Lisa Marie’s Week In Review: 5/25/20 — 5/31/20

I started out this week happy that the lockdown restrictions were being eased across the country.  I’m ending under curfew (along with a lot of other people across the country) because of riots.  Who knows what next week will look like?

Here’s what I got watched and listened to this week:

Films I Watched:

  1. Alco Beat (1965)
  2. American Anthem (1986)
  3. Apollo 18 (2011)
  4. Bang The Drum Slowly (1973)
  5. Black Mama, White Mama (1973)
  6. The Bottle & The Throttle (1961)
  7. The Crossroads Crash (1973)
  8. The Cutting Edge (1992)
  9. An Education (2009)
  10. Highball Highway (1963)
  11. I Like Bikes, But…. (1978)
  12. Indiana Jones and the Last Crusade (1989)
  13. Joy Ride (1976)
  14. Last Prom (1980)
  15. The Man Who Shot Liberty Valance (1962)
  16. The Mule (2018)
  17. The Murder of Nicole Brown Simpson (2020)
  18. Night Gallery (1969)
  19. The Oblong Box (1969)
  20. Red Dawn (1984)
  21. Safety Belt for Susie (1962)
  22. Scream and Scream Again (1969)
  23. Stop Making Sense (1984)
  24. The Talking Car (1969)
  25. Terror Train (1980)
  26. The Time of their Lives (1946)
  27. Tomorrow’s Drivers (1954)

Television Shows I Watched:

  1. Bar Rescue
  2. The Bold and the Beautiful
  3. Community
  4. Daily Mass
  5. Days of Our Lives
  6. Doctor Phil
  7. General Hospital
  8. Ghost Whisperer
  9. It’s Always Sunny In Philadelphia
  10. Night Gallery
  11. Seinfeld
  12. Solemn Mass of Pentecost From Rome
  13. The Twilight Zone
  14. The Young and the Restless

Music To Which I Listened:

  1. Above & Beyond
  2. Adi Ulmansky
  3. Afrojack
  4. Alvin Risk
  5. Aoki
  6. Armin van Buuren
  7. Avicii
  8. Big Data
  9. Blanck Mass
  10. Bob Dylan
  11. Britney Spears
  12. The Chemical Brothers
  13. Cedric Gervais
  14. Coldplay
  15. The Crystal Method
  16. Daft Punk
  17. Deadmau 5
  18. Dillon Francis
  19. DJ Judaa
  20. DJ Snake
  21. Elle King
  22. Ellie Goulding
  23. Hayden James
  24. Icona Pop
  25. Jakalope
  26. Joywave
  27. Kedr Livanskiy
  28. Lady Gaga
  29. Lindsay Lohan
  30. Muse
  31. Neon Indian
  32. Olivia Krash
  33. Phantogram
  34. Saint Motel
  35. Siouxsie and the Banshees
  36. Swedish House Mafia
  37. Talking Heads
  38. Tiesto
  39. The Tom Tom Club
  40. Tove Lo
  41. twenty-one pilots
  42. UPSAHL
  43. Zedd

Links From the Site:

  1. Case reviewed The Chilling Adventures of Sabrina!
  2. Erin was busy this week, sharing music videos from Justin Moore, Filter, Chelsea Dash, 98 Degrees, O-Town, Mandy Moore, and Paula Cole!  She also wrote about Memorial Day and The Rookie.  She shared the covers of Top Notch and also shared: An Explosion of Color, True Gang Life, Odds Against Tomorrow, The Lusty Men, Film Fun, A Matter of Morals, and The Case Of The Caretaker’s Cat!
  3. Jeff reviewed Framed, Moonrunners, The Hunter, One Man And His Shoes, The Paper Boy, Red Zone Cuba, and Operation Thunderbolt!
  4. Ryan reviewed Spewey, Four Stories, and Across the Diner!
  5. I reviewed the pilot for Night Gallery, followed by episodes one, two, three, four, five, and six!  I shared a scene that I loved from The Man Who Shot Liberty Valance!  I paid tribute to Peter Cushing, Christopher Lee, Vincent Price, Josef von Sternberg, Howard Hawks, and Clint Eastwood!  I reviewed The Mule and Tomorrow’s Drivers!  I shared my Oscar predictions for May!

