Separate Tables (Delbert Mann, 1958)

Cast: Deborah Kerr, Rita Hayworth, David Niven, Wendy Hiller, Burt Lancaster, Gladys Cooper, Cathleen Nesbitt, Felix Aylmer, Rod Taylor, Audrey Dalton, May Hallatt, Priscilla Morgan. Screenplay: Terence Rattigan, John Gay, based on plays by Terence Rattigan. Cinematography: Charles Lang. Production design: Harry Horner. Film editing: Charles Ennis, Marjorie Fowler. Music: David Raksin.

This somewhat stodgy drama set in a residential hotel in England received seven Academy Award nominations, including best picture, and David Niven and Wendy Hiller actually won for best actor and supporting actress. Unfortunately, today it seems tired and rather clichéd, with Gladys Cooper reprising her smothering mother role from Now, Voyager (Irving Rapper, 1942), this time keeping her thumb on Deborah Kerr (who racked up the fifth of her six unsuccessful Oscar nominations for the film). Burt Lancaster and Rita Hayworth were called in for star power, but only seem miscast as the squabbling divorced couple. Niven's performance as the faux major whose imposture is exposed when he's arrested for sexual harassment in a theater is indeed the standout in the film, but the Oscar is also a reward for a quarter-century of playing second leads and sidekicks.

The Sea Hawk (Michael Curtiz, 1940)

Gilbert Roland and Errol Flynn in The Sea Hawk

Cast: Errol Flynn, Brenda Marshall, Claude Rains, Flora Robson, Donald Crisp, Alan Hale, Henry Daniell, Una O'Connor, James Stephenson, Gilbert Roland. Screenplay: Howard Koch, Seton I. Miller. Cinematography: Sol Polito. Art direction: Anton Grot. Film editing: George Amy. Music: Erich Wolfgang Korngold. 

Warner Bros. doing one of the things it did best (besides backstage musicals and gangster films), the Errol Flynn swashbuckler. The Sea Hawk has rousing action sequences (sweetened by George Amy's editing and Erich Wolfgang Korngold's score), a cast drawn from the ranks of the studio's seemingly inexhaustible store of character players, and a loving disregard for historical actuality. If only it had Olivia de Havilland as the love interest instead of the frozen-faced Brenda Marshall, it might have been more of a classic than it is. Still, there's Flora Robson doing her second turn as Queen Elizabeth I -- she had played her three years earlier in William K. Howard's Fire Over England -- and Claude Rains in a black wig as the Spanish ambassador. Henry Daniell has the role that might better have gone to Basil Rathbone as Flynn's chief antagonist, the villainous (and fictional) Lord Wolfingham. For audiences in 1940 the whole thing was an obvious analogue to the conflict raging in Europe, with plucky England standing up against the German Spanish dreams of world conquest. The United States was still officially neutral, but everyone knew what Queen Elizabeth's final patriotic exhortation was all about.

The Last Black Man in San Francisco (Joe Talbot, 2019)

Cast: Jimmie Fails, Jonathan Majors, Rob Morgan, Tichina Arnold, Mike Epps, Finn Wittrock, Danny Glover, Willie Hen, Jamal Truelove. Screenplay: Joe Talbot, Jimmie Fails, Rob Richert. Cinematography: Adam Newport-Berra. Production design: Jona Tochet. Film editing: David Marks. Music: Emile Mosseri.

With Blindspotting (Carlos López Estrada, 2018) and Sorry to Bother You (Boots Riley, 2018), The Last Black Man in San Francisco forms a kind of trilogy of films about gentrification in the San Francisco Bay Area. The first two films are based in Oakland, but the center of gravity in the area is what people continue to call The City. Jimmie Fails (the character and the actor-writer have the same name) is obsessed with a Victorian house in which his family used to live, back when old houses were cheap and many of them were located in predominantly black neighborhoods. He has convinced himself somehow that the house was built in 1946 by his grandfather, who settled in San Francisco after the war, and that the decline of the family fortunes, brought about by his father's fecklessness, robbed him of his heritage. Jimmie now lives in the rundown Bayview-Hunters Point area of San Francisco, bunking with his friend Mont (Jonathan Majors) and Mont's blind grandfather (Danny Glover), but whenever he can he takes the bus or rides his skateboard to the old house and surreptitiously does what he can to keep it up whenever the elderly couple who live there are away. The more realistic Mont does what he can to dispel his friend's illusions, but when the residents move out and the house is held up because of conflicts over its ownership, Jimmie moves in and tries to claim ownership himself. Eventually, Jimmie is forced to confront reality. Meanwhile, Fails and writer-director Joe Talbot craft a loving but pained portrait of what San Francisco has become in an era of severe income disparity. The film is neither as pointed as Blindspotting nor as raucously satiric as Sorry to Bother You, but it accumulates its own special poignancy in its exploration of the racial and economic disjunctions of the 21st century.

