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Hey_Sweden
Birthdate: September 25
I bid you...velcome.
I'm a shameless movie fanatic who especially favours the following genres:
Exploitation
Horror
Action
Comedy
Favourite directors include:
John Carpenter
Larry Cohen
George A. Romero
David Cronenberg
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The Twilight Zone: The Last Flight (1960)
Back and forth in time.
Kenneth Haigh ("Eagle in a Cage") is "Terry" Decker, an R. F. C. Pilot in WWI who loses all sense of where (or when) he is. Soon, he touches down on what turns out to be an American Air Force base in 1959. Yes, he's traveled forward 42 years somehow.
The kicker is that Terry has to overcome what he perceives as his own fatal flaw: cowardice; he'd taken off and left a comrade outnumbered. This is something he feels he must atone for, even if it means certain death. He also realizes what must be done so that his wartime comrade, Alexander Mackaye (Robert Warwick, "In a Lonely Place") will make it out all right.
Time travel has always made for a memorable plot device in science-fiction, and we & Terry can see how many advances there had been in aircraft in 42 years. (Of course, now it's over 64 years since this episode originally aired.) The story, concocted by the great Richard Matheson, uses the aspect of time travel as a means for our main character to seek redemption.
With Alexander Scourby ("The Big Heat") and Simon Scott ('Trapper John, M. D.') capably performing the other major roles, 'The Last Flight' is as provocative and poignant an episode of this series that you can get.
Directed by William F. Claxton ("Desire in the Dust", "Night of the Lepus").
Eight out of 10.
Misery (1990)
NEVER trust people who claim to be your "number one fan"!
In this very memorable adaptation of a Stephen King novel (scripted by William Goldman), James Caan plays Paul Sheldon, the author of a series of successful romance novels. After a snowy car crash, he's nursed back to health by local resident Annie Wilkes (Oscar winner Kathy Bates). But her manner is ultimately more akin to that of Nurse Ratched than Florence Nightingale. She's his super-obsessed "number one fan", and intends on keeping him prisoner there so she can have him all to herself.
Bates totally deserved her Oscar in what is a true tour de force performance, as she ably captures all the facets of Annies' personality, from adoring & childlike to absolutely menacing. Caan, who at first seems incredibly miscast, is actually quite good himself, completely selling the frustration of being vulnerable and victimized in an isolated location. Basically, nobody but Annie knows that Paul is still alive.
The film is directed with gusto by Rob Reiner, who does well with his first thriller. It's sometimes tense in a true nail-biting way, and gripping all the way through. The ever-endearing Richard Farnsworth and Frances Sternhagen provide wonderful support as the local sheriff and his sassy wife. Lauren Bacall has what amounts to a "special guest star" appearance as Pauls' agent; J. T. Walsh appears unbilled as a state trooper addressing the press. But the film truly belongs to Caan and especially Bates, as they take us step by step through this complicated relationship between fan & prisoner.
Extremely well scored, by Marc Shaiman, and shot, by Barry Sonnenfeld, "Misery" entered the pop culture in a big way. It might not be THE final word when it comes to stories about obsessed, dangerous fans, but it's certainly right up there. It keeps you right on the edge of your seat, until the rather conventional but effectively visceral finale guaranteed to have some viewers cheering.
Followed years later by a stage version.
Seven out of 10.
Layer Cake (2004)
It's all about honor and respect.
Matthew Vaughn (who produced "Lock, Stock and Two Smoking Barrels" and "Snatch" for Guy Ritchie) debuted as director with this ultra-slick British crime thriller starring future 007 Daniel Craig as the nameless cocaine dealer anti-hero of the story. He figures to get out of the business, but longtime associate Jimmy Price (Kenneth Cranham) asks of him two favors first. One is to find a runaway girl, the other is to move a million ecstasy pills - which were actually stolen from a rival drug lord (Marcel Iures) by a lowlife known as Duke (Jamie Foreman).
"Layer Cake" is clearly the kind of movie that commands multiple viewings. It's got such a heavily involved, twisty story (written by J. J. Connolly, based on his novel) that one could easily get lost. It deals with several back stories. But it's fundamentally a good, compelling tale, complete with some effectively brutal violence, a bit of sex (Sienna Miller certainly is one very lovely lady), a top soundtrack (including The Cult, Duran Duran, and Joe Cocker, among other artists), and a *fantastic* British cast. Craig has a great sense of cool here that served him so well that it got him on the map when it came time to recast James Bond. Cranham, and fellow veteran Michael Gambon, are standouts as the crime kingpins, but there's so much other talent here as well: Tom Hardy, Sally Hawkins, Burn Gorman, George Harris, Tamer Hassan, Colm Meaney, Rab Affleck, Dexter Fletcher, Ben Whishaw, et al. Jason Flemyng has a cameo within the flashbacks.
