Tonight's Movie: The Fast and the Furious (2001)

One of the movie series I've really enjoyed over the past decade is what's typically referred to as the Fast and Furious saga.

I first saw THE FAST AND THE FURIOUS (2001) a decade ago and then caught up on all the films released to that point via DVD. I've seen all the more recent films theatrically, beginning with THE FATE OF THE FURIOUS (2017). 

Indeed, FAST 9: THE FAST SAGA (2021) is a special memory, one of the very first movies I saw in a theater in 2021, after 16 months of no moviegoing due to lockdowns.

Last weekend I had the pleasure of seeing THE FAST AND THE FURIOUS on a big screen for the first time thanks to a 25th anniversary screening at my local Cinemark Theatre.

Given that I only reviewed THE FAST AND THE FURIOUS very briefly back in 2016, as part of an action movie marathon, I thought I would return to it here in greater depth.

The movie concerns undercover cop Brian O'Conner (Paul Walker, EIGHT BELOW) who is working with the FBI to infiltrate the Los Angeles street racing scene. The goal: Finding suspects in a string of truck hijackings involving very fast cars.

O'Conner is a genuine fast car enthusiast, and as he becomes friends with ex-con Dominic Toretto (Vin Diesel), one of the suspects, he falls hard for Dom's sister Mia (Jordana Brewster), so things become a bit complicated...

I really enjoyed going back to "where it all began" and revisiting this film. Those who have only seen the later films in the series may be surprised by this movie's relative simplicity, focused on Southern California street racing.

I'll add here that the evocative filming of the Greater L.A. area is one of this movie's greatest assets; I recognized even more locations this time around than I did on my first viewing.

Information on the movie's locations may be found here. I photographed the market called Toretto's in the film while on the TCM Locations Tour in 2014; it's seen at the left under its "offscreen" name.

Walker is a very appealing, even charming hero, and the chemistry he develops with both Diesel and Brewster is one of a number of things which makes the series special.

It does seem worth noting, given Paul Walker's very sad death in a 2013 accident, there inevitably remains a certain element of discomfort watching his fast driving in this and the other films; it can't help but be a reminder, though I think the series made very good decisions on how to handle his loss in the later movies.

Without saying too much, a family member then working in Hollywood was impacted by Walker's passing, fielding unexpected, shocking media calls at our home the Thanksgiving weekend he died, so I was coincidentally among the first to learn the upsetting news of his death and thinking about it will always hit hard.

Back to the film, it does kind of strike the viewer, as the movie goes on, that we're rooting for "bad guys," as Dom, his girlfriend Letty (Michelle Rodriguez), and others in his circle are indeed the hijackers. (This is clear early on and not a spoiler.) And indeed, Brian starts rooting for them too.

That said, this movie is only the first chapter in a long-running story which isn't yet complete, and as the movies gradually segue into what might be termed superhero films, the anti-hero characters evolve and redeem themselves fighting for justice.

The core of goodness has perhaps been there all along; it will always amuse me that Dom is a thief who nonetheless insists that his family and friends say grace before meals, one of the nice ongoing traditions in the series. It wouldn't be a Fast and Furious movie without everyone gathering for a meal in Dom's backyard!

Taken on its own terms, though, this first movie is simply an engaging film which, as I wrote in 2016, "in some respects is different from movies I typically watch and in other ways fits right in with the older cop movies I enjoy."

THE FAST AND THE FURIOUS was directed by Rob Cohen and filmed by Ericson Core. It runs 106 minutes.

This one-minute tribute video to the series highlights several favorite things, including Dom and Brian's "found family," the Los Angeles setting, and, of course, those backyard meals.

THE FAST AND THE FURIOUS is available on DVD and Blu-ray.

Previous reviews in this series: THE FAST AND THE FURIOUS (2001) (mini review), 2 FAST 2 FURIOUS (2003), THE FAST AND THE FURIOUS: TOKYO DRIFT (2006), FAST & FURIOUS (2009), FAST FIVE (2011), FAST & FURIOUS 6 (2013), FURIOUS 7 (2015), THE FATE OF THE FURIOUS (2017), FAST & FURIOUS PRESENTS: HOBBS & SHAW (2019), F9: THE FAST SAGA (2021), and FAST X (2023).

