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? 1979’s The Jerk!
If you want to join us this Friday, just hop onto twitter, find The Jerk 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.
Everyone had to start somewhere and for Clint Eastwood, that somewhere was 1955’s Revenge of the Creature. Here he is, making his uncredited film debut as a lab technician who has discovered something odd. Even in his very first role, Eastwood’s physicality made him stand out. And check out that gorgeous hair!
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 we celebrate the 132nd anniversary of the birth of cinematic pioneer, Josef von Sternberg! That means that it’s time for….
4 Shots From 4 Films
An American Tragedy (1931, dir by Josef von Sternberg)
The Scarlet Empress (1934, dir by Josef von Sternberg)
The Devil is A Woman (1935, dir by Josef von Sternberg)
Welcome to Late Night Retro Television Reviews, a feature where we review some of our favorite and least favorite shows of the past! On Thursdays, I will be reviewing Hunter, which aired on NBC from 1984 to 1991. The entire show is currently streaming on Tubi and several other services!
This week, Hunter goes to jail!
Episode 1.7 “Pen Pals”
(Dir by Larry Stewart, originally aired on November 16th, 1984)
Rick Hunter, murderer!
Well, not quite. It is true that someone used Hunter’s gun to assassinate a drug dealer but, at the time of the shooting, Hunter was helping a woman who came by his apartment and said that her car had broken down. It’s a set up! But, because Hunter threatened to kill the drug dealer earlier and he’s killed around 20 0ther people since the pilot, everyone assumes that he’s guilty. He’s sent to jail for 72 hours. McCall, forced to partner up with the charming but incompetent Detective Glascow (Tim Thomerson), attempts to prove that Hunter was framed. Meanwhile, Hunter befriends one prisoner (Tracey Walter) and is targeted by another (Jack O’Halloran).
There were a few odd things about this episode. First off, why wasn’t Hunter put in protective custody? Everyone in the jail knew that he was a cop. He hadn’t actually been convicted of anything. So, what was he doing in general population?
Secondly, what happened to Hunter’s mob connections? Previous episodes have hinted that Hunter’s father is one of the most powerful gangsters in California. Wouldn’t that give him some sort of protection in prison? Couldn’t the Hunter crime family have asked around and discovered who set Rick Hunter up?
Oh well, no matter. This was a fun episode! Tim Thomerson was wonderfully smarmy as McCall’s new partner. Jack O’Halloran was properly psychotic as the scary prisoner looking to take down Hunter. If any actor was born to be filmed beating up people in a prison cafeteria, it was Fred Dryer.
Luckily, Hunter got out of jail at the end of the episode. Now, he and McCall can get back to falling in love.
I have about a 30-minute commute to my office every day, so I love to listen to podcasts about my favorite actors and movies. About a year or so ago, I discovered the “Podcast on Fire,” which mostly focuses on Hong Kong movies, but will veer into other Asian related cinema as well. Kenny B and his various co-hosts may do a series on a prominent Hong Kong director one week and a sleazy category III soft porno the next, so the wide variety is especially enjoyable, and I’ve learned so much by going through their back catalog of episodes. I recently came across their series dedicated to popular Hong Kong melodramas. The first episode in the series included a lengthy discussion of ALL ABOUT AH LONG, an award-winning tearjerker starring Chow Yun-Fat. I haven’t watched it in over 20 years, so it was time for a revisit.
Ah Long (Chow Yun-Fat) is a former motorcycle racer who lives in Hong Kong and works as a truck driver while raising his son Porky on his own. The two seem to have a great relationship, even if their situation can only be described as modest at best. Things get interesting when Ah Long’s former girlfriend Por Por (Sylvia Chang), who also happens to be Porky’s mother, enters their life after being away in America for 10 years. In a cruel twist that was brought on because her family did not want her to be with Ah Long, she had been led to believe that Porky had died and her escape to America was her way of dealing with that pain. Now wealthy and successful, she discovers that Porky is indeed alive, and Ah Long has been raising their son alone all these years. Naturally, she wants to be involved in her son’s life. As a matter of fact, she wants to give Porky a life that his father never could.