Well-paced and visceral, this has some positively great moments, and works well as a portrait of the whole drug business where you can have shady characters up against even more ruthless and nasty people. Craig & the other actors make the whole journey worthwhile, giving life to these honorable and not so honorable individuals.
Seven out of 10.
Rancho Deluxe (1975)
Worth seeking out.
Jeff Bridges and Sam Waterston play Jack and Cecil, two easygoing modern castle rustlers in this engagingly offbeat comedy from the mind of writer Thomas McGuane ("92 in the Shade"). Jack and Cecil run afoul of an exasperated cattle rancher named John Brown (Clifton James), who ends up employing an over the hill stock detective named Henry Beige (Slim Pickens).
Don't look for any true belly laughs with the material (although there are certainly laughs to be had); this is just a good, amiable, laid-back film from cult filmmaker Frank Perry ("David and Lisa", "Mommie Dearest"). It has an unhurried pace, and a great feel for the area (the story is set in rural Montana). A first-rate cast is also a major draw: Elizabeth Ashley as Browns' wife, Charlene Dallas as Beiges' comely niece, Harry Dean Stanton and Richard Bright as dopey cowhands, Patti D'Arbanville and Maggie Wellman as two hot to trot young ladies, and Bert Conway as the irate, indignant Wilbur Fargo. Top character actor Joe Spinell has a particularly great cameo as Cecils' father. Pickens is a standout as the aged Henry who is really still more savvy and competent than he initially appears to be. Stanton is endearing as he falls in love with Dallas, and even gets a make-out scene with her! There's also a good sex scene with Bridges and D'Arbanville.
Nicely scored by Jimmy Buffett (who also appears on screen, with the great Warren Oates as one of his band members!), "Rancho Deluxe" is indeed both quiet and quirky, and it might not appeal to more modern folks, but it has a definite charm. It even has a rather unexpected (but not particularly unhappy) ending.
This is good entertainment that's worth a look for people who may have overlooked it up to now.
Seven out of 10.
Just the Way You Are (1984)
"Everybody's hiding something."
An adorable Kristy McNichol is nicely showcased here as a disabled classical musician who wades through a series of losers through the course of her romantic life. For once, she would like to find a guy who won't get awkward when they discover her disability. So, she goes on a vacation to a French ski resort with her leg-brace hidden inside a cast - so she can see, for once, how people will treat her when they don't *know* that she's disabled.
Although burdened by some flaws - a rather conventional, sentimental second half, a protracted dance sequence, an unfortunate personality change in the McNichol character in the second half - this still manages to be interesting and charming, in the hands of director Edouard Molinaro (of "La Cage aux Folles" fame). In the end, the story (written by Allan Burns) *does* have a good message about self-esteem, and benefits from a capable, attractive cast of familiar faces: Michael Ontkean (as a VERY patient love interest, an always on-the-move photographer), Kaki Hunter, Robert Carradine, Lance Guest, Alexandra Paul, Catherine Salviat, Andre Dussollier, Tim Daly, Patrick Cassidy, etc.
This was shot on some extremely scenic locations in Haute-Savoie, has an engaging music score by Vladimir Cosma, and is generally quite pleasant and easy to take. Lovers of the romantic comedy genre are sure to get some entertainment out of it.
Seven out of 10.
We Own the Night (2007)
A must if you're a fan of any of the cast.
Joaquin Phoenix plays Bobby "Green", a successful young man who runs a nightclub in late-80s Brooklyn for a Russian father figure (Moni Moshonov); he's actually estranged from his real dad (Robert Duvall) and brother (Mark Wahlberg), both of them experienced NYPD officers. He has no problem ignoring the shady goings-on at the club, until his Russian associates target his biological family, and he has to decide where his loyalty really lies.
"We Own the Night" may not be rife with surprises, but it's overall a good, solid example of the whole crime-fiction genre, written & directed by James Gray. It tells a compelling, meaty story with the backdrop of the war on drugs making it topical as well. The whole idea of the lead character having to make this choice, and the fact that this guy originally occupies a grey moral area, makes his character flawed, realistic, and believable, and Phoenix (he and Wahlberg were also two of the producers) just knocks this role right out of the park. Two standout sequences are an action scene in the rain (shot on an actual sunny day, with the storm added in digitally), and the tense finale shot among a woodsy area where anybody could sneak up on anybody else.
Phoenix is ably supported by the wonderful Eva Mendes (playing his girlfriend), Wahlberg, Danny Hoch, Alex Veadov (effectively menacing in a great low-key manner), Paul Herman, Duvall (once again, effortlessly authoritative), Antoni Corone, and Tony Musante.
Convincing and potent (without getting too melodramatic), and intelligently handled by filmmaker Gray, "We Own the Night" is a nice slice of "neo noir" for admirers of the genre.
Seven out of 10.
Hill Street Blues: Midway to What? (1983)
No pain, no gain, don't be lame, don't go insane.
