IN: Review: George Brent is a reporter sent to interview an heiress. She is supposedly the heir to a face cream fortune. He interviews her on her yacht. They fall for each other in bathing costumes.

It turns out (quite early) that she is not an heiress. She part of an advertising campaign for the cold cream.

The movie follows the ups and downs of their romance.

The supporting cast does little to buoy it up. Davis and Brent carry the picture. Though it's fairly predictable, it is also fairly entertaining. It's far from her best. But, especially considering its obscurity in her oeuvre, it's not one of her worst, either.
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OUT: negative

IN: Review: Boasting an all-star cast so impressive that it almost seems like the "Mad Mad Mad Mad World" of horror pictures, "The Sentinel" (1977) is nevertheless an effectively creepy film centering on the relatively unknown actress Cristina Raines. In this one, she plays a fashion model, Alison Parker, who moves into a Brooklyn Heights brownstone that is (and I don't think I'm giving away too much at this late date) very close to the gateway of Hell. And as a tenant in this building, she suffers far worse conditions than leaky plumbing and the occasional water bug, to put it mildly! Indeed, the scene in which Alison encounters her noisy upstairs neighbor is truly terrifying, and should certainly send the ice water coursing down the spines of most viewers. Despite many critics' complaints regarding Raines' acting ability, I thought she was just fine, more than ably holding her own in scenes with Ava Gardner, Burgess Meredith, Arthur Kennedy, Chris Sarandon and Eli Wallach. The picture builds to an effectively eerie conclusion, and although some plot points go unexplained, I was left feeling more than satisfied. As the book "DVD Delirium" puts it, "any movie with Beverly D'Angelo and Sylvia Miles as topless cannibal lesbians in leotards can't be all bad"! On a side note, yesterday I walked over to 10 Montague Terrace in Brooklyn Heights to take a look at the Sentinel House. Yes, it's still there, and although shorn of its heavy coat of ivy and lacking a blind priest/nun at the top-floor window, looks much the same as it did in this picture. If this house really does sit atop the entrance to Hell, I take it that Hell is...the Brooklyn Queens Expressway. But we New Yorkers have known THAT for some time!
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OUT: positive

IN: Review: Definitely one of the most witty and twisted who-dunnit I ever seen. Christopher Reeve and Micheal Caine were brilliant and kept me going through the whole affair.

Very classy set pieces and the props really lend a sense of atmosphere to the proceedings. The minimalist feel works for the whole picture.

My only complain isn't with the film itself but the lack of a decent widescreen edition of the movie on DVD. I own the fullscreen version (which proves I love the film enough to endure fullscreen presentation) but a awesome Deluxe or 'special' edition would most surely get my cash.
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OUT: positive

IN: Review: Unfortunately there was not a 0 for a rating or else I would've chosen it. This movie lacks the star power that the original movie had in such abundance. Carol Burnett, Albert Finney, Tim Curry, Bernadette Peters, Edward Hermann, the innocence of newcomer Aileen Quinn, and expert directing from seasoned pro John Huston (father of actress Angelica Huston)is what made this film so charming. Even the 1999 remake with Kathy Bates, Victor Garber, Alan Cumming, and Kristin Chenoweth had more to offer than this sorry excuse for a sequel. Before she did this movie all Ashley Johnson was known for was her role as little Chrissie Seaver on the prime time show Growing Pains. She had a few bit parts in movies but I don't know who thought she had talent enough to carry a movie on her own. And adding Joan Collins as Lady Edwina Hogbottom, ridiculous! They couldn't get good enough actors to play the major roles like Daddy Warbucks, Miss Hannigan, and Annie but they will sign Joan Collins to play some British lady? It doesn't surprise me that this movie was as bad as it was. The critics were right to have not agreed with this movie, even if it was only made for TV, it was a poor sequel to an otherwise lovable movie.
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OUT:
negative