Jack J. Gross Movies

The American government inexplicably tries to send a box of wasps into space, but the mission ends when the rocket crashes in Africa. While on an expedition to recover the insects, an adventurer (Jimmy Lynn Davis) and his team finds the wasps have grown to immense proportions due to accidental radiation treatments. ~ John Bush, All Movie Guide

Destination 60,000 was one of a cycle of late-1950s films dealing with the exploits of supersonic-jet test pilots. Though plane manufacturer Colonel Ed Buckley (Preston S. Foster) relies heavily upon the daring of his ace pilot Jeff Connors (Pat Conway), Buckley has trouble coming to terms with Connors' lack of discipline. But when Buckley nearly cracks up making a test flight himself, it is Connors, applying the rules of procedure gleaned during his combat experience, who comes to the rescue. Among the familiar faces dotting the supporting cast are Denver Pyle as a co-pilot and Jeff Donnell as Buckley's ever-patient spouse. Destination 60,000 was put together by Gross-Krasne Productions, a firm more closely associated with weekly TV series (Big Town, Dr. Hudson's Secret Journal, Mayor of the Town etc. ) ~ Hal Erickson, All Movie Guide

Little Egypt is a lighthearted "biopic" all about the hootchie-kootchie dancer who created a sensation at the 1893 Chicago World's Fair. An incongruously redheaded Rhonda Fleming plays Izora, a cabaret dancer in old Cairo. American impresario Cyrus Graydon (Minor Watson) hopes to re-create an authentic Cairo street at the World's Fair, and to that end he ties up with fast-buck promoter Wayne Cravat (Mark Stevens) and a self-styled Pasha (Steven Geray). Graydon's plan is fulfilled, with one slight alteration; along for the ride is Izora, posing as an Egyptian princess. At Cravat's behest, Izora performs a belly dance at the World's Fair to draw in customers, resulting in a tempest of outrage stirred up by local blue-noses. Amusingly, while Little Egypt--aka Izora--is arrested for indecent exposure, by 1990s standards she is most modestly garbed; in fact, the audience never sees her famous bejeweled belly button. Perhaps realizing that no one could take this concoction seriously, the producers of Little Egypt wisely opted to play for laughs--and got them. ~ Hal Erickson, All Movie Guide

This breezy and unpretentious film noir from director Don Siegel starts off with fireworks. Duke Holliday (Robert Mitchum), an American army lieutenant, is on his way to Mexico by boat when he's confronted in his cabin by Blake (William Bendix), gun in hand, who plans on taking him back to the United States. Holliday gets away, pummeling Blake pretty hard in the bargain and stealing his identification, and crosses paths with Joan Graham (Jane Greer). It turns out that she's looking for the same man he is, a smooth-talking hood and grifter named Fiske (Patric Knowles), who took Holliday at gunpoint for 300,000 dollars in army payroll money and Graham for 2,000 dollars, in addition to her hand in marriage. They spend a lot of their time sizing each other up, not knowing how much to believe about the other while trying to catch up with Fiske, while Blake -- an army captain who's after Holliday for his alleged part in the robbery -- stumbles along a step or two behind them. These four end up playing cat-and-mouse across Veracruz, with Fiske always a half-step ahead, while police Inspector General Ortega (Ramon Novarro) calmly keeps tabs on all of them, trying to figure out (along with the rest of us) exactly who is on the level (in those days, especially after Out of the Past, there was no built-in assurance for audiences that Mitchum and Greer played characters with clean hands, and Mitchum is almost too good with the rough stuff here to be an obvious hero). Holliday and Graham engage in some surprisingly playful and suggestive banter during their travels, in between her keeping Holliday -- whose command of Spanish is less than minimal -- from adding too many new permutations to the phrase "the ugly American" in his dealings with the Mexicans. The mood is decidedly brisk and light-hearted at times, given the gunplay and violence that explodes at key intervals. The addition of John Qualen -- in one of the strangest roles of his career -- as a decidedly fidgety and neurotic presence in the last quarter of the story only adds to the undertone of quirkiness in this superb film noir. ~ Bruce Eder, All Movie Guide

The success of 1947's Badman's Territory prompted RKO Radio to assemble another "outlaw rally," Return of the Badmen. Randolph Scott plays US marshal Vance, assigned to rid the Oklahoma Territory of outlaws. This proves to be quite a challenge, inasmuch as virtually every frontier bad guy has converged upon the territory. Led by the surly Sundance Kid (Robert Ryan), the rogue's gallery includes the Younger Brothers (Steve Brodie, Richard Powers, Robert Bray), the Daltons (Lex Barker, Walter Reed, Michael Harvey) and Billy the Kid (Dean White). For all the formidable villainy, the film's most fascinating conflict develops between the two heroines: feisty Cheyenne (Anne Jeffreys) and prim 'n' proper Madge Allen (Jacqueline White). Return of the Badmen posted a huge profit, spawning yet another "all-star" western from RKO, 1951's Best of the Badmen. ~ Hal Erickson, All Movie Guide