Bobby represents Hill Street Station in a boxing match, although he's not exactly bursting with confidence about the bout. A trial against a taxi manufacturer (Al Ruscio, "Jagged Edge") who's been putting death traps on the road is underway - and yet the whole trial derails when Buck Naked (Lee Weaver) turns out to be one of the witnesses! A disabled young man, Gerry Gaffney (Gary Frank, 'Family') spray paints Belkers' car when the detective parks in a handicap spot. And Howard is very troubled when a past mistake of his comes to light after a bookie operation is raided, and Frank & others listen to their tapes.
Although undeniably funny at times - the Buck Naked character is such a hoot - this is first and foremost a powerful dramatic episode. Howards' vulnerability is very touching, and this has to rank as some of James Sikkings' finest acting on the series to date. It's also touching watching Fay & Henry continue to have their connection, with a culmination that doesn't come as any great surprise. Knowing as we do that Belker has a big heart behind his ultra-gruff exterior, he does end up in Gaffney's corner as the guy campaigns for wheelchair accessibility. The trial ends in a way that should rank as a triumph for Joyce, but she has her doubts about the situation, especially since the defendant NEVER looked particularly worried. But most effective and disturbing is the final scene with Howard. Despite the words of encouragement from J. D. and Frank, Howard simply feels too much of a sense of dishonor to deal with the situation that well. It'll make it very interesting to see where the writers take this plot next.
Other excellent guest stars include Guy Boyd ("Body Double"), Barney Martin ('Seinfeld'), Robert Phalen ("Halloween"), and Michael Ironside ("Starship Troopers").
Nine out of 10.
Ladyhawke (1985)
Pretty good, but could have been even better.
"Ladyhawke" is a solid medieval fantasy taking place in Aquila, where Gaston (Matthew Broderick), a petty thief, escapes from prison. Eventually, he makes the acquaintance of a solitary traveler named Navarre (Rutger Hauer), and a mysterious beauty named Isabeau (Michelle Pfeiffer). He can only be seen during the day, and she only appears at night. The reason for this is that these two romantically entangled souls were cursed once upon a time by a vengeance-crazed bishop (John Wood).
For the most part, this is an engaging example of the genre from director Richard Donner, complete with good swordplay, and impressive widescreen photography. Hauer & Pfeiffer are wonderful as the couple at the core of the story, and they receive excellent support from Wood, Leo McKern (a scene stealer as the helpful Imperius), Ken Hutchison, and Alfred Molina. However, Broderick is not a good fit for this sort of setting, and he just feels out of place throughout. It doesn't help that he can't seem to decide if he wants to attempt an accent or not. Also, the score, composed by Andrew Powell, and overseen by Alan Parsons, likewise feels too contemporary for this sort of thing. A lot of the time, it just doesn't work.
Which is too bad, because this film *had* potential. It's slickly filmed, entirely in Italy with a largely Italian supporting cast. The production & costume design are certainly evocative. All in all, it does manage to be memorable even with its flaws; it's an appealing story from start to finish.
Seven out of 10.
Spider-Man: The Golden Rhino/Blueprint for Crime (1967)
"Nothing like crawling the walls, man."
'The Golden Rhino'.
The Rhino is back, and he's busy stealing large amounts of gold in order to create a life-sized gold statue of himself. (As Spidey says, he *does* have a king-sized ego.) I'm again impressed with the snappiness of these brief segments during the first season; things happen quickly, and Spidey determinedly pursues his foes despite the danger. Best of all is when The Rhino crates a ruckus on Fulton Street to bring Spider-man running; when Spidey throws a fish at his feet, and the villain takes a massive spill, it's an entirely obvious but wonderfully ridiculous gag.
'Blueprint for Crime'.
The Plotter (voice of Gillie Fenwick), a diminutive, bald master criminal, and his hilarious odd-couple henchmen, Montana and The Ox (voices of Bernard Cowan and Paul Soles), aim to steal blueprints for a missile and sell the ill-gotten gains to any foreign power that will pony up the most dough. This segment is downright HYSTERICAL when Montana and The Ox briefly hide out in a beatnik coffee shop, The Blue Radish; the beatnik dialogue just cracks me right up. "Roll your eyes over those crazy pyjamas", one of the dudes says as he looks at Spidey. Spidey even joins in the act before he exits the scene. He does ultimately defeat the bad guys pretty easily, but he has a brainstorm to make them come running for him: pretend to be a criminal himself, as he poses with "the key code blueprint", which was forgotten earlier.
A damn fun pair of stories.
Eight out of 10.
Star Trek: The Ultimate Computer (1968)
What do you say to a talking computer?
The Federation allows for the presence of "M5", a cutting edge computer, on the Enterprise. M5 is intended to perform the duties of human officers and prevent undue loss of human life in the exploration of the cosmos. M5 will first be put into use in a war games environment. While Spock naturally muses about the efficiency of the computer, Kirk & Bones have major misgivings. The fact that their jobs could be rendered obsolete is one thing. But the idea of this machine having ultimate control is troubling, since, as Bones puts it, machines generally aren't known for their *compassion*.
