Christine Lorraine Morgan

Thoroughly enjoyed this seven-part series which kicked off each episode with Michael Palin (insert heart emoji). The acting was superb in most instances, the casting was excellent. Beyond those two relevant factors, the backdrops and costumes were so colorful and ginchy that it made me want to jump through the screen and waltz around in one of those ghastly unmanageable hoop skirts. P.S. The young gentleman who portrayed the role of the undyingly loyal Dobbins struck this reviewer as a dashingly handsome young Robert Redford in the looks department. CLMR score is 8.1 out of 10.

The only bad thing about this one-season wonder is that there aren't more episodes! Sort of like the British version of "The Office," there just are not enough shows to satisfy one's irresistible craving for that desert-dry mockumentary humor. Actually there is another "bad" thing about "Hello Ladies," so bad that it's good - it never fails to occur that somewhere in each episode one might find oneself uncomfortable and emotionally squeamish by the unnatural scenarios that unfold. Did I mention that the anticharming star of this addicting series is indeed Stephen Merchant, co-creator of the original "The Office?" CLMR score is 8.9 out of 10.

Stinks when your love life is built on big lies about big bux, which leads to the arrival of reality’s big whammies. Mucho empty dialogue wrapped around a void of purpose….too many women not enough acting classes… Time-wise, there were many distractions beyond the movie studios with the onset of WWII and a lack of on-set male talent due to military service. Or even just a plain lack of talent, as with the chicks in this fumblesome flick. Luckily my respect and admiration for Neil Hamilton was not diminished by this stinker of a movie. If anything, I respect him as the only glimmer of light within this cloudy celluloid mishap. CLMR score is 3.8 out of 10.

Due to my bizarre taste in movies, I gravitate toward one-star classics. With that in mind, this film darker than noire should have been a big hit in my world but it was a zonker. So bad, in fact, that I couldn't even stand to watch it through to the end. There are about 15 minutes left and I am working up my nerve to try to suffer through the rest of it. The promo photo drew me in with a picture of John Candy, but he's not in any sort of notable role here. In fact, neither is anyone else for that matter. CLMR score is 2.3 out of 10.

This is one of my new favorite old movies. It has a little bit of everything all tossed, like a salad, into a delightful mix of varying levels of flavor. Initially thinking it was a Christmas movie, there was an outlandishly realistic plot that peeled its layers back to reveal a humanistic tale that just happened to take place during the holiday season. "It Happened on Fifth Avenue" does depict one of the more unusual boy-meets-girl scenarios I've seen, one which is based on an altruistic deception of sorts.This quote erupted about halfway through the movie and was so cool I had to write it down: "That house is as empty as a sewing basket in a nudist camp." This movie is as full of fun as a laundry basket in a cleaner's back room. Or something. CLMR score is 8.2 out of 10.

After enduring this genre-confused hour-long journey into the bowels of 1959 cinematography, a handful of pragmatic questions ply the mind relentlessly: How come nobody wondered where the cat went? The cop? The blond model? A flunkout flick if ever there was such a societal remnant. So Dullsville that even Beany and Cecil zoned out on this midway course to nowhereland, with a handful of clay and a flair for the so-called invisible, as a solo sax wails and bongos tap out a message of misery. CLMR score is 5.3 out of 10.

"The Shadow on the Window" is more of a nail-biter than I thought it would be initially. And this is a good thing. Jerry "the Beaver" Mathers does a great justice to his role of dumbfounded child, and the rest of the lesser-known cast is relatively convincing. Although there are only so many plots that can be written around this sort of hostile takeover scenarios, this one struck enough of a suspenseful chord to keep my eyes glued to the screen and my nails down low. CLMR score is 7.2 out of 10.

Dorothy Mackaill’s dramatic performance as a misjudged, misguided and moralistic occasional lady of the night is remarkable and riveting. I never get tired of watching this incendiary flick of tortured souls, misguided lust and multi-layered sub-plots. The title really does size up the miserable tale spun in this 1931 talkie, and the acting by the criminal characters is pretty darn believable. Nina Mae McKinney’s role as the hotel’s bartender/lounge singer really ties this classic film together. She is one of the greatest raw talents ever to grace the silver screen, and her singsong conversations with the porter named Newcastle make one wish there were more singing bartenders in the world. CLMR score is 8.5 out of 10.