Late Night Retro Television Review: Monsters 3.1 “Stressed Environment”

Posted on December 4, 2024 by Lisa Marie Bowman

Welcome to Late Night Retro Television Reviews, a feature where we review some of our favorite and least favorite shows of the past! On Wednesdays, I will be reviewing Monsters, which aired in syndication from 1988 to 1991. The entire series is streaming on YouTube.

This week, we begin the third season of Monsters!

Episode 3.1 “Stressed Environment”

(Dir by Jeffrey Wolf, originally aired on September 30th, 1990)

The third season of Monsters starts off with the story of an experiment gone wrong.

For twelve years, Dr. Elizabeth Porter (Carol Lynley) has been experimenting with lab rats, trying to help them evolve into a higher form of intelligence. Her work is supervised by Dr. Robert Winston (Victor Raider-Wexler) and her assistants are the cowardly Keith (Scott Weir) and Gina (Kathleen McCall). The episode opens with a lengthy (by Monsters standards) scene of Gina undressing and then putting on her special rat feeding uniform while Keith tries to discreetly watch. It’s a scene that really has little to do with the rest of the episode but I guess the producers of Monsters decided that the best way to survive to a fourth season would be to appeal to teenage boys.

Anyway, Keith’s crush on Gina comes to naught because Gina is killed while trying to feed the rats. It turns out that the rats have gotten smart. They’ve gotten smart enough to build crude spears and crossbows and use them as weapons. Dr. Winston wants to shut the experiment down. Keith wants to go home. Elizabeth, however, wants to protect her rats and see if she can convince them to give up their weapons and live in peace. Dr. Winston points out that if humans can’t convince their own species to do that, how is Elizabeth going to convince a bunch of rats?

And Dr. Winston has a point. Elizabeth may think that she has a special bond with the rats but the rats disagree. Soon, Gina is not the only person to have lost their life to an army of spear-carrying rats. The episode ends with Keith as the sole survivor and his ultimate fate is still up in the air. The rats are angry, ruthless, and armed.

And cute!

Seriously, this episode probably might have been more effective if the rats themselves have been a bit more frightening but it wouldn’t have been as much fun. As it is, the use of crude puppets actually made the rats look kind of adorable, especially when they were holding their little spears and setting up their little crossbows. Of course, one reason why I found the rats to be cute is because I’m used to CGI. I take CGI for granted. This episode was made when special effects people still had to use puppets for their monsters and, as a result, the rats don’t really look like rats. They’re so fake-looking that it’s hard not to like them. They’re a throw-back to a simpler and more innocent time.

This was actually a pretty entertaining episode and a great way to start season 3! I appreciated that this episode of Monsters featured actual monsters. After the uneven batch of episodes that finished up the second season of this show, it’s nice to season 3 starting off on the right foot.

Retro Television Review: The Love Boat 5.8 and 5.9 “Farnsworth’s Fling/Three in a Bed/I Remember Helen/Merrill, Melanie & Melanesia/Gopher Farnsworth Smith”

Posted on December 4, 2024 by Lisa Marie Bowman

Welcome to Retro Television Reviews, a feature where we review some of our favorite and least favorite shows of the past! On Wednesdays, I will be reviewing the original Love Boat, which aired on ABC from 1977 to 1986! The series can be streamed on Paramount Plus!

This week, we have a two-hour special!

Episodes 5.8 and 5.9 “Farnsworth’s Fling/Three in a Bed/I Remember Helen/Merrill, Melanie & Melanesia/Gopher Farnsworth Smith”

(Dir by Richard Kinon, originally aired on November 21st, 1981)

The Love Boat crew is back in Australia, sailing from Sydney to Fiji and back again. The Captain remembers his time in the Navy and a lost love who he met while serving in the South Pacific. Julie remembers her love affair with Tony and how he left her at the altar after he discovered that he was dying. Anthony Andrews, who played Tony, is listed as being a guest star on this episode but he only appears in archival footage. Tony, we learn, has died but his brother, David (Brendon Lunney), assures Julie that her letters to him provided him with much comfort during his final days.

(David only appears for a minute or two, when Julie visits the animal preserve where Tony worked. Still, in that minute, he and Julie have so much chemistry that I found myself hoping that David would spontaneously propose to her.)