There are some truly high stakes in this incredibly tense, memorable, and excellent episode. The concept of trusting our lives to computers, and the computers possibly turning against us, has since been a common theme in sci-fi. (Ex. "Colossus: The Forbin Project", "The Terminator" series, etc.) While Spock believes that computers *are* more efficient, that doesn't necessarily make them *better* than human beings.
However, this particular computer has been designed to think more like an actual person, due to the methods employed by its creator, Richard Daystrom (the always commanding William Marshall of "Blacula" fame). Therefore, Daystrom must try to reason with M5, which is basically a kind of extension of himself. But it isn't until *Kirk* points out the cold hard truth to the computer that it sees the light.
A wonderful guest star turn by Marshall, and deft handling (by producer-director John Meredyth Lucas) of the D. C. Fontana script make this a winner, one of the best overall episodes of this series.
Nine out of 10.
Three's Company: The Bake-Off (1979)
"Just grab an end." "I'm trying to."
One of the most uproarious of all 'Three's Company' episodes, this entry from the third season shows what happens as ever-sleazy Dean Travers (the hilarious William Pierson, "Corvette Summer") selects Jack to represent their school in a bake-off contest between technical schools. Problems begin when Chrissy mistakenly eats the pie that Jack prepares! Janet & Chrissy make a substitution with a pie bought by Helen at a bakery, and when Jack finds out the whole story, he asks the Dean to be disqualified.
The constant hilarity is truly something to be treasured with 'The Bake-Off'. For one thing, Jack does get distracted from his pie-testing by attempting to help the girls make one of their beds. (Of course, Stanley ends up getting the wrong impression.) Jack once again proves his playful, insatiable nature by flirting with the girls (one thing guaranteed to serve as a distraction). But the memorable finale trades on the time-honored comedy gag of pies in the face: ALL the main characters, as well as the Dean and a baker named Hoffmeier (Leon Askin, 'Hogan's Heroes') who's serving as a judge, end up with dessert all over their faces.
Some truly great lines, especially when Janet reacts to Chrissy, abound. All in all, after revisiting this episode, I can see why fellow 'Three's Company' fans hold it in high regard.
10 out of 10.
Dung fong sam hap (1993)
Three heads are better than one.
Michelle Yeoh, Anita Mui, and Maggie Cheung, three super-sexy icons of 1990s Hong Kong cinema, team up for this visually arresting genre-crossing effort from director Johnnie To. They play three ass-kicking characters with secret superhero identities, one of whom is actually working for a powerful underworld demon (Shi-Kwan Yen). Various HK babies are being abducted so that the monster may select a future emperor from among them.
"The Heroic Trio" is such agreeably giddy escapism - encompassing martial arts, the supernatural, crime fiction, superhero movies, horror, comedy, and fantasy - that it's immediately pretty hard to resist, even if it DOES come off as goofy and overly sentimental at times. Director To serves it up with plenty of style, relish, liveliness, and atmosphere. The villains' lair is inventively designed, the fights are exciting, and the story has quite a good pace going for it. Granted, it's the kind of thing to which you HAVE to pay attention if the story grabs you at all. You can't just throw this film on as "background noise" while you do something else. Otherwise, you might be lost.
Not that it matters THAT much. Among the highlights is a memorable scene of a train crashing into a station. The dubbing may be cheesy, but the on screen talent is so compulsively watchable that they still come off quite well. And To and screenwriter Sandy Shaw aren't afraid to go to some dark places, and actually off some of the infants. The art direction (by Bruce Yu), cinematography (by Moon-Tong Lau and Hang-Sang Poon), and score (by Wai Lap Wu) are first-rate.
This invigorating, individualistic example of Far East cinema sure doesn't have very many equivalents in North America, although John Carpenter certainly gave it a great effort with his rollicking adventure "Big Trouble in Little China" (which also includes cast member James Pax).
Seven out of 10.
Bury Me an Angel (1971)
The race is almost over, and you know you'll never win.
Dixie Peabody ("Night Call Nurses") plays "Dag", a young female biker utterly destroyed by the killing of her brother Dennis. She sets out on the road with two male sidekicks, Bernie (Clyde Ventura, "'Gator Bait") and Jonesy (Terry Mace, "Sixpack Annie"), toting a shotgun and coldly determined to get revenge.
"Bury Me an Angel" is oft-promoted by cult movie aficionados as a rare "feminist biker movie", given that it's written & directed by a woman filmmaker (Barbara Peeters, "Starhops" and "Humanoids from the Deep") and features a strong female character in the lead. Having seen it now, I *can* safely say that the script is actually pretty good, and occasionally insightful. Of course, being a product of Roger Cormans' New World Pictures, it serves as both female empowerment *and* exploitation, with the statuesque Peabody removing her clothes for a skinny-dipping scene. Still ... it sometimes meanders and just marks time, with maybe a little too many shots of the main trio riding down the highway. The big fight scene in the bar comes off as perfunctory and overly silly. (Then again, that may have been Peeters' point: to show how silly she thinks scenes like this are.)