Moon (Duncan Jones, 2009)

Sam Rockwell in Moon

Cast: Sam Rockwell, Dominique McElligott, Rosie Shaw, Adrienne Shaw, Kaya Scodelario, Benedict Wong, Matt Berry, voice of Kevin Spacey. Screenplay: Duncan Jones, Nathan Parker. Cinematography: Gary Shaw. Production design: Tony Noble. Film editing: Nicolas Gaster. Music: Clint Mansell. 

Sam Rockwell plays Sam Bell, a mining engineer at the end of a three-year stint as the solitary maintenance man at an outpost on the dark side of the moon. His only companion is a robot called GERTY (voiced by Kevin Spacey), who tends to his every need. The energy corporation for which he works has promised to return him to his wife and small child on Earth when his shift is over, but he has been unable to communicate directly with his family, only receiving recorded messages. Then an accident happens, and the truth about who Sam Bell is comes out. There's an ironic happy ending to the film: "Sam" gets returned to Earth, where he exposes corporate wrongdoing, but the last word is uttered by a Rush Limbaughesque talk show host: "You know what? He's one of two things. He's a wacko or he's an illegal immigrant. Either way, they need to lock him up!" Moon might have been a little better if this satiric note had played throughout the film, but it's solid sci-fi that doesn't depend on flashy CGI and it features a compelling performance by Rockwell.  

Police Story 2 (Jackie Chan, 1988)

Jackie Chan and Keung-Kuen Lai in Police Story 2

Cast: Jackie Chan, Maggie Cheung, Kwok-Hung Lam, Bill Tung, Keung-Kuen Lai, John Cheung, Charlie Cho, Yuen Chor, Ben Lam, Chi Fai Chan, Shan Kwan, Isabella Wong, Ann Mui. Screenplay: Jackie Chan, Paul B. Clay, Edward Tang. Cinematography: Yiu-Tsou Cheung, Yu-Tang Li. Production design: Oliver Wong. Film editing: Peter Cheung. Music: Yao-Tsu Chang, J. Peter Robinson, Siu-Lam Tang.

Jackie Chan's hyperactive policeman Cha Ka-Kui has been demoted to traffic as a result of the mayhem in the first Police Story film, but he bounds back under threat from his old enemies. There's a lot more pyrotechnics in this installment, thanks to the explosives wizardry of the film's chief villain, a deaf mute played by Keung-Kuen Lai.

The Squaw Man (Cecil B. DeMille, Oscar Apfel, 1914)

Cast: Dustin Farnum, Monroe Salisbury, Winifred Kingston, Mrs. A.W. Filson, Haidee Fuller, Red Wing, Dick La Reno, Joseph Singleton, William Elmer. Screenplay: Cecil B. DeMille, Oscar Apfel, based on a play by Edwin Milton Royle. Cinematography: Alfred Gandolfi. Art direction: Wilfred Buckland. Film editing: Mamie Wagner.

Apart from its historical interest as the first feature to be filmed in Hollywood, The Squaw Man holds up well enough as drama for Cecil B. DeMille to have remade it twice, in 1918 (a version now lost) and again in 1931. Today it's mostly of archival interest for its rather naïve treatment of Native Americans, but also because its use of outdoor locations shows why Southern California, with its varied landscape and good weather, became the center of American filmmaking. It also helped establish the Western as a major movie genre.

The Wicked Lady (Leslie Arliss, 1945)

Margaret Lockwood in The Wicked Lady

Cast: Margaret Lockwood, James Mason, Patricia Roc, Griffith Jones, Michael Rennie, Felix Aylmer, Enid Stamp-Taylor, Francis Lister, Beatrice Varley, Amy Dalby, Martita Hunt, David Horne, Emrys Jones. Screenplay: Leslie Arliss, Gordon Glennon, Aimée Stuart, based on a novel by Magdalen King-Hall. Cinematography: Jack E. Cox. Art direction: John Bryan. Film editing: Terence Fisher. Music: Hans May. 

