Like a severe and utterly serious version of Stanley Kubrick’s 1964 satirical dark comedy Dr. Strangelove or: How I Learned to Stop Worrying and Love the Bomb, you would think that Fail Safe would have been the original release in theatres that was then later spoofed, yet that is not the case. Released approximately six months later in the same year, as you might imagine, it led to very poor returns at the box office – dare I say it (as the film deals with this subject matter)... it was a bomb! Despite that, over time, it has become a bonafide classic. Based upon Eugene Burdick’s 1962 novel of the same name and directed by Sidney Lumet (Dog Day Afternoon), he introduces us to our main players by way of little vignettes.

Channeling the mesmeric movies churned out by the studio system back in the 1930s and 40s, Allied (2016), directed by Robert Zemeckis, channels the likes of Morocco, Casablanca, Across the Pacific, Gilda, To Have and Have Not, and numerous others – attempting to find a spark from the classic themes of melodrama, romance, suspense and the epic nature of the annals of the cinematic past, with quite successful results. Set the year Casablanca and Across the Pacific were released – 1942, the story in fact starts in Morocco, with recently parachuted in Canadian spy Max Vatan (Brad Pitt) meeting up with another undercover agent, Marianne Beauséjour (Marion Cotillard), who will be pretending to be his wife.

Often deemed to be the last classic film made by the great Buster Keaton, The Cameraman (1928) was the final time the silent legend would have anything close to full creative control over one of his own features... as he folded his independent studio to sign with Metro-Goldwyn-Mayer (MGM) – who promptly made him their third highest paid star. Though his future would soon turn very bleak, this first film with the new studio was his own idea.

With its rather edgy, alluring title, 1968's Naked You Die (also known as The Young, the Evil and the Savage, as well as Schoolgirl Killer), you’d think you are in for a highly controversial giallo, but, as this dates from the 60s, a few years prior to when this style of film started pushing the boundaries of violence and sex, you’re actually in for a slightly more traditional murder mystery compared to what the title might suggest. After an unknown piece of luggage in the form of a giant, heavy trunk arrives at St. Hilda’s College (which is basically a posh boarding school for young women) along with a few new staff members, including husky voiced, goth like science teacher Mrs. Clay (Betty Low) and ultra athletic gym teacher and swim instructor Di Brazzi (Giovanni Di Benedetto), things turn unexpectedly murderous rather quickly.

Filling in a lot of the back story gaps of the 2015 sensation Mad Max: Fury Road – which was a spectacle for its non-stop pedal to the medal action, George Miller’s prequel to the fourth film of the franchise, Furiosa: A Mad Max Saga (2024), sets aside some of the thrills (but don’t worry, they are still aplenty) in order to explain more about his post-apocalyptic landscape and his main character at the centre of the story – the titular Furiosa. Rather intriguingly, this screenplay was already written during the filming of Fury Road – it was handed out at the time to help the actors better understand who their characters are and where they came from. For those of you who have seen the 2015 edition, this narrative will explain how Furiosa (originally Charlize Theron in Fury Road, now the younger version is played by Alyla Browne, the teen version by Anya Taylor-Joy)

It’s usually hard to bet against Barbara Stanwyck. Starting her career in the late 1920s, within a few years she was already churning out star making roles as plucky working class girls who could rise to the top: think Ten Cents a Dance (1931) and Baby Face (1933) – both reviewed here on Filmizon, only to further elevate herself during the film noir era with starring roles like Double Indemnity (1944) and The Strange Love of Martha Ivers (1946) – also both on Filmizon, she even conquered television later in her career as matriarch Victoria Barkley in 112 episodes of Big Valley from the mid to late 1960s. In other words, it’s rather unusual to see her in a clunker... though with the film looked at here today, Shopworn (1932), directed by Nick Grinde, Stanwyck herself described it as, “one of those terrible pictures they sandwiched in when you started”.