Late Night Retro Television Reviews: Baywatch Nights 1.6 “976 Ways To Say I Love You”


Welcome to Late Night Retro Television Reviews, a feature where we review some of our favorite and least favorite shows of the past!  On Tuesdays, I will be reviewing Baywatch Nights, an detective show that ran in Syndication from 1995 to 1997.  The entire show is currently streaming on Youtube!

This week, Ryan goes undercover!

Episode 1.6 “976 Ways To Say I Love You”

(Dir by Charles Bail, originally aired on November 4th, 1995)

The sixth episode of Baywatch Nights opens with Mitch and Garner doing a surveillance job on someone.  They are sitting out in their car and watching their target and talking about how much they hate having to work surveillance.

One thing that I’ve noticed about the first few episodes of Baywatch Nights is that Mitch and Garner both seem to spend a lot of time complaining about their job.  It’s a bit odd because it’s not like there’s any reason why they have to work as private detectives.  Garner could rejoin the police department if he wanted to.  Mitch actually has another full-time job as one of the top lifeguards in California.  There’s nothing that says they have to spend their nights doing surveillance.  (In fact, I’m not even sure how Mitch is balancing being a lifeguard with being a private eye.)  I mean, if it’s such a bother being a private eye, just don’t do it anymore!

The surveillance subplot doesn’t really have anything to do with the rest of the episode.  (It’s mostly just there so the episode can feature a joke about Garner and Mitch getting dusted by a crop duster that happens to fly over their convertible.)  Instead, the majority of this episode deals with Mitch, Garner, and Ryan helping Addy (Heather Campbell), a former phone sex operator who was scammed by her boss and who is now apparently being stalked by someone who is trying to murder everyone who was involved with Addy’s former career.  This is one of those cases that doesn’t really add up to much but it does provide Garner with a chance to do some real detective work and abandon his idea to abandon crime fighting and open a chicken franchise.

(Seriously, that’s what Garner was planning on doing.)

The investigation also leads to Ryan putting on a blonde wig and going undercover as a phone sex operator.  Watching this episode, I got the feeling that the entire pitch was, “Angie Harmon says sexy things on the phone,” and the plot was basically developed around that one idea.  It should be said that Angie Harmon actually does a pretty good job playing up Ryan’s irritation with having to go undercover.  The way she rolled her eyes whenever some mouth-breather started to talk to her told us everything we needed to know about the experience.  Unlike her whiny partner, Ryan did what she had to do to solve the case and good for her!  Really, this entire series should have just been Ryan kicking ass and solving crimes.  Garner and Mitch are just taking up space.

Along with Angie Harmon’s work as Ryan, this episode was also distinguished by the performance of Robert Ginty as the owner of the phone sex company.  Ginty was wonderfully sleazy as a businessman who made no apologies for how he made his money.  As well, Police Academy fans will probably be happy to see Michael Winslow, as a surveillance technician who imitates static.

The episode was not bad, even if it wasn’t particularly memorable.  Ryan did a good job and again proved herself to be the best private eye in California.  Seriously, though, Mitch and Garner need to stop crying so much.  If you don’t want to do detective stuff, don’t become a detective!

Are You There God? It’s Me, Margaret Wins In San Diego!


The San Diego Film Critics Society has announced its pick for the best of 2023 and, in something of an upset, Are You There God?  It’s Me, Margaret beat out American Fiction, The Holdovers, Killers of the Flower Moon, and Oppenheimer for Best Picture!

Best Picture
AMERICAN FICTION
ARE YOU THERE GOD? ITS ME, MARGARET. (WINNER)
THE HOLDOVERS
KILLERS OF THE FLOWER MOON
OPPENHEIMER (RUNNER-UP)

Best Director
Kelly Fremon Craig – ARE YOU THERE GOD? ITS ME, MARGARET.
Greta Gerwig – BARBIE (RUNNER-UP)
Cord Jefferson – AMERICAN FICTION
Christopher Nolan – OPPENHEIMER
Martin Scorsese – KILLERS OF THE FLOWER MOON (WINNER)

Best Actor
Colman Domingo – RUSTIN
Zac Efron – THE IRON CLAW
Paul Giamatti – THE HOLDOVERS (RUNNER-UP)
Cillian Murphy – OPPENHEIMER
Jeffrey Wright – AMERICAN FICTION (WINNER)