FAST FOREVER (2028) is expected to be the final Fast and Furious film, with a release planned for 2028.

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New Western RoundUp Column: 2026 Lone Pine Film Festival Preview

This month's Western RoundUp column is now posted at Classic Movie Hub!

My new column previews this year's Lone Pine Film Festival, which takes place in Lone Pine, California, from October 8th through 11th, 2026.

This year's festival theme is "Mixing the Herd - A Corral of Movie Genres." 

 

Please click over to Classic Movie Hub to check out all the details!

Previous Classic Movie Hub Western RoundUp Column Links: June 2018; July 2018; August 2018; September 2018; October 2018; November 2018; December 2018; January 2019; February 2019; April 5, 2019; April 30, 2019; May 2019; June 2019; July 2019; August 2019; September 2019; October 2019; November 2019; December 2019; January 2020; February 2020; March 2020; April 2020; May 2020; June 2020; July 2020; August 2020; September 2020; October 2020; November 2020; December 2020; January 2021; February 2021; March 2021; May 2021; June 2021; June 2021 (No. 2); July 2021; August 2021; September 2021; November 2021; December 2021; December 2021 (No. 2); January 2022; February 2022; March 2022; April 2022; May 2022; June 2022; July 2022; August 2022; September 2022; November 2022; November 2022 (No. 2); January 2023 (No. 1); January 2023 (No. 2); March 2023; April 2023; May 2023 (No. 1); May 2023 (No. 2); June 2023; July 2023; September 2023; September 2023 (No. 2); October 2023; November 2023; December 2023; January 2024; February 2024; March 2024; April 2024; May 2024; June 2024; July 2024; August 2024; September 2024; October 2024; November 2024; December 2024; January 2025; February 2025; March 2025; April 2025; May 2025; June 2025; July 2025; August 2025; September 2025; October 2025; November 2025; January 2026 (No. 1); January 2026 (No. 2); February 2026; March 2026; April 2026; June 2026 (No. 1); June (No. 2); July 2026.

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Tonight's Movie: Montana (1950) - A Warner Archive Blu-ray Review

Errol Flynn and Alexis Smith, stars of the Warner Bros. Western SAN ANTONIO (1945), reunited half a decade later for MONTANA (1950).

MONTANA has just been released on Blu-ray by the Warner Archive Collection. It was the last of Flynn and Smith's four films together, a collaboration which began with DIVE BOMBER and GENTLEMAN JIM in 1942.

This time around Flynn plays Morgan Lane, who arrives in Montana determined to be a sheep farmer.

This makes him very unpopular with the local cattlemen, as well as lovely -- and feisty -- cattle owner Maria Singleton (Smith).

Maria has lost her father and brother in the range wars, and despite her clear attraction to Morgan, she just can't abide the idea he wants to raise sheep, to the point she's willing to "go to war" against him.

Can't we all get along?

Well, given that this is Errol Flynn and Alexis Smith, of course they're going to work things out by the end of the movie's short 76 minutes.

As was the case when I saw the film back in 2014, I found MONTANA pleasant company, if nothing particularly noteworthy. Flynn and Smith's earlier Western SAN ANTONIO was superior, yet there's something to be said for spending time with this agreeable film, which is far shorter than SAN ANTONIO.

Bits of the movie are confusing, for instance peddler S.Z. Sakall pretty much vanishes from the last third of the movie.

And what was with the complicated storyline where Rodney (Douglas Kennedy) is supposed to be interested in Maria but instead we discover he's in love with the former girlfriend (Nita Talbot) of the sheriff (Lane Chandler)? Rodney and his lover have an entire scene together which seems oddly stuffed into the movie.

That said, Flynn is absolutely charming and kind in this one, and since his character dominates the movie's screen time, it's all the more enjoyable.  As of this film Flynn also hadn't yet begun to lose his looks, which frankly started sliding downhill just a couple years later. Hard living took a toll on Flynn, which his good friend Smith cautioned him about, to no avail.

Smith's character is fairly one-dimensional here, and not always photographed to best effect, though she looks spectacular in a party dress late in the film. Still, the actress's genuine affection for her costar shines through in her performance.

The supporting cast includes Paul E. Burns, James Brown, Tudor Owen, Dorothy Adams, Ian MacDonald, and Monte Blue.