In this dark crime drama, the trouble begins when a San Francisco bookie attempts to lead an honest life by marrying a comely widow. In preparation for his nuptials, the fellow stays on the straight and narrow, but when he learns that one of his cohorts has been murdered by an East Coast gang that is trying to horn in on West Coast territory, he reenters the underworld. A boyhood friend who became a cop tries to convince him to team up with the police, but the vengeful bookie remains determined to things his way. It proves to be a tragic mistake and shows the bookie that those closest to him are not what they seem. ~ Sandra Brennan, All Movie Guide

No relation to the 1935 Jean Harlow-Spencer Tracy vehicle of the same name, RKO Radio's Riff-Raff is an action-packed vehicle for aging but still virile Pat O'Brien. At large in Panama, American private eye Dan (O'Brien) hopes to get his hands on a valuable map showing priceless oil concessions. He finds himself up against a formidable cartel of villains headed by Molinar (Walter Slezak), who likewise want to get their mitts on the map and are willing to commit murder to do so. Mixed up in the proceedings is worldly nightclub singer Maxine (Anne Jeffreys), whose reputation is such that O'Brien immediately distrusts her--an opinion he has good reason to reverse as the film rolls along. Percy Kilbride provides a few chuckles as a dry-witted Panamanian taxi driver. ~ Hal Erickson, All Movie Guide

In this romantic drama, Bill and Susan Cummings (Mark Stevens and Joan Fontaine), a couple from the Bronx, look back at the early days of their marriage. When they meet in 1938, Bill is working as a machinist, and Susan is a clerk in a bookstore. They fall in love and decide to wed, but it's not long after the honeymoon that Bill is drafted and sent to war. When Bill comes marching home, he finds that it's not easy to find a new job, and economic hardship puts their marriage to the test. The supporting cast includes Harry Morgan and Bobby Driscoll. ~ Mark Deming, All Movie Guide

Setting something of a record for flashbacks within flashbacks, The Locket recounts the mental disintegration of bride-to-be Laraine Day. As a child, Day was accused of stealing a locket at a fancy party. She has spent her life getting even for this false accusation by becoming a kleptomaniac and ruining the lives of those around her. She drives one man (Robert Mitchum) to suicide, and stands by as another man is executed for a murder which she has committed. Assuming her revenge on the world is complete when she becomes engaged to the son of the woman who'd accused her of thievery, Day is overtaken by the demons within her and collapses on the altar. The Locket is difficult to follow at times, especially when seen in commercialized chunks on the Late Late Show. ~ Hal Erickson, All Movie Guide

No relation to the later Shelley Fabares song hit of the same name, RKO Radio's Johnny Angel was adapted by Steve Fisher and Frank Gruber from a short story by Charles Gordon Booth. In one of his better performances, George Raft plays sea captain Johnny Angel, who doggedly pursues the no-good rats who murdered his father and swiped a shipment of gold bullion. Along the way, Johnny crosses paths (and words) with Lilah (Claire Trevor), the faithless wife of his boss, and French stowaway Paulette (Signe Hasso), apparently the only witness to the murder-hijacking. Aiding and abetting Johnny is philosophical cab driver Celestial O'Brien, engagingly played by songwriter Hoagy Carmichael. Considered a second-echelon effort by RKO, Johnny Angel proved to be a surprise hit, toting up a box-office take of $1,192,000. ~ Hal Erickson, All Movie Guide

Bedlam is one of the costlier psychological-horror efforts from RKO producer Val (Curse of the Cat People) Lewton. Boris Karloff stars as the supervisor of the notorious 18th century British insane asylum St. Mary's of Bethlehem, better known as "Bedlam." Anna Lee, who co-stars as the feisty mistress of a fatuous government official, is appalled by the miserable treatment afforded the Bedlam inmates and insists that reforms be initiated. The crafty, politically connected Karloff responds by having Lee herself incarcerated in the institution: she is a "willful woman", and therefore must be insane. With the help of a few of the more rational patients, Lee stages a mutiny, capturing Karloff and giving him a mock trial. Though they don't truly intend to harm Karloff, he is seriously injured by one of his tormented patients. Assuming that Karloff is dead, the other inmates wall up his body in the cellar--and as the last brick is put in place, we see Karloff's eyes suddenly open! Though it has it moments of genuine terror, Bedlam is as historically accurate as possible, right down to the archaic dialogue passages. For the most part, the film is an indictment against political corruption, with Karloff (in a terrific, multi-faceted performance) alternately bullying and wheedling to save his own behind. Val Lewton (writing under the pseudonym Carlos Keith) based his film on one of the illustrations in Hogarth's "The Rake's Progress," glimpses of which are seen throughout the film as transitional devices. ~ Hal Erickson, All Movie Guide