But the cast is good: Peabody leaves a memorable impression in the main role, and she & Mace & Ventura have decent chemistry. The supporting players include Joanne Moore Jordan ("Faces"), Gary Littlejohn ("Badlands"), Beach Dickerson ("Attack of the Crab Monsters"), and Dan "Grizzly Adams" Haggerty in an engaging bit as a struggling artist who takes a liking to Dag. Film director Richard Compton ("Macon County Line") plays one of the pool players.
Overall, "Bury Me an Angel" packs a pretty big punch with its bombshell of an ending, showing just how troubled our anti-heroine was and once again proving that revenge is not what it's cracked up to be.
Seven out of 10.
Spider-Man: Return of the Flying Dutchman/Farewell Performance (1967)
"What an act old Jonah's got. Now I know what killed vaudeville."
'Return of the Flying Dutchman'.
Spidey investigates reports that sailors are seeing the image of the notorious vessel The Flying Dutchman. It turns out that past villain Mysterio is responsible, projecting the image of the ship for his own nefarious ends. Two things strike me as priceless in watching this segment: first, the assistance that Spidey receives from an old sea dog who looks like Captain Highliner, and second, Spidey's continued ability to make all sorts of shapes and devices out of his webbing. This comes in handy when the web-head is caught on a boat during a storm. I also have to laugh at the old sea dogs' line when encountering Spidey for the first time: "Well, the world's full of strange things."
'Farewell Performance'.
This is somewhat unique for a vintage Spidey segment in that the antagonists putting Spidey through his paces actually have a worthy goal in mind: it's all about nostalgia and respect for history. It involves an unbelievably talented magician & illusionist named Blackwell. The best part of the segment is when Spidey figures out the best way to give Blackwell and his associates what they want is to skillfully manipulate Jameson, who up to this point has been spearheading the effort to demolish old "eyesores" like the theater in which this all takes place. Comedy relief abounds in a sequence in which construction workers find their tools turned into harmless objects.
Good fun overall, if not among the best 'Spider-Man' episodes.
Seven out of 10.
Daisy Kenyon (1947)
"The world's dead, and everybody in it is dead but you."
"Daisy Kenyon" is a fairly powerful romantic melodrama that serves as an effective showcase for Joan Crawford as she plays the title character. Daisy is a NYC artist caught between two men: married attorney Dan O'Mara (Dana Andrews) and WWII veteran Peter Lapham (Henry Fonda). O'Mara is a slick, smarmy type who refuses to divorce his wife - yet he is not irredeemable, as he does exhibit a degree of compassion, and he is also a good father to his two girls (Peggy Ann Garner, Connie Marshall). Lapham is a basically decent, well-intentioned man, yet he is not strictly one-dimensional, either.
Very well directed by Otto Preminger, "Daisy Kenyon" features an appealing performance by Crawford, who later stated that she felt that the reason it worked to any degree was because of Preminger. And yet, Crawford is not the whole show, as both Andrews and Fonda are equally well-utilized. It's especially fun to see Andrews cast against type as this cad who was overdue for some humanity / humility. The strong supporting cast also includes Ruth Warrick as the cuckolded wife, Martha Stewart (no, not THAT Martha Stewart), Nicholas Joy, Art Baker, Mae Marsh, Roy Roberts, and Tito Vuolo. John Garfield, Damon Runyon, and Walter Winchell all make cameo appearances.
Overall, this is an intelligent & sensitive story (scripted by David Hertz from a novel by Elizabeth Janeway) for adults with no easy answers or solutions. The characters are properly fleshed out and not unrealistic; these are real human beings with both assets & flaws. Ultimately, it is up to our female protagonist to reaffirm her independence and admit to her true feelings.
Seven out of 10.
Macbeth (1948)
By the pricking of my thumb, something wicked this way comes.
Cinema legend Orson Welles ("Citizen Kane") brought a prestige film to low-budget outfit Republic Pictures with this appropriately dark & moody adaptation of the legendary William Shakespeare tragedy. Welles plays the title character, a doomed Scottish lord undone by his own ambition and his even more ruthless wife (Jeanette Nolan, "The Big Heat").
A top-notch supporting cast and incredible atmosphere are heavy assets in this effective interpretation of the oft-filmed tale. Welles himself is quite properly intense as Macbeth, with Nolan a standout. But the talent assembled here is excellent right down the line: Dan O'Herlihy ("Robinson Crusoe") as the vengeful Macduff, Roddy McDowall ("Planet of the Apes") as Malcolm, Edgar Barrier ("Cyrano de Bergerac") as Banquo, Alan Napier ('Batman') as the Holy Father, Erskine Sanford ("Citizen Kane") as Duncan, John Dierkes ("Shane") as Ross, Keene Curtis ('Cheers') as Lennox, Peggy Webber ("The Wrong Man") as Lady Macduff, and Lurene Tuttle ("Psycho") as the Gentlewoman.