In the years since I first saw MONTANA, IMDb has updated Jock Mahoney's listing to confirm that he wasn't just a stuntman, but he was specifically Flynn's double, as I suspected back in 2014. He's quite recognizable in a fight sequence which unfortunately wasn't filmed carefully enough to hide Mahoney's face.

The script was written by Borden Chase, James R. Webb, and Charles O'Neal based on a story by Ernest Haycox (STAGECOACH).

The movie was directed by Ray Enright with uncredited assistance from Raoul Walsh. It was filmed in Technicolor by Karl Freund.

The Warner Archive print is from a new 1080p HD master from 4K scans of the original nitrate Technicolor camera negatives. It looks and sounds terrific -- though fair warning that there are a good number of back projection shots in this film, which I found stood out more on this Blu-ray viewing because they're a contrast to how good the rest of the print looks.

"Warner Night at the Movies" extras were carried over from the original 2008 DVD release. They include the trailer; the cartoon IT'S HUMMER TIME (1950); a trio of Western shorts, OKLAHOMA OUTLAWS (1943), WAGON WHEELS WEST (1943), and GUN TO GUN (1944), all starring Robert Shayne; and the Joe McDoakes short SO YOU WANT A RAISE (Joe McDoakes, 1950).

Thanks to the Warner Archive for providing a review copy of this Blu-ray. Warner Archive Blu-rays may be ordered from Movie Zyng, Amazon, and other online retailers.

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Around the Blogosphere This Week

Miscellaneous bits of news and fun stuff from around the Internet...

...There are more classic Blu-ray releases coming from Universal, including the charming THIRTY DAY PRINCESS (1936) with Sylvia Sidney and Cary Grant; IF I HAD MY WAY (1940) with Bing Crosby and Gloria Jean; the all-star WWII extravaganza STAR SPANGLED RHYTHM (1942); and YOU GOTTA STAY HAPPY (1948) starring James Stewart and Joan Fontaine.

 

...Glenn Erickson's latest Warner Archive Blu-ray reviews at Trailers From Hell include ALL THROUGH THE NIGHT (1942) and MACAO (1952).

...I'm looking forward to THE PIRATES OF PENZANCE (1983) being released on Blu-ray and 4K by Kino Lorber Studio Classics. It will be out in October. I've long owned a DVD but will enjoy a Blu-ray upgrade.

...Today Tom Cruise announced he'll be starring with Anne Hathaway in a sequel to DAYS OF THUNDER (1990), releasing in 2028.

...Travel writer Rick Steves has purchased a movie theater in Edmonds, Washington. The theater opened over a century ago.

...ClassicFlix has another interesting rare TV series coming out: LOCK UP (1959) starring Macdonald Carey and John Doucette. Volume 1, with the first 13 episodes from Season 1, will be released on Blu-ray in November 2026. The set will feature 4K restored prints from the show's original camera negatives.

...Over at Riding the High Country, Colin has reviewed Alan Ladd in CHICAGO DEADLINE (1949).

...The Los Angeles Silent Film Festival returns next month in collaboration with the American Cinematheque. The festival will take place at the Los Feliz 3 Theatre from September 11th through 13th, 2026. Films include Douglas Fairbanks (Sr.) in THE BLACK PIRATE (1926). Leonard Maltin will be honored during the festival.

...Thanks to Christine at ClassicFilmLA for alerting me to an upcoming Disney film series, Walt Disney Studies, hosted by Disney historian Jeff Kurtti at the Frida Cinema in Santa Ana. The films shown will be 20,000 LEAGUES UNDER THE SEA (1954), ALICE IN WONDERLAND (1951), SWISS FAMILY ROBINSON (1960), SALUDOS AMIGOS (1942), and LADY AND THE TRAMP (1955), plus the documentaries WALT AND EL GRUPO (2008) and DISNEYLAND HANDCRAFTED (2026). Special guests will also be on hand at some of the screenings.

...Somehow I missed hearing about a 2022 biography of actress Marie Windsor titled A SHEEP IN WOLF'S CLOTHING: THE LIFE OF MARIE WINDSOR. The author is Denise Noe, and it was published by Bear Manor Media.

