Usually 1930s Hollywood would flirt with interracial jungle love with some strapping Midwestern and shirtless sailor type seduced by some steamy unclothed island princess, but here for a change the formula is flipped. In war torn China a good girl (Barbara Stanwyck? Yep.) has her virginity (Barbara Stanwyck?! Yep.) tempted by a "despicable yellow swine" (hey! It's in the script!), who's revealed to be an actual good guy. Of course. It's better than it sounds, and there's a pretty cool dream sequence in the middle of it that's better than the whole rest of the movie. Look for it.

Innocent live action cartoon whose gist is a light-hearted and adolescent upward turned middle finger against the 55 mph speed limit. Starring a Cobra, a Ferrari, a Camaro, a Kawasaki, and some erstwhile half-drawn characters behind the wheels of said vehicles, this protest shakes it's fist at "for-your-own-good" societal norms, a meaningless act of rebellion with a half smile. Only lacking the Delta House fraternity.

"There are eight million stories in the naked city, and this is just one of them." Or, boy gets girl, boy loses girl, boy gets girl again, in this personality-fueled riff on the old opposites attracting motif. It manages to rise above "cute" every now and again, but not enough to really recommend it. It's nice to recall The Big Apple of the early 70s though, the world before cellphones. Not bad.

There's a monster on the loose in the sub-basement of the Field Museum in Chicago. Is there going to be people wandering around alone in dark hallways in what should be a well lit museum whispering "is anybody there?" Yep. Going to be shots so dark that you can't see what happens? You bet. What about gore, will there be any gore? C'mon, you know it. Quick editing to move things along? Yes. What about victims you want to see gored? Naturally. All in all, not a bad monster film.

A magical valley hidden away from the rest of the world offers a dreamlike and carefree existence, an answer to a prayer seemingly, but do we really want that answer? It's a rare film by Frank Capra that engages in the subtlety required to not answer any questions that it asks, and so we must answer for ourselves: do we really want our dreams? What about the dreams that threaten to envelope us, the dangerous dreams? This filmic consideration is worth the thought, with a couple of action set pieces to flavor the whole. And Ronald Colman's mesmerizing vocal intonations!