The poetry & power of Shakespeares' dialogue comes through well thanks to this group of actors, and I found the fact that most of the story here takes place at night quite suitable. Particularly effective are the monologues by Macbeth and his wife, who are all too believably troubled by their own actions, although we won't see evidence of this with her until the film is almost over.
It does indeed look like Welles was working within budgetary limits, but he and co-star O'Herlihy create some pretty enjoyable impressionist sets. The music by Jacques Ibert also really helps to set the mood.
While NOT a hit in its day (at least in English-speaking countries), over time people have come to appreciate this stylized and dreamlike approach to the material. It's available in two versions: the complete 108 minute version with the actors affecting Scottish accents, and an abridged version shortened by about 20 minutes.
Eight out of 10.
Hill Street Blues: Goodbye, Mr. Scripps (1983)
I wanna be elected.
The staff at Hill Street Station take up a collection for grieving mother Doris Robson (Alfre Woodard) and attend her childs' funeral as well. Alan Wachtel (Jeffrey Tambor) proposes an undercover operation in which he wears a wire. Assistant chief Dennis Mahoney (Ron Parady) ends up feeling betrayed by Chief Daniels (Jon Cypher), and helps to completely derail Daniels' campaign with a scathing indictment of his boss on TV. And Randolph Scripps (Kenneth Tigar, "Phantasm II"), a mentally ill man, is not respecting boundaries while operating under the delusion that he is also in the running for mayor.
'Goodbye, Mr. Scripps' is another top-notch episode in this classic series, with many moments both hilarious and dramatically powerful. It's wonderful to see Frank console both Officer Perez and members of his family, assuring them that he always believed in Perez' abilities and that he's ready to take him back once he's ready. (Perez says he's ready now, but *we're* not so sure.). What is also endearing is seeing poor Howards' awkward attempts at connecting with various ladies. Among the laughs to be had are watching Frank try hard to hold in HIS laughter as Wachtel tries to be serious while wearing the most outlandish things. Eventually, an election winner is declared that has some of the characters feeling a sense of hope.
Text at the beginning indicates the sad death of co-star Michael Conrad (a.k.a. Esterhaus) from cancer, although three episodes which Conrad had shot before his death would be aired afterwards. The death of the character would be addressed in episode 14 of this season.
Eight out of 10.
Avenging Angelo (2002)
Average crime film elevated a bit by some of the cast.
Sly Stallone plays Frankie Delano, loyal bodyguard to aged mobster Angelo Allieghieri (Anthony Quinn, in his final feature film appearance). Even after rival mobsters succeed in bumping off the old guy, Frankie vows to continue his mission in life of watching over Angelo's daughter Jennifer (Madeleine Stowe), who grew up completely unaware of her true parentage. Frankie & Jennifer predictably grow close while dodging numerous attempts on their lives.
"Avenging Angelo" regularly seesaws between exploiting comedic elements and trying to be genuinely poignant. While it's not completely successful, and is overall very predictable, Sly, ever-beautiful Madeleine, and the always welcome Quinn certainly make it watchable. It does deliver some decent laughs, and is at its best as it portrays the evolution of both the Jennifer character - who ends up wanting to "whack" mafia kingpin Lucio Malatesta (George Touliatos, "The Sisterhood of the Traveling Pants") - and the whole Frankie / Jennifer relationship.
Sly delivers one of his more endearing performances, and has good chemistry with Madeline, whose character starts off as rather ridiculous and gets more tolerable as the film progresses. Quinn, of course, is perfectly cast and makes the most of his brief time on screen. Raoul Bova ("Under the Tuscan Sun"), Harry Van Gorkum ("Agent Cody Banks"), and comedian Billy Gardell ("Bad Santa") co-star.
Overall, "Avenging Angelo" is absolutely nothing special, but there are still much worse ways with which to kill time. It's not up to "Oscar" in terms of Sly's lighter fare, but is at least better than "Stop! Or My Mom Will Shoot" (admittedly, not a high bar to clear).
Six out of 10.
Alfred Hitchcock Presents: Premonition (1955)
A cracking episode.
John Forsythe ('Dynasty') plays Kim Stanger, a composer / musician who returns to the U. S. from Paris. He's had a premonition that something was very wrong back at home. He finds that his younger brother (Warren Stevens, "Forbidden Planet"), sister-in-law (Cloris Leachman, "The Last Picture Show") and her lawyer father (George Macready, "Paths of Glory") are all being extremely cagey about the fate of Kims' father Greg.
The less you know about this solid script (by Harold Swanton), the better. As I begin to work my way through this legendary TV series, I found that there was a real delight in getting to the "big reveal", in much the same way that the later, equally memorable series 'The Twilight Zone' also worked. And then I went back over the story in my mind, and realized that the clues to the end *were* there, a proper element of good writing.
