A new documentary of the Hollywood icon entertains and informs, but fails to capture Hepburn’s humanity.

In Reagan’s film, “Night Unto Night,” as in most post-war American movies, an uneasiness about what the future may bring remains the only thing that’s certain. 

In a way, Reagan did not see his political involvements as part of a “career” but as part of his duties as a citizen and actor.

You can alter the audience scores of a terrible movie, but it’s still a terrible movie.

In “The Glenn Miller Story,” we see the struggles of an artist trying to find the “right sound.”

When you’re in the middle of a Mao-style cultural revolution, money may not matter at all.

In “Monkey Business,” Grant learns that you’re only old when you forget you’re young.

For the most part it is the separation and break from
Archie Leach that created the Cary Grant we know and love. 

In telling a good story, Howard Hawks and Cary Grant captured an essential part of what it means to be an American.

In the wake of  “Jesus Revolution,” and in the midst of a mortal storm, the dramatic possibilities are truly endless.

The comedic Cary Grant shines in “Bringing Up Baby.”

H. C. Potter’s 1947 romantic comedy, “The Farmer’s Daughter,” shows how both marriage and politics in America can be a thrilling combination of idealistic and imperfect
at the same time.

Otto Preminger’s masterpiece is an unusual but beautiful noir love story that examines the danger of inauthentic love. 

Somehow film is able to get deeper into your soul, making the world look different when the lights go up.

Even a film that elevates the American story must leave a sense of uneasy victory. 

The oppressive and inevitable nature of time presses on, making one understand that freedom is possible but only through the acceptance of the present.

“Cattle Queen of Montana” was a project that brought joy to Ronald Reagan and Barbara Stanwyck, expanded their already formed friendship, and continued the mutual warmth
and kind regard. 

Erotic power and harsh reality renders Howard Hawks’ “Red River” brilliant in every way. 

Even a minor role can carry great weight, and it’s clear that Reagan understood that.

We get a sense from “That Hagen Girl” that neither Tom Bates nor Jordan, Ohio would meet with Reagan’s approval or measure up to his understanding of American possibilities.