More From Us:

  1. Ryan has a patreon!  Consider subscribing!
  2. Over on SyFy Designs, I shared: Memorial Day 2020, Why I Will No Longer Be Using The Term “Karen,Christopher Lee, Vincent Price, and Peter Cushing, A Trip To The Bank, and Chaos!
  3. At my music site, I shared songs from Saint Motel, Hayden James & Icona Pop, Olivia Krash, Jakalope, Lindsay Lohan, Britney Spears, and Tove Lo!
  4. On her photography site, Erin shared: Corner, White Door, Lamp, Grill, Bird, Moon, and Another Bird!
  5. On Pop Politics, Jeff shared: Jo Jorgensen for President?, George Floyd Should Be Alive Today, It Gets Worse, and End of May.

Want to see what I did last week?  Click here!

Operation Thunderbolt (1977, directed by Menahem Golan)

On June 27th, 1976, four terrorists hijacked an Air France flight and diverted it to Entebbe Airport in Uganda.  With the blessing of dictator Idi Amin and with the help of a deployment of Ugandan soldiers, the terrorists held all of the Israeli passengers hostage while allowing the non-Jewish passengers to leave.  The terrorists issued the usual set of demands.  The Israelis responded with Operation Thunderbolt, a daring July 4th raid on the airport that led to death of all the terrorists and the rescue of the hostages.  Three hostages were killed in the firefight and a fourth — Dora Bloch — was subsequently murdered in a Ugandan hospital by Idi Amin’s secret police.  Only one commando — Yonatan Netanyahu — was lost during the raid.  His younger brother, Benjamin, would later become Prime Minister of Israel.

A year after the the raid on Entebbe, Menahem Golan would direct a film the recreated that heroic moment.  Originally, Operation Thunderbolt was intended to be a Hollywood production, with none other than Steve McQueen playing the role Yonatan Netanyahu.  When McQueen withdraw for the project (as he did from a lot of productions in the 70s), Golan and the project returned to Israel, where it was produced with the help of the Israeli military and the Israeli government.  (Yitzhak Rabin and Shimon Peres are among the notable Israeli leaders who appear as themselves.)  Singer and comedian Yehoram Gaon was cast as Netanyahu while veteran exploitation stars Klaus Kinski and Sybil Danning were cast as the German terrorists.

The end result is a rousing action film that takes a semi-documentary approach to telling its story.  Imagine a less flamboyant version of Golan’s The Delta Force, one that tells a similar story but without the oversized personas of Chuck Norris, Robert Forster, and Lee Marvin.  Though the film celebrates the bravery of Yonni Netanyahu, the emphasis is more on the IDF working as a team than on individual heroics.  (The film open with the IDF running a drill that mirrors the eventual raid on Entebbe, a reminder that Israel and the IDF were determined not to be caught off guard.)  The film is not only a celebration of the strength of the Israeli people but, with the Germanic Kinski and Danning cast the villains, it’s only a very loud cry of “NEVER AGAIN!”  It may be an exciting action film but it’s an action film with a message: Don’t mess with us.

(At the same time, the hijacker portrayed by Klaus Kinski is not presented as being cardboard villain, which may seem surprising given Kinski’s reputation as an actor and Golan’s reputation as a director.  Kinski’s terrorist does get a chance to explain his ideological motivations, with the film presenting him as being more misguided than evil.)

Though I will always consider The Delta Force to be the greatest film ever made (if just for it’s cry of “Beer!  America!” at the end), Operation Thunderbolt features Golan’s best work as a director.  Menahem Golan was a frequently crass director but, with Operation Thunderbolt, it’s obvious that he was motivated by more than just making a hit movie.  Golan’s aim with Operation Thunderbolt was to make a film that would celebrate both Israel and the strength of the Jewish people.  With Operation Thunderbolt, Menahem Golan succeeded.

Lisa Marie’s Oscar Predictions For May (For What They’re Worth)

Are we even going to have an Oscar ceremony next year?

Who knows?  I hope we do because I think that it would provide some sort of normalcy.  Even if everyone chooses not to watch it, at least they’ll have that choice.  (People tend to forget how important, psychologically and emotionally, it is for people to have a choice.  All of these cheery “We’re all in it together” commercials don’t mean shit if people are feeling imprisoned.)  Up until this week, I was pretty confident that we would because COVID-19 was in decline and restrictions were being lifted and things seemed like they were heading in the right direction.  (Or, at least, that’s the way it seemed in my part of the world.  I know that some people disagreed with my assessment.)  Now, we’re in the middle of nation-wide rioting and a divisive presidential election so who knows what’s going to happen with the rest of this year.  Will theaters even want to risk reopening before 2021?  Will they be able to?  The Academy has said that streaming films will qualify this year but how many studios want to release all of their big productions VOD?