My favorite living actor, Chow Yun-Fat, gives one of the best performances of his career in this film. It’s especially impressive because it asks him to behave almost completely the opposite of the cool heroes that made him famous around the globe in his Hong Kong action hits like THE KILLER and HARD BOILED. His Ah Long can be funny and charismatic, but he can also be immature and downright mean. There are times he’s so sweet and likable, and then there are times, especially seen in flashback, where he’s not likable at all. Chow doesn’t try to smooth away the rough edges of the character, either. Ah Long is flawed, but he’s also a great dad, and his chemistry with his son Porky (Huang Kun-Hsuan) feels very natural. I also like Chow’s chemistry with Sylvia Chang as Por Por. Even though she wants to take Porky back to America with her, she’s never portrayed as this evil villain, and she and Chow actually end up working together to do what’s best for their son. Chow would win his 3rd Hong Kong Film Award for Best Actor for his performance here.
The film is very melodramatic, but director Johnnie To goes out of his way to ground the film in some level of reality. Long before To was transforming the Hong Kong film industry in the late ‘90’s through his Milky Way Images production company, he was a working director just making successful movies. With this film’s cramped apartments, simple meals, awkward dinner conversations, and past romantic regrets, the movie gives all of us something we can latch ahold of. When tragedy enters near the end, it’s especially affecting since we’ve grown to understand and care about the characters. If ALL ABOUT AH LONG doesn’t make you reach for the tissues, you’ve got a heart of stone, my friend!
In my opinion, ALL ABOUT AH LONG is also the kind of movie that determines if you’re a Chow Yun-Fat fan or just a John Woo action movie fan. Chow is about as far away from the charismatic hero of A BETTER TOMORROW as he can possibly get. This is Chow at his most human and relatable, and I’ll admit I loved every moment of his performance. I watched it again on the DVD that I purchased about 25 years ago, and there’s just nobody any better out there.
Welcome to Retro Television Reviews, a feature where we review some of our favorite and least favorite shows of the past! On Thursdays, I will be reviewing Decoy, which aired in Syndication in 1957 and 1958. The show can be viewed on Tubi!
Episode 1.33 “The Lieutenant Had A Son”
(Dir by David Alexander, originally aired on May 26th, 1958)
After spending five years overseas, career soldier Lt. Larry Hayes (Leo Penn) returns to New York City. He wants to see the son that he’s never met and he’s not happy when he discovers that, in his absence, his wife (Loretta Leversee) has married another man (Will Kuluva). His wife goes to the police for protection but, once it becomes obvious that she committed bigamy, Casey has to try to sort out who is married to who and who Larry, Jr. (Robie Grant) belongs with.
This was an odd episode. Absolutely no one was sympathetic. I even got annoyed with Casey for getting involved with these people. Lt. Hayes was a self-righteous martinet. His wife was a flake who simply didn’t seem to understand why she wasn’t being given a pass on the whole bigamy thing. Five year-old Larry, Jr. was played by a child named Robie Grant. I was not surprised to discover that this was Grant’s only credit because he was beyond lousy in the role. I have never been more annoyed by a five year-old.
The most interesting thing about this episode is that Larry Hayes is played by Leo Penn, the father of Sean, Chris, and Michael Penn. Leo Penn gives a believable performance as Larry. It wasn’t his fault that the character wasn’t particularly likable.
n the vast landscape of shonen anime and manga, heroes are traditionally defined by raw physical power, explosive emotional outbursts, or tragic, predetermined destinies. Dr. Stone completely subverts this saturated paradigm through its brilliant protagonist, Senku Ishigami, who arrives as a revolutionary breath of fresh air. Thrust into a post-apocalyptic “Stone World” where humanity has been petrified for over 3,700 years, Senku does not rely on a magical power-up, a hidden prodigy status, or a legendary sword to survive. Instead, his primary weapon is his absolute, unwavering mastery of science—a vast treasury of human knowledge that he wields with the casual confidence of a master artisan. While others might despair at the loss of civilization, Senku simply grins, points to the sky, and declares his ambition to rebuild everything from scratch. This fundamental shift from physical brawn to intellectual muscle instantly sets him apart, establishing him as an unconventional hero whose battlefield is the natural world itself.
