MR. SATURDAY NIGHT - the Billy Crystal vehicle, it's not a comedy but a drama about a ficticious midcentury comedian, using both funny and serious situations to showcase Crystal's varied talents. Reports indicate that it's acceptable if you are forewarned not to expect 100% jokes, and I'm curious about the take on the borscht circuit, whether or not Crystal successfully does period material and how he combined the influences of Dangerfield and Rickles (his goal according to a few reviewers).

SO LONG AT THE FAIR - a late 40's Hammer film and the only time I'm aware that Dirk Bogarde worked with (here assistant director) Jimmy Sangster, it's cited as the inspiration for Hitchcock's THE LADY VANISHES and tons of other stuff. Haven't located a release in any format.

THE HOUSE THAT DRIPPED BLOOD - early 70's creepfest consisting of three or four seperate stories, I'm always interested to see Peter Cushing and Christopher Lee in (here non-Dracula) use, but the extra attraction for me is that not only is an early Joanna Lumley part to be had but an early appearance of Nyree Dawn Porter, another action/adventure babe later to be seen in "The Protectors" with Robert Vaughn. One story is from the pen of the sometimes-great Richard Matheson.

FUNERAL IN BERLIN - from a Len Deighton spy novel, it's Michael Caine's sequel performance as Harry Palmer from THE IPCRESS FILE, made about 15 years after the earlier mid-sixties suspense flick. IPCRESS was neither DR. NO nor THE SPY WHO CAME IN FROM THE COLD, but it's a far cry from stuff like Roger-Moore-Bond fare. Hope it's as good as the first, but doubt it.

GET CARTER - this 1971 British crime thriller pits one hit man against another and is the film on this list I'm most certain will be worth it. I'm told it's so often ripped off for method, it's the British "French Connection".

OH DAD POOR DAD MOMMA'S HUNG YOU IN THE CLOSET AND I'M FEELING SO SAD - this comedy is one of the only three 1960's vehicles of which I can think for supercomedian Jonathan Winters (the others being the unreleased THE LOVED ONE and the properly restored IT'S A MAD, MAD, MAD, MAD WORLD). This one's the obscure one and possibly came from Broadway material.

WHAT DREAMS MAY COME - I'd prefer to see Robin Williams in things like GOOD MORNING VIETNAM, but he pulled off more reflective material in THE BIRDCAGE and such. This film's from a story by Richard Matheson (LAST MAN ON EARTH/THE OMEGA MAN, the original KOLCHAK, etc.). Any good? We'll see.