I’m going to continue to make my monthly Oscar predictions, though.  My reasons are pretty selfish: making them helps to keep me centered.  I’m a compulsive scheduler and keeping that schedule (which is really what I’m doing with these monthly predictions) helps me deal with my ADD.

So, with that in mind, here are my Oscar predictions.  Take them with a grain of salt.  And be sure to check out my previous predictions for January, February, March, and April!

Best Picture


The Father

Hillbilly Elegy


News of the World




The Trial of Chicago 7

West Side Story

Best Director

Paul Greengrass for News of the World

Ron Howard for Hillbilly Elegy

Francis Lee for Ammonite

Steven Spielberg for West Side Story

Chloe Zhao for Nomadland

Best Actor

Matt Damon in Stillwater

Tom Hanks in News of the World

Anthony Hopkins in The Father

Bill Murray in On The Rocks

Gary Oldman in Mank

Best Actress

Jennifer Hudson in Respect

Angelina Jolie in Those Who Wish Me Dead

Sofia Loren in The Life Ahead

Frances McDormand in Nomadland

Kate Winslet in Ammonite

Best Supporting Actor

David Alvarez in West Side Story

Tom Burke in Mank

Delroy Lindo in Da 5 Bloods

Forest Whitaker in Respect

Steven Yeun in Minari

Best Supporting Actress

Abigail Breslin in Stillwater

Glen Close in Hillbilly Elegy

Olivia Colman in The Father

Saoirse Ronan in Ammonite

Helena Zengel in News of the World

That’s it for this month!  Hopefully, next month will bring a bit more clarity.


TV Review: Night Gallery 1.6 “They’re Tearing Down Tim Riley’s Bar/The Last Laurel)

The first season of Night Gallery came to a conclusion on January 20th, 1971.  Though the first season was undoubtedly uneven, it did end on a high point.  The first segment in the 6th episode, They’re Tearing Down Tim Riley’s Bar, is widely considered to be the best episode of Night Gallery and one of Rod Serling’s best teleplays.  It also brought Night Gallery one of it’s few Emmy nominations when it was nominated for Outstanding Single Program of the year.  (It lost to The Andersonville Trial, a theatrical adaptation that was produced for PBS.)

They’re Tearing Down Tim Riley’s Bar (dir by Don Taylor, written by Rod Serling)

They’re Tearing Down Tim Riley’s Bar tells the story of Randy Lane (William Windom).  In 1945, Sgt. Randy Lane returned home from serving in World War II, a war hero who had a wonderful future ahead of him.  He had just gotten married.  He had just gotten a good job at an up-and-coming company called Pritzker Plastics.  When he came home, the first place he went was Tim Riley’s Bar, where his father and the other bar patrons toasted him and told him to look forward to the future.

Twenty-five years later, the middle-aged Randy Lane is looking at his life and asking, “Is this as good as it gets?”  He’s now a sales director at Pritzker Plastics but his boss (John Randolph) doesn’t appreciate him, his assistant (Bert Convy) is plotting to steal his job, and the only person who seems to care about him is his sympathetic secretary (Diane Baker).  Randy’s wife died in 1952, while Randy was out of a sales call.  Randy now lives alone.  Even his neighborhood bar — Tim Riley’s Bar — has closed and been abandoned.  With the bar schedule to be torn down, Randy wonder what happened to all of the promise and happiness of the past.

When Randy goes by the deserted bar and looks through the front window, he’s shocked to see all of his old friends and his father waving at him.  But when Randy rushes into the bar to join them, he discovers the bar is deserted.  Later, Randy is at work when suddenly, he sees Pritzker Plastics the way it was back in 1948.  Even later, when he enters his house, he finds himself standing in a hospital hallway in 1952, once again getting the news that his wife has died.

In many ways, They’re Tearing Down Tim Riley’s Bar is an atypical Night Gallery segment.  Though there are hints of the supernatural throughout the story, it’s hardly a work of horror.  Instead, it’s a rather melancholy meditation on aging, disappointment, and regret.  Is the past forever lost?  Can things ever be as good as they once were?  These are the questions that are raised in this well-directed and well-acted segment.

