The Stop Button

Beverly Hills Cop III (1994) D: John Landis. S: Eddie Murphy, Judge Reinhold, Hector Elizondo, Timothy Carhart, John Saxon, Theresa Randle, Stephen McHattie. Dismal sequel has Murphy returning to Beverly Hills in pursuit of another killer–Carhart, who’s atrocious–this time at a theme park. Murphy teams up with Reinhold again (John Ashton wisely sat this one out, with Elizondo filling in). Truly terrible direction from Landis would sink it even without the lousy Steven E. DeSouza script and many bad performances.

Blondes at Work (1938) D: Frank McDonald. S: Glenda Farrell, Barton MacLane, Tom Kennedy, Rosella Towne, Donald Briggs, John Ridgely, Thomas E. Jackson. For their latest case, reporter Farrell and her copper boyfriend MacLane are working apart. Police captain Frank Shannon wants Farrell off the crime beat and is forcing MacLane to comply. So MacLane investigates with sidekick Jackson while Farrell snoops and sneaks. While the setup’s messy and the second act’s slow, it mostly works. The racism and bullying stink, though.

The Count of Monte Cristo (2002) D: Kevin Reynolds. S: Jim Caviezel, Guy Pearce, Richard Harris, James Frain, Dagmara Dominczyk, Michael Wincott, Luis Guzmán. Well-mounted, poorly written misfire of a Dumas adaptation has an international cast playing French to cover hero Caviezel’s non-accent. He’s a good-hearted lad imprisoned because of his bad best friend, Pearce. Caviezel breaks bad, learns swords, and avenges himself. Caviezel ranges from woefully miscast to quite good (albeit as Dracula). Pearce stinks; so does Reynold’s swashbuckling.

Torchy Blane in Chinatown (1939) D: William Beaudine. S: Glenda Farrell, Barton MacLane, Tom Kennedy, Henry O’Neill, Patric Knowles, James Stephenson, Anderson Lawler. Profound racism abounds, but at least Farrell doesn’t hang out in CHINATOWN. And the racism is part of the story? Subtlety. MacLane’s tasked with protecting American graverobber Lawler from Chinese threats (they’re mad he’s looting jade); somehow, it will also involve senator O’Neill. Strong mystery, with good moments for Kennedy in particular, but ick. Also, they’re back in NYC?

Torchy Blane in Panama (1938) D: William Clemens. S: Lola Lane, Paul Kelly, Tom Kennedy, Anthony Averill, Larry Williams, Betty Compson, Hugh O’Connell. Lacking outing has Lane and Kelly taking over the lead roles as TORCHY and her copper boyfriend, respectively. They don’t have any chemistry; in fact, Kelly spends most of the movie lecturing Lane about her outfit and general lack of usefulness (sexist much?). Suspect Averill’s solid, Williams is lousy as a rival reporter, and Kennedy’s stuck holding it all together.

Torchy Gets Her Man (1938) D: William Beaudine. S: Glenda Farrell, Barton MacLane, Tom Kennedy, Willard Robertson, Thomas E. Jackson, George Guhl, Frank Reicher. Farrell and MacLane return after their bewildering recast. When they get a moment, they have chemistry. They have few moments. Most of the time is either master counterfeiter Robertson outwitting the cops or Farrell trying to crack the case. Lots of familiar faces playing different characters. And for some reason they’re in San Francisco now (previously NYC). Good enough.

Torchy Runs for Mayor (1939) D: Ray McCarey. S: Glenda Farrell, Barton MacLane, Tom Kennedy, John Miljan, Frank Shannon, Joe Cunningham, George Guhl. In their final outing (but not the last TORCHY), Farrell and MacLane find themselves at opposite ends of an issue. Farrell’s out to reveal political boss Miljan, while MacLane’s a cog in the machine. It’s a very slight story, without much drama or mystery. Milan’s a fine villain; Farrell and MacLsne just don’t get enough to do.