed Sean Penn (courageous sergeant) and Elias Koteas (mild-mannered captain) also worthy of mention — but those watching solely for George Clooney or John Travolta need not apply (Travolta gets one scene while poor Clooney only gets one speech). The voice-overs by the various characters represent the film’s ultimate litmus test: Those who embrace this device will probably love the whole movie, while those turned off by it will frequently be kept at arm’s length. This earned seven Oscar nominations, including Best Picture, Director, and Adapted Screenplay, but lost in all categories.

Movie: ★★★

TWELVE O’CLOCK HIGH (1949). Gregory Peck has been so identified with his Oscar-winning portrayal of Atticus Finch in To Kill a Mockingbird that it’s easy to forget that several other performances merit consideration as the high point in his lengthy career. Of his turn in Twelve O’Clock High, Leonard Maltin (in his annual Movie Guide) writes, “Peck has never been better,” while the members of the New York Film Critics Circle were so impressed that the group handed him their Best Actor prize. Peck’s performance is indeed one of his finest, and it’s at the center of a hard-hitting motion picture that was routinely used as a training tool in military academies. Similar to the earlier WWI drama The Dawn Patrol, this one centers on an American bomber squadron stationed in England and how its commander (Gary Merrill) finally cracks under the strain of having to continually send young men off on dangerous assignments, often resulting in their deaths. His replacement, General Frank Savage (Peck), initially seems better equipped emotionally to deal with the post, but over time, he too feels the burden of the job. Nominated for four Academy Awards, including Best Picture and Best Actor for Peck. this won two: Best Supporting Actor for Dean Jagger as Savage’s contemplative right-hand man and Best Sound Recording.

Movie: ★★★½

VON RYAN’S EXPRESS (1965). While hardly the cream of the 1960s crop of rip-roaring World War II adventure yarns (stronger recommendations go to The Guns of Navarone, The Great Escape, The Dirty Dozen, and Where Eagles Dare), Von Ryan’s Express nevertheless qualifies as choice escapist fare, the sort best watched on a lazy Saturday afternoon when it’s just too hot to venture far from the A/C. Frank Sinatra, typically solid (he remains an underrated dramatic actor, that From Here to Eternity Oscar notwithstanding), stars as Colonel Joseph Ryan, a POW whose initial efforts to cooperate with his German captors earns him the nickname “Von Ryan” from the other prisoners, including the senior British officer (Trevor Howard) in the camp. But once the POWs are herded onto a train headed for another internment camp, it’s Ryan who leads the revolt against the Nazis, taking over the train and steering it toward Switzerland and freedom. Many fine vignettes make up this rousing picture, culminating in a ferocious battle (complete with Oscar-nominated sound effects) atop an Italian mountain that pits the train’s occupants against strafing German airplanes.

Movie: ★★★

THE YOUNG LIONS (1958). Adapted from Irwin Shaw’s 1948 novel, The Young Lions tracks three men through their ordeals during World War II. Christian Diestl (Marlon Brando) is a German lieutenant who initially believes that Hitler will serve his country admirably but soon loses all of his idealism in the face of his countrymen’s acts of cruelty and destruction. Hailing from the other side of the Atlantic are a pair of GIs: Noah Ackerman (Montgomery Clift), a Jewish store clerk waging his own private battle against the anti-Semitism lobbed at him by his own fellow Americans, and Michael Whiteacre (Dean Martin), a Broadway star who freely confesses he’s a coward at heart but proves to be a great friend to Noah. The ending of Shaw’s book (which I devoured as a teen) is far more powerful — by comparison, the film timidly peters out — but Brando delivers a thoughtful performance as the conflicted German, and the work by Maximilian Schell as Diestl’s superior is even stronger than his (absurdly) Oscar-winning turn three years later in Judgment at Nuremberg. As for Dino, he easily holds his own against Brando and Clift, the era’s most celebrated Method performers and among the cream of the Hollywood crop.

Movie: ★★★