Entertaining claptrap about a Restoration beauty (Margaret Lockwood) named Barbara who seduces the wealthy squire Sir Ralph Skelton (Griffith Jones) on the eve of his marriage to the virtuous Caroline (Patricia Roc). But having married Sir Ralph, Barbara quickly becomes bored with life in the country, dresses in men's clothes, sneaks out by a secret passage, and turns highwayman. This puts her in competition with (and the bed of) the notorious Capt. Jerry Jackson (James Mason), the terror of the county's roads. Eventually the wicked are punished and virtue is rewarded, of course. The story needs a little more tongue in cheek than writer-director Leslie Arliss is able to give it, but it moves along nicely. Mason, as usual, gives the standout performance.

The Sword in the Stone (Wolfgang Reitherman, 1963)

Cast: voices of Sebastian Cabot, Karl Swenson, Rickie Sorenson, Junius Matthews, Ginny Tyler, Martha Wentworth, Norman Alden, Alan Napier, Richard Reitherman, Robert Reitherman. Screenplay: Bill Peet, based on a novel by T.H. White. Art direction: Ken Anderson. Film editing: Donald Halliday. Music: George Bruns.

The last animated feature supervised by Walt Disney, The Sword in the Stone is often considered a kind of landmark in the eclipse of Disney animation from which the studio didn't recover until the late 1980s. The first novel in T.H. White's Arthurian tetralogy The Once and Future King, The Sword in the Stone had been a Disney property since 1939. The success of the Lerner and Loewe musical Camelot, based on the final two books of White's quartet, may have helped spur the studio to revive the project, but the result is rather unsatisfactory. There are some bright moments, particularly the shape-shifting duel between Merlin and Madam Mim, but the film has nowhere to go after the climax when Wart pulls the sword from the stone and becomes King Arthur, so the plot feels unshaped and unfinished.

Deception (Irving Rapper, 1946)

Bette Davis, Paul Henreid, and Claude Rains in Deception

Cast: Bette Davis, Paul Henreid, Claude Rains, John Abbott, Benson Fong. Screenplay: John Collier, Joseph Than, based on a play by Louis Verneuil. Cinematography: Ernest Haller. Art direction: Anton Grot. Film editing: Alan Crosland Jr. Music: Erich Wolfgang Korngold.

The highlight of Deception is a scene in which Claude Rains, as the imperious composer Alexander Hollenius, invites his ex-mistress Christine (Bette Davis) and her new husband, the cellist Karel Novak (Paul Henreid), to dine with him at a fancy restaurant before Novak is to play Hollenius's new concerto. While Christine and Karel stew, both eager to get the composer's approval so the cellist can make a career break, Hollenius plays the epicure, constantly rethinking the menu and the accompanying wines and keeping the couple from their goal. It's Rains at his best. In fact, he's the chief reason for seeing this somewhat overproduced melodrama, with its sometimes laughable skirting of the Production Code's strictures on sex. Would a worldly European like Novak really be so terribly shocked to find that Christine had been Hollenius's lover? Would Christine really be so determined to conceal the secret that she'd kill for it? Davis pulls out all of her mannerisms -- she disliked the film -- while Henreid struggles to rise above his usual passivity as a leading man overshadowed by his leading lady.

Police Story (Jackie Chan, Chi-Hwa Chen, 1985)

Jackie Chan and Ken Tong in Police Story

Cast: Jackie Chan, Maggie Cheung, Brigitte Lin, Kwok-Hung Lam, Bill Tung, Yuen Chor, Charlie Cho, Chi-Wing Lau, Hark-On Fung, Hing-Yin Kam, Mars, Tai-Bo, Ken Tong. Screenplay: Jackie Chan, Edward Tang. Cinematography: Yiu-Tsou Cheung. Production design: Oliver Wong. Film editing: Peter Cheung. Music: Kevin Bassinson.

Jackie Chan's debt to Buster Keaton has never been more fully displayed, or indeed more fully repaid, than in Police Story, which has a Keatonian moment when he latches onto a passing bus with the crook of an umbrella. Chan plays a cop who goes from hero to goat and back again in this story of an almost one-man crusade against a drug lord. The climax involves the near-total destruction of a shopping mall, with one spectacular set-up after another.