The Last Laurel (dir by Daryl Duke, written by Rod Serling)

Clocking in at 8 minutes, The Last Laurel is yet another segment about a bitter man (in this case, Jack Cassidy) who suspects that his wife (in the case, Martine Beswick) is cheating on him with his doctor (in this case, Martin E. Brooks) so he teaches himself a supernatural skill in order to get revenge.  In this case, it involves astral projection.  Not surprisingly, it ends with a twist that’s pretty much dependent on one of the characters doing something extremely stupid.

The Last Laurel is well-acted but predictable.  It’s not bad but, especially when compared to something like They’re Tearing Down Tim Riley’s Bar, it feels rather insubstantial.  It feels like filler.

The first season of Night Gallery came to an end with an excellent episode.  Starting tomorrow — season 2!

Previous Night Gallery Reviews:

  1. The Pilot
  2. The Dead Man/The Housekeeper
  3. Room With A View/The Little Black Bag/The Nature of the Enemy
  4. The House/Certain Shadows on the Wall
  5. Make Me Laugh/Clean Kills And Other Trophies
  6. Pamela’s Voice/Lone Survivor/The Doll

Film Review: The Mule (dir by Clint Eastwood)

In The Mule, Clint Eastwood plays Earl Stone.

In some ways, Earl is typical of the characters that Eastwood has played during the latter part of his career.  He’s grouchy.  He’s alienated almost everyone who was previously close to him.  He drives an old pickup truck and he has no idea how to text and he seems to literally snarls whenever he sees anyone under the age of 60.  He served in the Korean War and he’s not scared of guns.

In other ways, Earl is not a typical Eastwood character at all.  First off, he’s on the verge of financial ruin.  Earl may not be the first Eastwood character to not know how to responsibly handle money but he is perhaps the first one to be on the verge of homelessness as a result.  (He’s perhaps the first of Eastwood’s modern character to face real-world consequences for his flaws.)  Secondly, Earl often seems to be lost in the 21st century world.  In Gran Torino and Trouble With The Curve, Eastwood played grumpy old men who could still hold their own when it came to dealing with younger people.  But, in The Mule, Earl seems to be defeated by life.  The only thing that he really has going for him is his reputation as a horticulturist and, as the film makes clear, that’s not a skill that’s going to bring in much money.

That all changes when Earl has a chance meeting with Rico (Victor Rasuk), a friend of his granddaughter’s.  Knowing that Earl is desperate for money, Rico tells him that he could make a quick payday by transporting a package for some friends.  After giving it some thought, Earl agrees.  When Earl meets Rico’s friends, everyone is shocked at how old he is.  They’re even more shocked when Earl says that he doesn’t know how to text.  Earl is given a phone and told to answer it whenever it rings but to never use it to call anyone.  A package is put in the back of Earl’s pickup truck.  It’s suggested that Earl not look in the package.

Does Earl know that he’s transporting drugs?  At first, it’s hard to say.  While it seems obvious to us, Earl is from a different time.  Still, once Earl does eventually learn that he’s being used as a drug mule, it doesn’t seem to bother him.  If nothing else, Earl actually seems to get a kick out of being a real-life outlaw.  He continues to make his runs and he continues to make money and, perhaps most importantly, he now has a purpose in life.  In a strange way, the drug runners even become his new family.  (They call him Tata, which is Spanish for grandfather.)  Of course, they’re a family that makes it cleat that they’ll kill Earl if he’s ever late delivering the package but that doesn’t seem to matter to Earl.

Meanwhile, the DEA (represented by Laurence Fishburne, Bradley Cooper, and — somewhat inevitably — Michael Pena) are hearing reports about a new drug mule who has been nicknamed Tata.  What they don’t suspect, of course, is that Tata is a 90 year-old man who has no criminal record and who is always very careful to obey all the traffic laws.  Even when Earl is pulled over by the police, he’s such a nice old man that they let him go without bothering to really search his vehicle.  It seems like Earl’s got a perfect thing going but, unfortunately, things are never as good as they seem and eventually, the reality of Earl’s situation intrudes on his fantasy….