...Notable Passings: Some sad recent losses, beginning with singer-songwriter-actress Dolly Parton, who passed on at the age of 80. She was also a theme park owner and so much more. I can't say much about her which hasn't already been said by many, but what a great lady, life, and career...Shelley Fabares has passed away at the age of 82. Best known for the TV series THE DONNA REED SHOW (1958-65) and COACH (1989-97), not to mention her three films with Elvis Presley, I think of her most often from ANNETTE (1958) on THE MICKEY MOUSE CLUB, which might be where I first saw her. She was the niece of Nanette Fabray and was married to actor Mike Farrell...It was belatedly announced that Leslie Parrish, who starred in LI'L ABNER (1959), died last November at the age of 90.

...For additional recent links of interest to classic film fans, please visit my August 22nd column.

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Tonight's Movie: Mutiny (2026)

2026 has been a good year for Jason Statham fans, with the enjoyable SHELTER (2026) earlier this year and the recent release of his latest film, MUTINY (2026).

As background, MUTINY was written by J.P. Davis and Lindsay Michel. Davis cowrote the very well-done PLANE (2023) a few years ago, which was directed by Jean-Francois Richet and filmed by Brendan Galvin.

Richet and Galbin reteamed, along with screenwriter Davis, for MUTINY. I've seen some speculation that MUTINY is a loose reworking of the original idea for SHIP, a planned PLANE sequel which fell through, and given the circumstantial evidence that theory makes sense to me.

MUTINY is a very entertaining 95 minutes which finds Statham playing Cole Reed, a former UK cop who is now head of security for ultra-wealthy shipping magnate Tibu Campallo (Ramon Tikaram), who's based in Bangkok.

Cole and Tibu are trapped and ambushed while on a drive just as Tibu is about to sell his company. Cole fends off the assassins, but Tibu is shot and dies, asking Cole to look out for his son Cameron (Chaneil Kular) before he passes.

Cole realizes he's been been framed for Tibu's murder and, understanding that answers to the killing lie on one of Tibu's ships, Cole manages to board using the ID of an assassin he killed in the shootout, who he fortuitously happens to resemble.

Once aboard, Cole discovers the ship carries disturbing cargo: Kidnapped human trafficking victims. It's quickly obvious that the captain (Roland Moller) is completely compromised, and it appears only one person on the ship will be trustworthy enough to help Cole: Third mate Angie Ellis (Annabelle Wallis).

I found MUTINY to be quite a likeable 95 minutes. Yes, as an R-rated film it's violent, but I wasn't particularly bothered as it's fairly obvious when a viewer should look away if desired. (When the worst baddie got what was coming to him, there was a mixture of giggles and applause from the audience; it's not pretty!) Sure, the movie's a tad predictable, but that's a significant part of the draw for me with a Statham movie.

Along those lines, what's important about the film is that we get to watch Statham doing what he does best, cleaning up the world one body at a time, his lethal skills mixed with a combination of sensitivity and sarcastic humor. The audience at my theater clearly appreciated the movie, applauding as the end credits began rolling.

I liked that MUTINY plays some of its story cards early on, disclosing what's on the ship and uniting Cole and Angie as a team from shortly after they each board the ship. The suspense thus becomes centered around whether Cole and Angie can stay alive until help arrives in the form of the U.S. Navy.

Is it perhaps a bit unbelievable that Navy Captain Adam Spencer (Adrian Lester) is completely unconcerned with whether Cole hangs around to account for his heroic shipboard actions? Probably -- but it's a lot of fun to watch things play out.

Ellis does a nice job as a gutsy young woman who takes smart steps on her own, such as sending out a mayday call, without waiting for Cole's directions. The actors and characters have a good rapport.

Parental Advisory: This film is rated R. It has quite a bit of cursing and a couple particularly bloody moments but otherwise is a solid story of good triumphing over bad. I admittedly could have done with less of the "F" word, although in a scene where Angie is having a bullet removed from her shoulder I admit to feeling some sympathy!

A trailer may be viewed here.

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TCM Announces 2027 Festival Dates

Classic film fans received a nice surprise this week when Turner Classic Movies announced dates for the 2027 TCM Classic Film Festival.

While announcements have been made this early in some years past, more recently TCM has made the announcement much later; last year the confirmation of the 2026 festival came in late October.

