Music Video of the Day: Bring Your Daughter To The Slaughter by Iron Maiden (1990, directed by Steve Harris)


With songs with titles like Bring Your Daughter To The Slaughter, who would have guessed parents would have gotten the wrong idea about Iron Maiden?  That really is the appeal of the band, though.  Underneath the occult imagery and controversial song titles, they really were just a bunch of hard-working English blokes who played well together.

This video features scenes from the horror film, Horror Hotel.  This video was directed by founding member, Steve Harris.

Enjoy!

Late Night Retro Television Review: Freddy’s Nightmares 2.10 “Do You Know Where Your Kids Are?”


Welcome to Late Night Retro Television Reviews, a feature where we review some of our favorite and least favorite shows of the past! On Fridays, I will be reviewing Freddy’s Nightmares, a horror anthology show which ran in syndication from 1988 to 1990. The entire series can be found on Tubi!

This week, we get a sequel to a previous episode.

Episode 2.10 “Do You Know Where Your Kids Are?”

(Dir by Bill Froehlich, originally aired on December 10th, 1989)

In this sequel to Bloodlines, an episode that I didn’t particularly care for, Patty Burton (Courtney Gebhart) is still locked up in the basement of the Burton home.  When college student Lisa Wax (Suzanne Tara) comes over to babysit little Will Burton (Christopher Finefrok), she is not happy to learn that there is apparently a crazy woman in the basement. Lisa keeps falling asleep and having nightmares about being dragged into the basement.  Then, she actually is dragged into the basement and Patty, who now looks like Lisa, escapes. By an amazing coincidence, Patty ends up at Lisa’s house, where Lisa’s mom (Sharon Farrell) assumes that Patty is Lisa.  When the real Lisa manages to escape from the basement, she shows up at home and is shot and killed by her own mother.  Patty then returns to her home and exiles her parents (Chris Nash and Jeannine Lewis) to the basement.  The episode ends with Patty approaching Will.

Yikes!

This was a dark episode.  I wouldn’t necessarily say it was scary.  The scenes where Lisa (hey, that’s my name!) hears Patty in the basement are so overdone that they inspired more laughter than chills.  But the idea of someone stealing your identity and then getting your own mother to shoot you because she doesn’t recognize you?  That’s definitely creepy!

As for the ending …. I never liked the Burtons.  I didn’t like them in Bloodlines and I didn’t like them here.  I feel bad for Will but the parents?  They got what they deserved.

Cadence (1990, directed by Martin Sheen)


In the 1960s, druken Pvt. Franklin Fairchild Bean (Charlie Sheen) punches an MP in West Germany.  The rebellious Bean is hoping he’ll be discharged from the Army.  Instead, he’s sent to the stockade for 90 days.  The stockade is run by an alcoholic tyrant named Sgt. Otis McKinney (Martin Sheen) and, shortly after arrival, Bean discovers that he’s the only white prisoner.  With McKinney determined to break him, Bean befriends his fellow prisoners, including Roosevelt Stokes (Laurence Fishburne), and the two white corporals (James Marshall and Ramon Estevez) who try to protect the prisoners from McKinney’s erratic behavior.

Cadence is the only film to have been directed by Martin Sheen.  Considering that it co-stars two of his sons, it’s unfortunate that Cadence isn’t a better movie.  Charlie Sheen gives a one-note performance as Franklin Bean but he still does better than his father, who is such a raging monster as Sgt. McKinney that it’s difficult to take him or the movie seriously.  As a director, Martin Sheen always goes for the most ham-fisted shot and it’s hard to see what he’s really trying to say about the Army or Franklin Bean’s rebellion.

The supporting cast is better, especially James Marshall and Ramon Estevez.  Laurence Fishburne brings his trademark gravitas to the role of Stokes.  The other prisoners are played by Michael Beach, Blu Mankuma, John Toles-Bey, and Harry Stewart and they all make a good impression.  Stewart plays the most saintly and innocent of the prisoners.  Guess what happens to him.

Back in the day, this movie was an HBO mainstay.  Somehow, I always seemed to catch the end of it but never the beginning.

Retro Television Review: St. Elsewhere 3.17 “Give The Boy A Hand”


Welcome to Retro Television Reviews, a feature where we review some of our favorite and least favorite shows of the past! On Fridays, I will be reviewing St. Elsewhere, a medical show which ran on NBC from 1982 to 1988.  The show can be found on Daily Motion.