Best Actress
Abby Ryder Fortson – ARE YOU THERE GOD? ITS ME, MARGARET.
Lily Gladstone – KILLERS OF THE FLOWER MOON (WINNER)
Sandra Hüller – ANATOMY OF A FALL (RUNNER-UP)
Margot Robbie – BARBIE
Emma Stone – POOR THINGS

Best Supporting Actor
Sterling K. Brown – AMERICAN FICTION
Robert Downey Jr. – OPPENHEIMER (WINNER)
Ryan Gosling – BARBIE (RUNNER-UP)
Charles Melton – MAY DECEMBER
Mark Ruffalo – POOR THINGS

Best Supporting Actress
Jodie Foster – NYAD
Sandra Hüller – THE ZONE OF INTEREST
Rachel McAdams – ARE YOU THERE GOD? ITS ME, MARGARET. (WINNER)
Julianne Moore – MAY DECEMBER
Da’Vine Joy Randolph – THE HOLDOVERS (RUNNER-UP)

Best Comedic Performance
Michael Cera – BARBIE (WINNER)
Abby Ryder Fortson – ARE YOU THERE GOD? ITS ME, MARGARET.
Ryan Gosling – BARBIE
Nathan Lane – DICKS: THE MUSICAL
Mark Ruffalo – POOR THINGS (RUNNER-UP)

Best Youth Performance (For a performer under the age of 18)
Joe Bird – TALK TO ME
Christian Convery – COCAINE BEAR
Abby Ryder Fortson – ARE YOU THERE GOD? ITS ME, MARGARET. (WINNER)
Jude Hill – A HAUNTING IN VENICE
Milo Machado-Graner – ANATOMY OF A FALL (RUNNER-UP)

Best Original Screenplay
Samy Burch – MAY DECEMBER
Greta Gerwig, Noah Baumbach – BARBIE (WINNER)
David Hemingson – THE HOLDOVERS (RUNNER-UP)
Celine Song – PAST LIVES
Justine Triet, Arthur Harari – ANATOMY OF A FALL

Best Adapted Screenplay
Percival Everett, Cord Jefferson – AMERICAN FICTION (RUNNER-UP)
Kelly Fremon Craig, Judy Blume – ARE YOU THERE GOD? ITS ME, MARGARET. (WINNER)
Jonathan Glazer – THE ZONE OF INTEREST
Christopher Nolan, Kai Bird, Martin Sherwin – OPPENHEIMER
Eric Roth, Martin Scorsese – KILLERS OF THE FLOWER MOON

Best First Feature (Director)
Chloe Domont – FAIR PLAY
Cord Jefferson – AMERICAN FICTION (WINNER)
Danny Philippou, Michael Philippou – TALK TO ME
A.V. Rockwell – A THOUSAND AND ONE
Celine Song – PAST LIVES (RUNNER-UP)

Best Documentary
20 DAYS IN MARIUPOL (RUNNER-UP TIE)
AMERICAN SYMPHONY
KOKOMO CITY
LITTLE RICHARD: I AM EVERYTHING (RUNNER-UP TIE)
STILL: A MICHAEL J. FOX MOVIE (WINNER)

Best Animated Film
THE BOY AND THE HERON (WINNER)
CHICKEN RUN: DAWN OF THE NUGGET
NIMONA
ROBOT DREAMS
SPIDER-MAN: ACROSS THE SPIDER-VERSE (RUNNER-UP)

Best Foreign Language Film
ANATOMY OF A FALL (WINNER)
FALLEN LEAVES
GODZILLA MINUS ONE (RUNNER-UP TIE)
MONSTER
THE ZONE OF INTEREST (RUNNER-UP TIE)

Best Editing
Nick Houy – BARBIE
Jennifer Lame – OPPENHEIMER (RUNNER-UP)
Yorgos Mavropsaridis – POOR THINGS
Thelma Schoonmaker – KILLERS OF THE FLOWER MOON
Laurent Sénéchal – ANATOMY OF A FALL (WINNER)

Best Cinematography
Rodrigo Prieto – BARBIE
Rodrigo Prieto – KILLERS OF THE FLOWER MOON (WINNER)
Robbie Ryan – POOR THINGS
Hoyte Van Hoytema – OPPENHEIMER (RUNNER-UP)
Dariusz Wolski – NAPOLEON

Best Production Design
Ruth De Jong – OPPENHEIMER (RUNNER-UP)
Jack Fisk – KILLERS OF THE FLOWER MOON
Sarah Greenwood – BARBIE (WINNER)
Arthur Max – NAPOLEON
James Price, Shona Heath – POOR THINGS