Needless to say this was wonderful news, especially in the current environment with uncertainty over a studio merger which could potentially impact TCM in some fashion.

The 18th edition of the TCM Classic Film Festival will take place from April 8th through 11th, 2027.

The festival's theme has not yet been announced, but TCM has confirmed that pass prices will remain the same this year as they have been for the past two festivals.

Passes will go on sale in December.

It was also confirmed that once again the Hollywood Roosevelt Hotel will be the festival's official hotel.

As always, I'll be posting all the latest TCM Classic Film Festival news here as announcements are made.

Stay tuned for more information as it develops, and I hope to see many of you in Hollywood in 2027.

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Tonight's Movie: A Midsummer Night's Dream (1935) - A Warner Archive Blu-ray Review

The magical Warner Bros. production of Shakespeare's A MIDSUMMER NIGHT'S DREAM (1935) is now available on a beautiful Blu-ray from the Warner Archive Collection.

As a homeschooling parent years ago, I bought the original Warner Bros. DVD for our children to watch.

I hadn't seen it in years before catching it at the 2018 TCM Classic Film Festival, after which I wrote that "its silvery cinematography...made a big impression; that was one of the titles I'd not been especially enthused about which ended up being a high point in the festival. I was so glad I chose to see it!"

It was truly special seeing that shimmering forest on a big screen in the dark at the festival, and I appreciated the movie's high quality anew. I was delighted to return to it this week thanks to the gorgeous Blu-ray, which is sure to delight fans of classic films, Shakespeare, or both. It's exquisite.

This film, inspired by a 1934 Hollywood Bowl production by Max Reinhardt, was directed by Reinhardt and William Dieterle. One of the film's stars, Olivia de Havilland, was signed by Warner Bros. due to her appearance in the Hollywood Bowl production.

The film's beautiful, mystical tone is ushered in by an overture of Mendelssohn's music, arranged by Erich Wolfgang Korngold. This print includes not only the six-and-a-half-minute overture but three minutes of exit music and a brief intermission card. Altogether it combines for a running time of 133 minutes.

Loosely described, the plot initially finds Theseus (Ian Hunter), the Duke of Athens, newly returned home from war with Hippolyta (Verree Teasdale), Queen of the Amazons, whose people he has just conquered.

Theseus and Hippolyta are about to be married, and while Hippolyta initially seems a bit reluctant under the circumstances, Theseus does his best to woo her. He's happy at the prospect of the wedding and announces there will be extensive revels and generally a good time.

It's fun to note that Hunter and Teasdale played husband and wife a few years later in COME LIVE WITH ME (1941). I'll also mention here that the Shakespearean dialogue absolutely rolls off Hunter's tongue; "King Richard" is terrific, and I think the ease of understanding him as the story gets underway does a great deal to pull viewers into the Shakespearean rhythms.

The rest of the plot melds together a couple main storylines which take place overnight in a nearby forest. Lysander (Dick Powell) and Demetrius (Ross Alexander) are each in love with Hermia (de Havilland), while Helena (Jean Muir) moons after Demetrius.

Meanwhile Oberon (Victor Jory), King of the Fairies, and his wife, Queen Titania (a luminous Anita Louise) are at odds over bringing up an adopted "Changeling Prince" (Sheila Brown), with Oberon also upset that nurturing the little one is diverting all of Titania's attention.

Oberon, aided by his little henchman Puck (Mickey Rooney), casts multiple spells that night, causing both Lysander and Demetrius to turn their attentions from Hermia to Helena, while Titania falls in love with a man-turned-donkey (James Cagney). (It's a long story...)

Eventually, after much shenanigans, including Hermia and Helena almost coming to blows, Oberon relents and undoes his spells so all may live happily ever after...

Shakespeare's play was "arranged for the screen" by Mary C. McCall Jr. and Charles Kenyon, and it's an added bit of fun for the viewer when some of the famous sentences we all know are spoken, such as "The course of true love never did run smooth" and "What fools these mortals be." I'd add that the line "Ill met by moonlight" became the title of a 1957 World War II movie!

Our homeschool program emphasized Shakespeare for just this reason -- it's astounding how many phrases in common usage originated in his plays.