Ably directed by Robert Stevens, who guided 44 episodes of this series in total (and who also worked on 'Suspense' and the aforementioned 'The Twilight Zone'), this is fine entertainment indeed, given gravitas by an excellent cast also including character actors Percy Helton ("20,000 Leagues Under the Sea"), Harry Tyler ("The Grapes of Wrath"), and Paul Brinegar ('Rawhide').
This is even better than the first episode, 'Revenge'.
Eight out of 10.
Endless Night (1972)
Some are born to endless night.
Welsh actor Hywel Bennett ("Percy") plays Michael Rogers, a fairly aimless young working man who still wants some of the finer things in life. He falls in love with a piece of land called Gypsy's Acre, and subsequently, a luminous American rich girl named Ellie Thomsen (a gorgeous and effervescent Hayley Mills). Despite some initial misgivings on his part about carrying on with such a wealthy person, they enter into marriage, living on a luxurious estate designed by architect Santonix (Swedish actor Per Oscarsson, "The Night Visitor").
Although this seems to be a fairly unremarkable love story for much of the running time, this IS an adaptation of an Agatha Christie novel, so it DOES make you curious as to where it's going. It does lead to a pretty good twist late in the game, whether the viewer sees it coming or not. Then one may realize just how much they've been manipulated up to that point.
The cast is game, with Bennett doing a particularly good job. Mills of such Disney fare as "Pollyanna" and "That Darn Cat!" makes for a VERY appealing leading lady, with the equally lovely Britt Ekland ("The Man with the Golden Gun") leaving a strong impression as a slightly overbearing character named Greta. The excellent supporting cast includes Lois 'Miss Moneypenny' Maxwell, George Sanders ("All About Eve"), Aubrey Richards ("The Ipcress File"), Patience Collier ("Fiddler on the Roof"), Peter Bowles ("Blow-Up"), David Bauer ("Diamonds Are Forever"), Helen Horton ("Phase IV"), Madge Ryan ("A Clockwork Orange"), Windsor Davies ('It Ain't Half Hot Mum'), and Walter Gotell ("The Spy Who Loved Me").
Atmospheric handling, by screenwriter-director Sidney Gilliat ("The Great St. Trinian's Train Robbery"), and slick film-making make this a reasonably absorbing story with a finale that made the whole thing worthwhile for me.
Six out of 10.
Spider-Man: Spider-Man Meets Dr. Noah Boddy/The Fantastic Fakir (1967)
"If I don't get off these nails, my feet will be Swiss cheese!"
'Spider-Man Meets Dr. Noah Boddy'.
The title villain (voiced by Henry Ramer) starts framing Jameson for crimes after the publisher refused to print any stories about Boddy's mastery of invisibility. Good fun for Spidey fans, with the web-head having his work cut out for him at first, having to confront a villain whom he can't see. But some well-placed ink creates a trail for Spidey to follow. The segment also benefits from a typically maniacal, grandiose bad guy well voiced by Ramer. One of the biggest laughs happens when a net Spidey tried to use to catch Boddy lands on Jameson.
'The Fantastic Fakir'.
This time around, the bad guy - a fakir is a Hindu holy man with a command of magic - uses his flute music to create illusions and obstacles for Spidey to overcome, while plotting to steal valuable gems. This antagonist is voiced by Paul Soles, also the regular voice of Spidey / Peter Parker, and he's a hoot, although modern viewers, in this politically correct era, may be thunderstruck by some of the characters & lines. Best of all is when the villain is able to place hot coals and needles under Spidey's feet. It's just too hilarious watching Spidey dance in pain before he is able to get past these obstacles. The episode ends with yet another of Jamesons' slams against kids.
Eight out of 10.
Star Trek: The Omega Glory (1968)
It's still "we the people", right?
The Enterprise finds another starship, the Exeter, in orbit around the planet Omega Four. Kirk & others beam aboard the starship to find your standard-issue "ghost ship": all the crew is dead of a disease that drained all the water from their bodies and left only crystals. The landing party then beam down to the planet to find a Federation captain (Morgan Woodward, "Battle Beyond the Stars") who has gone rogue. He's interfering in the war between two of the peoples, in order to find the secret of their incredibly long lives.
Roddenberry himself scripted another in the line of stories involving the violation of the "Prime Directive". As such, it tells a pretty familiar tale, but there are still good ideas present, especially at the end when Kirk is able to make some of the characters see reason, in his inimitable way. We also get to see Kirk in full "action hero" mode, as he repeatedly tussles with Captain Tracey as well as a character named "Cloud William" (Roy Jenson, "Chinatown"). The real joy for me in this episode was the presentation of the initial mystery, and in watching Shatner as Kirk again attempts to be the problem solver. Guest star Woodward is just as effective here playing the madman as he was in the first season episode 'Dagger of the Mind'.