What truly elevates Senku’s charisma is his radical rejection of emotional fatalism, coupled with a deeply empathetic soul. On the surface, he frequently presents himself as a cynical, logical pragmatist who claims to care only about efficiency and baseline data, famously declaring that he is moved by science rather than sentimental speeches. Yet this sharp, sometimes arrogant exterior is a thin veil for a profound humanism. In most survival narratives, protagonists are paralyzed by fear, loss, and moral ambiguity. Senku, however, acknowledges these harsh realities but refuses to be defeated by them. His ultimate, audacious goal is the rescue of all seven billion petrified human souls, transforming cold, hard logic into a tool for absolute liberation. His catchphrase, “I get excited, get excited!” is not the thrill of violence but the genuine joy of discovery. This beautiful contradiction—using empirical action to achieve a deeply warm and protective mission—creates a magnetic personality that viewers and fellow characters can’t help but rally behind.
Furthermore, Senku’s charisma relies heavily on his infectious, boundlessly joyful passion for discovery and creation. Watching him struggle through trial-and-error to reinvent antibiotics, cell phones, or hot air balloons from raw wilderness resources is genuinely exhilarating. He strips away the elitism often associated with high-level science, reframing it as a collaborative, step-by-step adventure. His signature phrase, “Ten billion percent,” reflects an intellectual excitement akin to Archimedes’ “Eureka!” moment. He turns the act of learning into a thrilling spectacle, proving that an active mind making gunpowder from bat guano can be just as cinematic as a well-choreographed fistfight. This passion is infectious, drawing characters like Chrome, Kohaku, and even former enemies into his orbit, because Senku makes the process of rebuilding civilization feel less like a chore and more like the greatest game ever played.
Crucially, Senku subverts the classic “lone genius” trope by being a leader who rules through mutual respect and empowerment rather than intimidation or inherited authority. Because he openly acknowledges his own physical weaknesses—frequently joking about his pathetic muscle mass—he understands that science is a team sport and that he cannot rebuild civilization alone. His most brilliant invention is ultimately the community he builds. He relies completely on the diverse, specialized talents of his friends, validating the strength of Kohaku, the craftsmanship of Kaseki, the mental agility of Gen, and the raw muscle of Taiju. Even his philosophical rival, Tsukasa Shishio, is not simply crushed through brute force; he is slowly won over by Senku’s demonstration that science can solve the very problems he believes only violence can address. Senku never demands loyalty; he earns it by giving every person a clear, valued role in his grand vision.
Ultimately, Senku Ishigami is a mesmerizing hero because his unshakable morality, wrapped in pragmatic wit, embodies the triumph of human resilience over impossible odds. He refuses to kill, even when it would be strategically easier, viewing every single human being as a precious resource for the future. His reasoning is not naive idealism but long-term calculus—yet his actions consistently show genuine care, as when he risks his life to cure Ruri’s pneumonia not for political gain, but because a promise is a promise. When faced with the literal collapse of human history, his response is a confident, smirking determination to pick up a rock, start counting from zero, and recreate everything from the wheel to modern medicine. He teaches the audience that being a hero doesn’t require a destiny or a demon inside you; it requires curiosity, resilience, and cooperation. In a world that often celebrates instinct over intellect, Senku Ishigami stands as the brilliant, grinning proof that knowing how is the most powerful superpower of all.