Most of the cast is excellent, though I wished Powell were a bit less goofy and Alexander a bit less bland. (It was ever thus with the tragically fated Alexander, who died in 1937.) Muir and de Havilland are perfection, and for me Anita Louise steals the movie as the ethereal Titania. Indeed, Titania and the fairies, who dance in marvelous floaty costumes by Max Ree, are the high point of the film.

Jory, like Hunter, is exceptionally eloquent in his line readings, though his heavy makeup and overbearing persona make him rather creepy.

Rooney is well cast, though I'd venture to say we see a bit too much of him given that his character is extremely...animated. Cagney is fine as the rough-hewn actor turned donkey, and then back again.

The rest of the cast includes Joe E. Brown, Grant Mitchell, Frank McHugh, Hugh Herbert, and Helen Westcott.

Westcott, who costarred in THE GUNFIGHTER (1950), played the fairy named Cobweb as a child actress. Billy Barty is also recognizable as the fairy Mustard-Seed. Margaret Kerry, the model for Disney's fairy Tinkerbell in PETER PAN (1953) who recently passed away, was also a MIDSUMMER NIGHT'S DREAM fairy as a young child.

The most remarkable thing about this film is the sparkly, gorgeous black and white photography by Hal Mohr, which is the stuff of legend; he was the only write-in winner in Oscar history. The film also won Best Editing and was nominated for Best Picture and Assistant Director, a category which disappeared later in the decade.

The film has remarkable special effects, including flying fairies and the previously mentioned shimmering forest. Mohr achieved the sparkling effects he photographed with a variety of techniques including paint, hanging metal particles, glitter, and more, in essence doubling as a special effects artist as well as cinematographer.

My only real complaint is that the performance by the theatrical company at the end goes on far too long, after all the emotional stories have been wrapped up; that said, I assume the filmmakers wanted to be relatively faithful to the source material. (I don't have our copy of the play close at hand to compare!)

The lovely print is from a 1080p HD master from a 4K scan of the original nitrate camera negative, supplemented by "nitrate projection elements." I recall our DVD as looking fine, but I'm certain this Blu-ray is the best the movie will ever look. It's outstanding. Sound quality is solid.

Extras carried over from the original DVD include a commentary track by Scott MacQueen; Olivia de Havilland's screen test; a vintage eight-minute featurette, A DREAM COMES TRUE (1935); the 20-minute musical short SHAKE MR. SHAKESPEARE (1936), directed by Roy Mack; a brief promo with Joe E. Brown and Pat O'Brien; the trailer and gallery of teaser trailers.

A MIDSUMMER NIGHT'S DREAM is a wonderful example of what was possible combining a classic play with the creativity of artists under the studio system. Recommended.

Thanks to the Warner Archive for providing a review copy of this Blu-ray. Warner Archive Blu-rays may be ordered from Movie Zyng, Amazon, and other online retailers.

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Tonight's Movie: The Spy Who Loved Me (1977)

I recall the movie year 1977 especially fondly.

1977 was the year I first saw both ROCKY (1976), which had been released in December 1976, and STAR WARS (1977) for the first time.

I actually saw both those films multiple times that year theatrically, which was especially common in the pre-cable, pre-home video era, both because there was no other way to revisit movies and because there was a relative dearth of viewing options.

1977 was also the year I saw my first James Bond movie, THE SPY WHO LOVED ME (1977), which was released in early August. I recall going with my parents, and we enjoyed it so much we returned for a second viewing of that one as well.

I also fondly recall later purchasing a copy of the first still below, featuring stars Roger Moore and Barbara Bach, while on a shopping trip for Hollywood memorabilia. It's still in my collection today.

I've seen THE SPY WHO LOVED ME multiple times in the years since 1977, whether as an '80s movie rental or later on DVD, but until the past week I don't think I'd revisited it since the beginning of this blog over two decades ago. Consequently the movie felt both fresh and very familar, as for the first time in years I revisited and enjoyed the humor, suspense, and all the film's famous set pieces. 125 minutes flew by!

The movie begins with one of said set pieces, as James Bond is "relaxing" with a beautiful woman in a ski chalet. When Bond is messaged that his services are needed immediately, he skis away, chased by enemy agents. I don't think it's spoilerish, nearly half a century later, to say that the culmination of the scene, involving a Union Jack parachute, is both spectacular and funny.