It’s been said that The Mule is going to be Eastwood’s final film as an actor and he gives an excellent performance as Earl.  The Mule, which feels, in many ways, like a good-natured companion piece to Gran Torino, features Eastwood at both his most vulnerable and, probably not coincidentally, his most likable and sympathetic.  In this film, Eastwood makes clear that he’s no longer the righteous Dirty Harry or the mythological Man With No Name.  Now, he’s just a man nearing the end of his life and trying to come to terms with the mistakes and the decisions of the past.  Eastwood plays Earl like a man who knows that his time is limited.  Smuggling drugs gives him a chance to feel like he’s alive again but, throughout it all, there’s still a deep sadness.  Earl can use his money to pay his bills and to fix up the local VFW hall but he still can’t buy his family’s forgiveness.  Watching the film, it’s impossible not to feel for Earl.  You’re happy that he found at least a little satisfaction with his criminal career, even though you immediately suspect that things probably aren’t going to turn out well for him.

Admittedly, there is one cringe-worthy scene in which it’s suggested that the 90 year-old Earl has had a threesome with two twenty year-olds (and one gets the feeling that the scene would not have been included if not for the fact that the film’s star was also the director).  For the most part, though, this is a thoughtful film that features a poignant performance from Eastwood and which is directed in a restrained, but empathetic manner.  If this is Eastwood’s swan song as an actor, it’s a good note to go out on.

4 Shots From 4 Films: Special Clint Eastwood Edition

Clint Eastwood in Revenge of the Creature (1955)

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 is Clint Eastwood’s 90th birthday!

Though Clint famously had to go to Italy to really get his film career going, he’s gone on to become an icon of American film.  While his early films were often criticized as glorifying violence and of being reactionary, his later films have — more often than not — been meditations on aging, moral ambiguity, and what a lifetime of violence does to a person’s soul.  Though Eastwood has fallen out-of-favor with a few critics as a result of the speech he gave at the 2012 Republican Convention (Film Twitter, to the shock of no one, had a particularly over-the-top reaction to it as many of them discovered, I guess for the first time, that not every artist is a Leftist), he’s a filmmaker whose legacy will be rediscovered and probably appreciated in the future.

Here are….

4 Shots From 4 Films

For A Few Dollars More (1965, dir by Sergio Leone)

Dirty Harry (1971, dir by Don Siegel)

Unforgiven (1992, dir by Clint Eastwood)

Gran Torino (2008, dir by Clint Eastwood)

Music Video of The Day: Where Have All The Cowboys Gone? by Paula Cole (1997, dir. by Caitlin Fenton)

If you’re wondering where all the cowboys have gone, you’re not alone.  I wonder that too whenever I see a video of some vegan freaking out over having to kill a spider.  Where have all the cowboys gone?  They’re probably working on a ranch and too busy to get on social media.  The world may be changing but men who ride bulls are still way more appealing than men who beg for retweets.

This song is actually about a break-up.  The singer has broken up with her boyfriend and now she’s wondering where all the cowboys have gone.  In the video, she’s singing about it in a dead forest.  Maybe that’s the problem.  She’s looking for cowboys but she’s hanging out on the set of a horror movie.  You’re not going to find many cowboys there.  Stop hanging out in the forest and get down to Fort Worth for the stock show.

I’m glad the Dallas Cowboys never tried to make this their official song.

TV Review: Night Gallery 1.5 “Pamela’s Voice/Lone Survivor/The Doll”

The fifth episode of Night Gallery originally aired on January 13th, 1971.  It featured three stories, each one of which was introduced by Rod Serling walking through a darkened museum.

Pamela’s Voice (dir by Richard Benedict, written by Rod Serling)

Jonathan (John Astin) kills his wife, Pamela (Phyllis Diller), because he’s sick of listening to her shrill voice.  However, it turns out that not even death can stop Pamela.  While Jonathan is staring at a coffin, he starts to hear Pamela’s voice.

At first, you might think that this is going to be one of those stories where it’s going to turn out that the murderer has been driven made by his crimes and he’s imagining being taunted by his victim.  But then Pamela makes an post-death appearance herself and the story reveals it’s final twist.

For the most part, Pamela’s Voice is entertaining.  Both John Astin and Phyllis Diller give such eccentric performances that their fun to watch even if the majority of the audience will be able to guess this segment’s big twist.