Oh, Dr. Westphall, what’s got you upset this week?

Episode 3.17 “Give The Boy A Hand”

(Dir by Janet Greek, originally aired on January 23rd, 1985)

Dr. Westphall’s daughter, Lizzie (Dana Short), comes home from college.  At first, Westphall is happy to have her home.  So is Tommy, Westphall’s several autistic son.  Still, he gets the feeling that Lizzie isn’t telling him something and we know he’s right because nothing good ever happens to Dr. Westphall.  Sure enough, Lizzie’s boyfriend shows up unannounced and Westphall discovers that Lizzie is struggling in college.  Lizzie reveals that she’s miserable away from home.  She wants to drop out and return home so that she can take care of Tommy.  Westphall tells her that’s not an option.  Lizzie gets angry and goes back to school.  Westphall ends up sitting in his house, alone and in the dark.

Agck!  Seriously, Dr. Westphall, can you get any more depressing!?

Meanwhile, Mrs. Hufnagle is back in the hospital.  When Dr. Chandler introduces himself as her new doctor, Hufnagle says that she doesn’t want him as her doctor.  “May I ask why?” Chandler asks.  “Because you’re colored,” comes the response.  Chandler explains that he went to Yale and graduated at the top of his class.  Hufnagle says that’s due to Affirmative Action.  In the cafeteria, Chandler begs the other doctors to take over as Hufnagle’s doctor.  “Go away!” the other doctors say.  Chandler is stuck with Hufnagle and, despite her original comments, Hufnagle decides that she’s okay with that.  Maybe she noticed that Dr. Chandler is played by a young Denzel Washington.

Dr. Woodley continues to treat pregnant teenager Maddy (Lycia Naff).  Meanwhile, Maddy’s idiot boyfriend (Timothy Van Patten) tried to set up a drug deal that went to pieces when one of his partners overdosed and was rushed to the ER, where he subsequently died.

Finally, Ehrlich has been on the local news, presenting a daily medical commentary.  However, when he tries to present a commentary about treating the disabled with respect, he tells a joke about a man who went to the hospital, had his legs accidentally amputated, tried to sue, and was told he didn’t have a leg to stand on.  After the station is flooded with complaints, Ehrlich is fired.  He gets the news right before he does his final commentary.  Ehrlich sings I’ve Got To Be Me on the air.  Later, he gets drunk and goes to the hospital, where he tells Dr. Craig that he feels like he’s forgotten what made him love being a doctor in the first place.  Ehrlich thinks he should quit medicine.

“It’s too late for that,” Craig replies.

“That’s it!?” Ehrlich, who was hoping for better advice, replies.

Craig sighs and gives Ehrlich a retractor of his very own.  Ehrlich thanks Craig and then makes a dumb joke.

“Just can’t help yourself,” Craig says.

The Ehrlich stuff was entertaining.  Ed Begley Jr. and William Daniels make for a great team.  Otherwise, this was a somewhat bland episode.  How many times can we watch Dr. Westphall get depressed?  Seriously, the man needs someone to tell him a good joke.

Paging Dr. Ehrlich….

Brad revisits CHINO (1973), starring Charles Bronson, on Jill Ireland’s 90th Birthday!


I remember the first time I ever saw the Charles Bronson western, CHINO.  I was probably around 13 or 14 years old and already well known in my school for being obsessed with the actor Charles Bronson, who would have been roughly 65 years old at the time. There was this girl who I guess had a crush on me, so she invited my best friend Chad and I, along with her best friend, over to her house to watch a movie one Saturday. And the movie she chose… CHINO, AKA THE VALDEZ HORSES! I don’t think I watched the movie very close that day. CHINO was treated poorly on VHS in the 80’s, and I was more interested in the DEATH WISH 3s and MURPHY’S LAWs of the world at that time. I was also more interested in trying to make the girls laugh, which was always my main move because I was never good looking enough to smolder.

So, for many years, CHINO was nowhere near the top of my list of favorite Charles Bronson films.  I watched it a few times, but I always found it hard to take seriously due to the cheap quality of the video presentation.  Well in 2021, Kino Lorber released the film under THE VALDEZ HORSES title in a glorious Blu-ray. CHINO is a revelation with this new release, and I finally saw what I had been missing all these years. For the first time, I felt like I was able to watch it, and judge it, based on its own merits as a film.