The film then immediately launches into the greatest of all the great 007 theme songs, "Nobody Does It Better" by Marvin Hamlisch and Carole Bayer Sager, sung by Carly Simon. It perfectly sets the tone for the rest of the film. Hearing it again made me very nostalgic, especially with both of my parents having passed on in the last handful of years.

The movie, in a nutshell, involves Bond uniting with Russian agent XXX, Anya Amasova (Barbara Bach), after UK and Russian nuclear submarines mysteriously disappear.

Stromberg (Curt Jurgens), the villain who has stolen the subs and their crews, is obsessed with the idea of an underwater world and has plans to use the submarines to nuke the world's major cities.

Complicating the joint mission is Anya's realization that Bond recently killed her lover during thea aforementioned ski chase. As James says to Anya in a rare moment of complete seriousness, "In our business...people get killed."

I love pretty much everything about this film, including the relationship of James and Anya, which goes from flirty to action-based humor to high drama, as needed.

This was Moore's third film in the role, and he had mastered the unique mixture of his character being both believably deadly and amazingly quippy. I'll add that Moore was my "first" Bond for several reasons, including being the right age to see some of his Bond films on first release and the lack of easy availability of Connery's movies; to reiterate, the '70s were pre-cable, pre-VHS!

The fact that Moore was also a star on my all-time favorite TV series, MAVERICK (1957-62), which I came to love via reruns, drew my interest as well. While over the years I certainly developed an appreciation for Connery, I guess my first James Bond will always be my favorite -- which seems to be the case for many viewers.

Some may complain that the U.S.-born Bach's Russian-accented dialogue delivery is stilted, but I think it completely works, giving the impression she's thinking about what she's saying, which makes sense if English isn't supposed to be her native language. It was honestly quite a while before I realized she was American! (No IMDb "back in the day" either. I'm "dating myself," but I used to research actors at the library!)

Bach completely delivers on the humor, including the great little scene in a bar where James and Anya disclose they know one another's favorite drinks, and also the hilarious sequence where she and Bond are trying to escape from scary Stromberg henchman Jaws (Richard Kiel) before he rips the vehicle apart.

I remember wishing "back in the day" that XXX and 007 would be reteamed in a later movie, but I guess that wasn't a realistic hope given Bond's track record with women in his movies.

It's also been a long time since I last saw MOONRAKER (1979), but I recall Kiel's character being a bit more of a joke in that film. Here he's the perfect blend of amusing and absolutely terrifying. There's one scene where his presence is suddenly revealed which still makes me jump!

The supporting cast is strong as well, especially Shane Rimmer as the American sub commander who teams with Bond in a big climactic action sequence. Caroline Munro is also notable as one of Stromberg's assassins. Series regulars Bernard Lee, Lois Maxwell, Desmond Llewelyn, and Geoffrey Keen are, of course, on hand as well.

The movie's locations, especially Egypt, are perfectly utilized and filmed by Claude Renoir, who incidentally was the nephew of director Jean Renoir. And besides the Egyptian sequences, my favorite moment in the entire movie is the car which turns into a submarine. I still fondly recall our family laughing in surprise when we first saw it. 

The film was directed by Lewis Gilbert and written by Richard Maibaum and Christopher Wood.

Before becoming a prolific 007 screenwriter, Maibum worked on classic-era films, including some starring his friend Alan Ladd: O.S.S. (1946), THE GREAT GATSBY (1949), and HELL BELOW ZERO (1951).

While I'm mentioning older films, it struck me that THE SPY WHO LOVED ME would be great on a double bill with JET PILOT (1957), an ahead-of-its-time suspense romcom in which Janet Leigh plays a Russian pilot in love with American John Wayne. The movies have similar themes plus a goofy sense of humor mixed with romance.

I watched THE SPY WHO LOVED ME on a "Special 007 Edition" DVD which I purchased for our family way back in 2002. I have Moore's other 007 films in this DVD series, and I had such a good time rewatching this film that I'm planning to revisit his other Bond films as well.

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Cinecon Classic Film Festival Opens in Los Angeles September 3rd

The 2026 Cinecon Classic Film Festival will take place at the Landmark Nuart Theatre in Los Angeles from September 3rd through 7th, 2026.