Most interesting here is the fact that Scotty does not appear in this episode (nor does Chekov). In his place, Sulu assumes command while Kirk & Spock are off the ship. Also, during the original airing of this episode back in 1968, NBC announced that the series *would* be renewed for a third season, and told viewers that sending any more letters would NOT be necessary!
Seven out of 10.
Three's Company: The Harder They Fall (1979)
"He was so tall, everything he said went right over my head."
Janet is working at the flower shop when she meets a handsome customer, Gregg Halliday (Rod McCary, "Stir Crazy"). She decides to bring him back to the apartment, letting Chrissy know that she would like the place to herself for a while. But Jack ends up falling down the steps, and breaks his leg. So he pretty much *has* to stick around now. Meanwhile, Stanley's only concern is not for Jacks' welfare; he's afraid Jack will sue him due to Stanley having hosed down the steps earlier.
'The Harder They Fall' is a pleasant, at times very funny, but not quite uproarious episode. It's at its best and brightest when it comes to showcasing Johns' flairs for physical comedy. To that end, the final bit of slapstick, involving several of the principals, is highly amusing; Stanley ends up with a potted plant on his head. There's also another of those typical 'Three's Company' moments when Jack & Chrissy overhear Janet & Gregg discuss her ferns, and *they* think that she's talking about her breasts. One of the best laughs I had was when Jack easily predicted a line that Gregg does in fact utter presently.
Guest star McCary would return to the series in season seven, playing a similarly sleazy character.
Seven out of 10.
4 mosche di velluto grigio (1971)
Not prime early Argento, but still worth a watch.
Michael Brandon ("Lovers and Other Strangers") plays Roberto, drummer in a rock band. He's seen a mysterious man follow him around, and angrily decides to confront the guy. In the process, he accidentally kills him! Then he realizes that someone else has witnessed this killing - a person who then proceeds to terrorize him. Rather than involve the police, he tries to deal with the problem himself.
The final film in master stylist Dario Argentos' "Animal Trilogy" (after "The Bird with the Crystal Plumage" and "The Cat O'Nine Tails"), this was considered to be a "lost" film for a long time, since it had not been available on home video. While the film shows Argento to be in good form - as usual, he knows how to create great visuals - the story is only so-so; even this viewer saw the ending coming a mile away.
Brandon is a dull actor here, playing an uninteresting protagonist, with Mimsy Farmer ("Autopsy") coming off a bit better as Robertos' wife Nina. There *are* some colorful supporting characters to compensate: French actor Jean-Pierre Marielle ("The Da Vinci Code") is a standout as the gay private detective whom Roberto hires; Oreste Lionello ("The Case of the Bloody Iris") is a hoot as a hammock-dwelling kook called "The Professor". Bud Spencer (the "Trinity" films) makes a very welcome handful of appearances as a friend of Robertos' who is addressed as "God".
Overall, "Four Flies on Grey Velvet" is good entertainment, and worth a look for Argento completists. The Ennio Morricone score is a heavy asset, although a disagreement between composer & filmmaker would prevent them from working together again for many years. In the meantime, Italian rock band Goblin would become regular composers for Argentos' pictures.
Seven out of 10.
The Glass Shield (1994)
Fairly powerful urban cop drama.
Michael Boatman ('Spin City') plays J. J. Johnson, an ambitious young black policeman who gets singled out for an honor: he is posted to the Sheriffs' Department at Edgemar Station. As the only black lawman there, he is a definite outsider, as is Deborah Fields (Lori Petty, "Point Break"), the only female cop with the department. J. J. Is at first content not to make waves, and to support his fellow officers, but he comes to learn just how crooked and racist they all are.
The main story thread deals with an innocent young black man, Teddy Woods (Ice Cube), who is hassled and turned into a convenient suspect when a mans' wife is murdered.
This is a good story inspired by a real-life case and an un-produced screenplay by Ned Welsh. We do see how these men in these positions of authority have been abusing that authority for a long time, and we are properly frustrated at seeing how hard it is to take them down. It benefits from having a lead character who is not so squeaky-clean, making his big mistake by initially taking the side of his fellow officers. The antagonists are all thoroughly disreputable types guaranteed to get some viewers' blood boiling.
Boatman does a solid job anchoring the tale with his sincere performance, and has good chemistry with Petty. But this thing has an *amazing* supporting cast full of familiar faces, including, but not limited to, Richard "Oscar Goldman" Anderson, Don Harvey ("Die Hard 2"), Elliott Gould ("The Long Goodbye"), Bernie Casey ("I'm Gonna Git You Sucka"), Wanda De Jesus ("Blood Work"), Victoria Dillard ("Ali"), Michael Ironside ("Starship Troopers"), Sy Richardson ("Straight to Hell"), and M. Emmet Walsh ("Blood Simple"). Casey is a standout as a savvy defense attorney.
Scripted and directed by Charles Burnett, whose other pictures include "Killer of Sheep" and "To Sleep with Anger", this made for a compelling tale indeed.
Seven out of 10.