CHINO opens on Jamie (15-year-old Vincent Van Patten) riding across the range as the title tune “Freedom Rainbow” plays over the credits. When he comes upon a ranch just as it’s getting dark, a tough-as-nails-looking Chino Valdez (Charles Bronson), emerges from the cabin and offers him a warm fire and a meal. Initially a little scared of Chino, Jamie is looking for work and Chino needs help, so the boy hangs around for a while. Things seem to be going well as the eager Jamie and Chino work the horses at his ranch, but soon issues start popping up. First, it’s the barbed wire that cattle baron Maral (Marcel Bozzuffi) puts up on the range that results in serious injuries for some of Chino’s wild horses.  Then, it’s the fact that every time Chino goes to town for supplies, he ends up drinking, brawling, and spending a little time in jail. But those things pale in comparison to the biggest issue… Chino falls in love with the beautiful Catherine (Jill Ireland), Maral’s sister, and Maral will have no part of her falling back in love with the half breed Chino! Maral threatens to kill Chino if he doesn’t quit seeing his sister, and he means it.

Based on the award-winning 1967 novel THE VALDEZ HORSES by female author Lee Hoffman, director John Sturges crafted a movie around a role that seems tailor made for Bronson. Chino Valdez is a loner who reluctantly takes on a fatherly role towards Jamie, and then even more reluctantly falls in love with Catherine. He seemed like the kind of man who would be perfectly fine working the ranch by himself forever until Jamie rides up. A loner in real life who valued his family over anything else, who also purchased his own horse ranch in Vermont the same year of CHINO’s release, it’s hard to know where the character of Chino begins and Charles Bronson ends. This is a particularly strong performance from Bronson, one of his very best.

And you really do need to savor the film for Bronson’s incredible presence, because the film doesn’t have as much action, nor does it lead to the typical showdown that we’ve come to expect in Bronson’s movies.  Chino gets into a scuffle when he goes into town, and he shoots some bad guys at the end, but this is first and foremost a character study.  As a matter of fact, the film that John Sturges delivered had even less action than what we see in the final product.  Disappointed in the surprising lack of action, producer Dino De Laurentiis hired director Duilio Coletti to shoot some additional action scenes for the film after Sturges had left the project. These scenes are incorporated very well into the final product, and I agree that they add value.

Without the typical Bronson action, we’re left with a perfectly cast Bronson interacting with the supporting characters in ways that are atypical for his filmography. Bronson and Vincent Van Patten work well off each other, and Van Patten is phenomenal as the teenage Jamie. I love that their relationship evolves into something meaningful as the movie progresses.  Chino learns that he can trust the boy who seems to emerge as a young man right before our eyes. And then there’s the relationship between Chino and Catherine, played by Bronson’s wife Jill Ireland. Not quite as effective as the Chino / Jamie relationship, it’s still character driven and unique. Chino shows a tenderness towards her in a couple of scenes that we’re not used to seeing presented onscreen, even if one of the moments is brought on by the admittedly odd inclusion of the two watching his stud mount a beautiful wild mare. Ireland is extremely beautiful, so it’s not completely surprising that the self-sufficient Chino would fall for her.  Unfortunately, while the Chino / Jamie relationship strengthens throughout the film, the Chino / Catherine relationship eventually goes the other way leading to the somewhat surprising, some might say disappointing, finale.      

After watching the restored Blu-ray presentation by Kino Lorber, I can confidently say that CHINO is a good Charles Bronson film that features one of his best performances. It’s still not in my personal Bronson top ten, but if you’re a fan of Charles Bronson the actor, then this a must-watch. It’s my opinion, after having read the book and watched the movie, that no other actor could have brought the character of Chino Valdez alive in a stronger way than Charles Bronson. It was the perfect combination of actor and character, and I’ll stand by that opinion to the end.  

Song of the Day: Black Hole Sun (by Soundgarden)


Black Hole Sun” is one of those songs where Chris Cornell’s voice feels like the main character of its own little surreal movie. The way he drags out phrases, bends notes, and shifts between soft intimacy and howling power makes the whole thing feel heavy and hazy at the same time. You can almost feel the song stretching out like a long, strange afternoon in a half‑real town, and for a lot of people it became the entry point that pulled them headfirst into the Soundgarden rabbit hole with the Superunknown album.