Best Visual Effects
GODZILLA MINUS ONE (WINNER)
JOHN WICK: CHAPTER 4
MISSION IMPOSSIBLE: DEAD RECKONING
OPPENHEIMER
POOR THINGS (RUNNER-UP)

Best Costume Design
David Crossman, Janty Yates – NAPOLEON
Jacqueline Durran, Charlotte Finlay, Hope Slepak – BARBIE (WINNER)
Ellen Mirojnick – OPPENHEIMER
Holly Waddington, Vincent Dumas, Zsuzsa Stenger – POOR THINGS (RUNNER-UP)
Jacqueline West – KILLERS OF THE FLOWER MOON

Best Sound Design
GODZILLA MINUS ONE
MAESTRO
MISSION IMPOSSIBLE: DEAD RECKONING
OPPENHEIMER (RUNNER-UP)
THE ZONE OF INTEREST (WINNER)

Best Use of Music
AIR (RUNNER-UP)
ARE YOU THERE GOD? ITS ME, MARGARET.
BARBIE (WINNER)
THE HOLDOVERS
MAESTRO

Best Stunt Choreography
JOHN WICK: CHAPTER 4 (WINNER)
THE KILLER
MISSION IMPOSSIBLE: DEAD RECKONING (RUNNER-UP)
NAPOLEON
POLITE SOCIETY

Best Ensemble
AIR
BARBIE (RUNNER-UP TIE)
A HAUNTING IN VENICE (RUNNER-UP TIE)
THE HOLDOVERS (WINNER)
OPPENHEIMER

Breakthrough Actor
Abby Ryder Fortson – ARE YOU THERE GOD? ITS ME, MARGARET.

Special Award for Body of Work – 3 Credits
Nicolas Cage – DREAM SCENARIO, THE FLASH, THE OLD WAY, RENFIELD, THE RETIREMENT PLAN & SYMPATHY FOR THE DEVIL

Holiday Film Review: Little Miss Millions (Dir by Jim Wynorski)


A Jim Wynorski Christmas movie!?

Yes, there is such a thing.  First released in 1993, Little Miss Millions tells the story of a cynical but good-hearted private investigator named Nick Frost (Howard Hesseman) who is hired to track down a 9 year-old runway named Heather (Jennifer Love Hewitt, making her feature debut at the age of 12).  Nick is hired by Heather’s stepmother, Sybil (Anita Morris), who only wants Heather back because she’s worth several million dollars.  After Sybil hires Nick, she also decides to frame him for kidnapping Heather so that she can both get back her stepdaughter and get out of having to pay any reward money.  Soon, Nick has two federal agents (played by James Avery and Robert Fieldstell) on his trail.  For her part, Heather just wants to find and live with her birthmother, Susan (Terri Treas).

It’s a pretty simple film, one that borrows heavily from It Happened One Night (minus the romantic element, of course) and every single Christmas film that has ever been made.  This is one of those rather corny family films where you will pretty much be able to guess everything that is going to happen before it happens but that’s not necessarily a bad thing.  It’s a holiday film and no one watches a holiday film to get depressed.  They watch holiday films for the sentimental moments and the heart-warming comedy and the moments that create an idealized portrait of life during the holiday season.  For all of the violence to be found in them, both Die Hard and Die Hard 2 end with John McClane being reunited with his wife for the holidays.  As dark as It’s A Wonderful Life occasionally is, it still ends with that bell ringing and Clarence getting his wings.  Miracle on 34th Street never answers for sure whether or not Kris Kringle is who he says he is but Natalie Wood still gets her house with a tree in back.  A Christmas Story‘s Ralphie does not shoot his eye out.  Lethal Weapon‘s Riggs finds a new family.  And don’t even get me started on Santa Claus Conquers The Martians.  We watch holiday movies for holiday cheer and, in its unpretentious way, Little Miss Millions is full of that cheer.

Of course, it’s still a Jim Wynorski film.  So, while this is definitely a family film without many of the things that are typically associated with the Wynorski brand, Little Miss Millions still finds time for a sudden rainstorm that leaves everyone drenched.  And, of course, Nick and Heather stop off at a biker bar that is inhabited by Rick Dean, Toni Naples, and wrestler Queen Kong.  Peter Spellos, who played the much-abused Orville Ketchum in Sorority House Massacre 2 and Hard To Die, shows up as a bus driver.  It’s still a Wynorski film but it’s also a sweet-natured film, featuring likable performances from Howard Hesseman and Jennifer Love Hewitt.  It’s not a holiday classic but it’s diverting enough for those looking for something with which to pleasantly pass the time.