This year's 62nd festival will be a bit longer than last year's, opening on a Thursday evening, rather than Friday, and concluding on Labor Day, the 7th.

This year's location at the Nuart Theatre is also a change in venue; the last two years the festival was held at the Writers Guild Theater in Beverly Hills. More thoughts on the location are at the end of this post.

After attending Cinecon in Hollywood from 2017-2019, I had a terrific time returning to the festival last year, attending two days of the 2026 festival. Last March I also attended a Cinecon "Pop-Up" one-day festival held at the Old Town Music Hall in El Segundo.

This year's Cinecon honorees are Nancy Kwan, Anna Maria Alberghetti, Lainie Kazan, and Barbara Eden, who are all scheduled to appear in person; additionally, Pat Boone will be on hand to honor Eden. Movies Boone made with both Eden and Kwan are on the schedule.

I was fortunate to see both Eden and Boone speak at a Noir City Hollywood screening of THE YELLOW CANARY (1963) last April. I was also lucky enough to meet Kwan and have her sign my copy of her memoir at last year's Cinecon.

Looking back quite a ways in time, I also saw Anna Maria Alberghetti star in THE SOUND OF MUSIC at the Terrace Theater in Long Beach in 1985!

Cinecon chiefly focuses on rare, relatively hard-to-find films. The full schedule may be reviewed here.

This year my husband and I plan to spend Labor Day at Cinecon. The films I'm excited about seeing that day include:

*REUNION IN RENO (1951) starring Mark Stevens, Peggy Dow, Frances Dee, and Gigi Perreau, who will be a guest

*THE SECOND GREATEST SEX (1955) starring Jeanne Crain, George Nader, Mamie Van Doren, and Tommy Rall

*CHASING DANGER (1939) starring Preston Foster and Lynn Bari

*WOMAN OF THE NORTH COUNTRY (1952) starring Rod Cameron, Ruth Hussey, John Agar, and Gale Storm

*THAT'S MY GAL (1947) starring Lynne Roberts and Don "Red" Barry

There are many other interesting films on the rest of the schedule, including:

*THE STARS ARE SINGING (1953) with Rosemary Clooney and Anna Maria Alberghetti

*THE MAIN ATTRACTION (1962) with Pat Boone and Nancy Kwan

*MANHATTAN HEARTBEAT (1940) with Robert Sterling and Virginia Gilmore

*ALL HANDS ON DECK (1961) with Pat Boone, Barbara Eden, and Dennis O'Keefe

*UNDER TWO FLAGS (1936) with Ronald Colman, Claudette Colbert, and Rosalind Russell

Now for some additional venue information: The main reason I'm not attending additional days this year is I would need to attend those on my own, and given that the Nuart doesn't have its own lot, I have concerns about how the parking will play out.

One of the parking lot options is a mile round-trip from the theater, and I also have concerns about whether walking to a lot that far away at the end of the day would be safe. One might be able to team up with other attendees, but there are no guarantees unless one knows other guests and can plan in advance.

It's also very problematic that there are limits on parking lot times which don't match up with the festival's hours, necessitating full-day attendees to move their cars at some point.

I could potentially end up spending quite a bit on festival passes and driving up from Orange County only to find I can't park in the hotel lot nearest the theater and am stuck with an option further away which doesn't even allow enough hours to cover a full day at the festival. Worst-case scenario, I'd find myself needing to move my car at some point from a lot which is a one-mile round-trip walk from the theater.

I understand it's a challenge for Cinecon to book theaters which will keep the festival at an affordable price, and I also want to encourage attendance at what is always a great festival, but the potential logistical and safety issues merit a frank look by prospective attendees along with the excellent schedule.

That said, my husband I look forward to attending together on the 7th.  Hopefully parking will go smoothly on the holiday and we'll have another great Cinecon day!

Visit the Cinecon site for additional information, as well as links to purchase full festival or day passes at the Eventbrite ticket site.

Previously: Cinecon 53 (2017), Cinecon 54 (2018), Cinecon 55 (2019), Cinecon Classic Film Festival Opens in Beverly Hills August 29th (Cinecon 60 2024 Preview); Cinecon Classic Film Festival Opens in Beverly Hills August 29th (Cinecon 61 2025 Preview).

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