Kim Thayil’s guitar work is what keeps that dream from ever feeling safe. His riffs throughout the track are already weird and slightly off‑kilter, but when the solo hits at 2:56, things get properly discordant. Instead of a neat, singable melody, the lead line feels jagged and uneasy, like the song is momentarily glitching out and refusing to sit in one place. That solo gives the song its signature discordant sound, almost like light and matter being pulled down into the black hole the title hints at.

The solo only lasts a little over 20 seconds, but it’s perfectly placed: it erupts right when the song’s tension peaks, then fades just quickly enough to let Cornell’s voice regain control and pull you into the next verse. The contrast between Thayil’s warped, dissonant lead and Cornell’s smooth, almost crooning delivery is what makes the track feel both beautiful and unsettling at the same time.

If you’re trying to get into Soundgarden, “Black Hole Sun” is a great entry point not just because it’s catchy, but because it shows how perfectly Cornell and Thayil balance each other. Cornell gives the song its soul and mystery, while Thayil’s discordant guitar solo reminds you that there’s something quietly wrong under the surface — and for countless fans, it was the hook that dragged them deep into the rest of Superunknown and the band’s wider catalog.

Black Hole Sun

In my eyes
Indisposed
In disguises no one knows
Hides the face
Lies the snake
And the sun in my disgrace
Boiling heat
Summer stench
Neath the black, the sky looks dead
Call my name
Through the cream
And I’ll hear you scream again

Black hole sun
Won’t you come
And wash away the rain?
Black hole sun
Won’t you come
Won’t you come
Won’t you come

Stuttering
Cold and damp
Steal the warm wind, tired friend
Times are gone
For honest men
Sometimes, far too long for snakes
In my shoes
Walking sleep
In my youth, I pray to keep
Heaven send
Hell away
No one sings like you anymore

Black hole sun
Won’t you come
And wash away the rain?
Black hole sun
Won’t you come
Won’t you come

Black hole sun
Won’t you come
And wash away the rain?
Black hole sun
Won’t you come
Won’t you come (Black hole sun, black hole sun)
Won’t you come (Black hole sun, black hole sun)
Won’t you come (Black hole sun, black hole sun)
Won’t you come? (Black hole sun, black hole sun)

(guitar solo @2:56)

Hang my head
Drown my fear
Till you all just disappear

Black hole sun
Won’t you come
And wash away the rain?
Black hole sun
Won’t you come
Won’t you come

Black hole sun
Won’t you come
And wash away the rain?
Black hole sun
Won’t you come
Won’t you come (Black hole sun, black hole sun)
Won’t you come (Black hole sun, black hole sun)
Won’t you come (Black hole sun, black hole sun)
Won’t you come (Black hole sun, black hole sun)
Won’t you come (Black hole sun, black hole sun)
Won’t you come (Black hole sun, black hole sun)
Won’t you come
Won’t you come

Great Guitar Solos Series

Live Tweet Alert: Join #FridayNightFlix for The Mechanic!


 

As some of our regular readers undoubtedly know, I am involved in a few weekly watch parties.  On Twitter, I host #FridayNightFlix every Friday and I co-host #ScarySocial on Saturday.  On Mastodon, I am one of the five hosts of #MondayActionMovie!  Every week, we get together.  We watch a movie.  We tweet our way through it.

Tonight, at 10 pm et, I will be hosting #FridayNightFlix!  The movie?  1972’s The Mechanic!

If you want to join us this Friday, just hop onto twitter, find The Mechanic on Prime, start the movie at 10 pm et, and use the #FridayNightFlix hashtag!  I’ll be there happily tweeting.  It’s a friendly group and welcoming of newcomers so don’t be shy.

See you there!

 

 

4 Shots From 4 Films: Special Richard Donner Edition


4 Shots From 4 Films is just what it says it is, 4 shots from 4 of our favorite films. As opposed to the reviews and recaps that we usually post, 4 Shots From 4 Films lets the visuals do the talking!

Today would have been the 96th birthday of director Richard Donner.  It’s time for….

4 Shots From 4 Richard Donner Films

The Omen (1976, dir by Richard Donner, DP: Gilbert Taylor)

Superman (1978, dir by Richard Donner, DP: Geoffrey Unsworth)

Lethal Weapon (1987, dir by Richard Donner, DP: Stephen Goldblatt)

Scrooged (1988, dir by Richard Donner, DP: Michael Chapman)