Retro Television Reviews: Fantasy Island 4.5 “The Love Doctor/The Pleasure Palace”


Welcome to Retro Television Reviews, a feature where we review some of our favorite and least favorite shows of the past!  On Tuesdays, I will be reviewing the original Fantasy Island, which ran on ABC from 1977 to 1986.  Almost the entire show is currently streaming is on Youtube, Daily Motion, and a few other sites.

This week, Roarke and Tattoo are still ignoring each other.

Episode 4.5 “The Love Doctor/The Pleasure Palace”

(Dir by Earl Bellamy and Cliff Bole, originally aired on November 22nd, 1980)

The plane has arrived and, once again, Mr. Roarke and Tattoo head down to the docks to meet their guests.  And, as with the previous season four episodes, it’s hard not to notice that neither Ricardo Montalban nor Herve Villechaize are willing to look at each other while delivering their lines.  I feel a little bit bad about having started almost every recent review by mentioning the obvious hostility between the two of them but it’s impossible not to notice.  Previously, one of the show’s greatest strengths was the playful banter between Roarke and Tattoo and, when it’s gone, it’s impossible not to notice the absence.

Speaking of hostility, Gordon Hughes (Gary Burghoff) seem to have a lot resentment against the world.  Thanks to the inheritance that he received from his grandmother, Gordon has graduated from law school and he is on the verge of joining a top law firm.  But, before he does so, he wants to go back in the past and discover how his grandmother made all of her money.  Mr. Roarke takes Gordon to a recreation of the saloon that his grandmother owned in turn-of-the-century San Francisco.  Gordon takes a sip of brandy and is transported into the past.  He quickly discovers that …. HIS GRANDMOTHER OWNED A BROTHEL!

At first, Gordon is upset about this discovery.  But then he falls in love with one of his grandmother’s employees, a waitress named Molly (Barbie Benton).  And then he stands up to a crooked cop (Dane Clark).  And then he meets his grandmother (Ruta Lee) and discovers that she was tough and refused to let anyone push her around.  Gordon realizes that he should be proud of his grandmother and his heritage and that he wants to be with Molly.  But then the San Francisco earthquake hits and Gordon is abruptly transported to the present.  Not to worry, though!  It turns out Molly was also a guest having a fantasy and she and Gordon board the airplane home together.

This fantasy — which featured a lot of nice clothes and period detail — would have been effective if not for Gary Burghoff’s rather off-putting performance as Gordon.  Seriously, Gordon came across as being such an uptight and self-righteous prig that it was difficult to have much sympathy for him.  Of course, that was kind of the point.  Gordon was supposed to be a snob but Burghoff made him such a convincing and such a committed snob that it was hard to believe that he could have changed his ways just over the course of a few days.

The second guest is actress Kim Holland (Loni Anderson), who is the biggest star in the world after appearing in only three movies.  She wants a break from being a star so Mr. Roarke arranges for her to serve as a nurse in a remote clinic that is run by the gruff Dr. Greg Miller (Christopher George).  Kim finds a purpose in life helping Dr. Miller but, when they’re kidnapped by a native tribe, Dr. Miller reveals that he has always known who Kim is.  Dr. Miller plays one of her movies for the tribe, convincing them that Kim is a goddess.  Miller goes on to explain that he’s been in love with Kim ever since he first saw her on screen.  Seeing as Kim’s fantasy was to not be recognized for a few days, it would seem that Roarke failed to keep up his end of the bargain.  But it doesn’t matter because Kim and Greg are in love.  This fantasy could have worked with perhaps a different actress in the role of Kim.  Loni Anderson gave such a blank performance as Kim that it was hard to really believe her either as a movie star or a nurse.

(Interestingly enough, the character of Kim Holland also appeared on the episode of The Love Boat that aired right before this episode.  So, if nothing else, this is the first Love Boat/Fantasy Island cross-over.  Incidentally, I’ll be reviewing that episode of The Love Boat in a few more months.)

This was a fairly forgettable episode.  The island was lovely to look at and I’m glad that everyone found love but I just wish Mr. Roarke and Tattoo could be friends again.