Lone Survivor (dir by Gene Levitt, written by Rod Serling)

This wonderfully atmospheric story opens in 1915, with the crew of the Lusitania discovering a man (John Colicos) floating in a lifeboat.  The lifeboat is from the Titanic and the man, who claims to be a crewmember of that doomed ship, is wearing a dress, leading the ship’s doctor to assume that the man survived the sinking of the Titanic by pretending to be a woman and stealing someone else’s rightful spot in the lifeboat.

At first, his rescuers are skeptical.  If the man was indeed a survivor of the Titanic, that would mean that he had spent the past three years floating in that lifeboat?  How could the man have survived?  And, assuming that he is telling the truth about the ship that he came from, what has now brought him to the Lusitania?  Could the man possibly be a German spy?  After all, World War I has just broken out and the sea is no longer as safe as it once was….

Lone Survivor is an example of this often uneven show at its best.  It’s a genuinely creepy short film, one that ends on a frightening and rather sad note.  Lone Survivor is the tale of man trying to escape both his own guilt and the whims of fate and discovering that neither can be easily conquered.  In the main role, John Colicos gives a wonderfully intense and haunted performance.

The Doll (dir by Rudi Dorn, written by Rod Serling)

“Our painting is called The Doll,” Rod Serling says as he introduces this one, “and it’s one that you better not play with.”  Truer words were never spoken!

In this one, British Col. Hymber Masters (John Williams) returns home from India and discovers that his niece (Jewel Branch) has a new doll.  Someone mailed the doll to her.  Everyone assumed that Col. Masters sent the doll but he actually had nothing to do with it.  Masters is not happy to see his niece carrying around that doll and it makes sense when you consider just how ugly the doll is.  I mean, this is one creepy doll!

It turns out that the Masters was correct to be concerned because the doll was sent by Pandit Chola (Henry Silva), who holds Masters responsible for the death of his brother.  The doll has been sent to take revenge….

The Doll is another triumph, largely because the doll itself is so creepy that it looks like something that sprung straight out of a nightmare.  John Williams does a good job playing the well-meaning if somewhat stuffy colonel and Henry Silva is well-cast as the villain of the piece.  This segment deserves a lot of credit for taking a fanciful story and playing it totally straight.

The fifth episode of Night Gallery is a triumph.  After a run of uneven episodes, this episode is consistently creepy and entertaining.  For this episode, at least, Night Gallery lived up to its potential.

Previous Night Gallery Reviews:

  1. The Pilot
  2. The Dead Man/The Housekeeper
  3. Room With A View/The Little Black Bag/The Nature of the Enemy
  4. The House/Certain Shadows on the Wall
  5. Make Me Laugh/Clean Kills And Other Trophies

Red Zone Cuba (1966, directed by Coleman Francis)

An escaped convict named Griffin (Coleman Francis) meets up with two other men (Anthony Cardoza and Harold Samuels) and, for some reason, all three of the fly down to Cuba where they join up with the mercenaries who are planning on overthrowing Castro during the Bay of Pigs invasion.  That doesn’t work out so, after escaping from a Cuban POW camp, they decide to fly back to America so that they can rob a mine.  Along the way, they shoot several people and they run into John Carradine who gives them a ride on a train and also sings the film’s theme song, Night Train to Mondo Fine.  “He ran all the way to Hell,” Carradine says about Griffin, even though Griffin spends most of the film either flying or moving at an ambling gait.

Red Zone Cuba is best known for being one of three Coleman Francis films to be showcased on Mystery Science Theater 3000.  Watching this film with Mike and the Bots commenting on the action is a lot of fun.  Trying to watch it without Mike the and the Bots is a different experience all together.  I always assumed that the plot seemed incoherent because I was distracted by Mike, Tom Servo, and Crow talking through the film but it turns out that the plot is incoherent regardless of how you watch the film.  Coleman Francis tried to make a tough and gritty desert noir but the only part he got right was the desert.  There’s a lot of desert in this movie.

Red Zone Cuba is a painfully slow movie but at least John Carradine’s in it for a few minutes.  A reporter shows up to interview him about the three men who rode his train all the way to Hell and Carradine answers his questions with the type of grim determination that briefly fools you into thinking Red Zone Cuba is going to be better than its reputation.  Carradine exits the film quickly, though.  He got his paycheck and then headed off to his next role, leaving Coleman Francis to carry the weight of the film.

Red Zone Cuba is a slow mess of a film that’s not even entertainingly bad but I do have to wonder: was this the first narrative film to use the Bay of Pigs as a plot point?  Hats off to Coleman Francis if it was.