As for the cruise, the majority of the cabins are populated by the relatives of William Otis Farnsworth (Lloyd Bridges). Farnsworth is one of the richest men in the world and he’s taking a cruise with his entire family because he wants to see who is truly worthy of inheriting his fortune. The ship is full of people looking to get rich, including:

Jenny (Moran Fairchild) and Bud Boyer (Grant Goodeve), who are hoping that William will not discover that they’ve recently gotten divorced,
Hazel (Patti MacLeod) and Frank Fransworth (Russell Newman), who hope that Hazel imitating William’s deceased wife will cause William to mention them favorably in his will,
Marcia (Jessica Walter), who was married to William’s brother and who has basically hired gold digger Jessica Halberson (Linda Evans) to seduce and marry William, and
Burl “Gopher” Smith, who thinks that he might be distantly related to William and who, with Isaac’s encouragement, tries to get close to William. Gopher even calls his mother (Ethel Merman) to find out if he’s a relative. She’s not much help.

Not interested in the money is William’s niece, Eloise (Beth Howland). Eloise, who is William’s administrative assistant, finds herself falling in love with William’s valet, country boy Wayne Burton (Jim Nabors). Words cannot begin to express just how annoying Jim Nabors is in this episode. “Surprise surprise surpise!” Wayne says when he shows up on the boat. “Golly!” Wayne says when a conscience-stricken Jessica tries to break up with William. I found myself covering my ears whenever Nabors appeared on screen.

The main problem here is that none of these people are remotely likable. Not even William Farnsworth is likable. He’s meant to be likable but really, he comes across as being a judgmental jerk. When Jessica tries to leave the ship and fly back to Sidney, William reacts by buying every single plane ticket on the island. Jessica can’t leave but hey …. neither can anyone else!

Far more likable was Melanie (Margaret Laurence), the daughter of the Captain’s former lover, Madeleine. Melanie is a dead-ringer for her mother and the Captain falls in love with her. Melanie also falls in love with him. She proposes marriage. Awwww! But then she realizes marrying the Captain would mean abandoning her job as a teacher so she calls the wedding off. So now, both the Captain and Julie have had their heart broken in Australia. At least they now have something to bond over.

For a two-hour episode, there really wasn’t much plot to this episode. It was largely a travelogue. There were a lot of kangaroos and koala bears and they were certainly cute. The scenery was lovely. Otherwise, this was a cruise full of rather unlikable people. Australia deserved better.

The National Board of Review Gets Wicked

Posted on December 4, 2024 by Lisa Marie Bowman

The National Board of Review has announced its pick for the best of 2024! The National Board of Review is considered to be one of the big precursors as far as the Oscars are concerned, though perhaps not as much as they once were.

That said, Wicked is definitely contender so get ready for the most annoying people you know to suddenly get very emotionally invested in the Oscars.

Best Film: Wicked

Best Director: Jon M. Chu, Wicked

Best Actor: Daniel Craig, Queer

Best Actress: Nicole Kidman, Babygirl

Best Supporting Actor: Kieran Culkin, A Real Pain

Best Supporting Actress: Elle Fanning, A Complete Unknown

Best Ensemble: Conclave

Breakthrough Performance: Mikey Madison, Anora

Best Directorial Debut: India Donaldson, Good One

Best Original Screenplay: Mike Leigh, Hard Truths

Best Adapted Screenplay: Clint Bentley & Greg Kwedar, Sing Sing

NBR Spotlight Award: Creative Collaboration of Cynthia Erivo & Ariana Grande

NBR Freedom of Expression Award: No Other Land

Best Animated Feature: Flow

Best International Film: The Seed of the Sacred Fig

Best Documentary: Sugarcane

Outstanding Achievement in Cinematography: Jarin Blaschke, Nosferatu

Outstanding Achievement in Stunt Artistry: Furiosa: A Mad Max Saga

Top Films (in alphabetical order):

Anora
Babygirl
A Complete Unknown
Conclave
Furiosa: A Mad Max Saga
Gladiator II
Juror #2
Queer
A Real Pain
Sing Sing

Top 5 International Films (in alphabetical order):

All We Imagine as Light
The Girl with the Needle
I’m Still Here
Santosh
Universal Language

Top 5 Documentaries (in alphabetical order):

Black Box Diaries
Dahomey
Look Into My Eyes
Super/Man: The Christopher Reeve Story
Will & Harper

Top 10 Independent Films (in alphabetical order):

Bird
A Different Man
Dìdi
Ghostlight
Good One
Hard Truths
His Three Daughters
Love Lies Bleeding
My Old Ass
Thelma

Here Are The Independent Spirit Nominations!

Posted on December 4, 2024 by Lisa Marie Bowman

Today, most awards watchers will be devoting most of their attention to the National Board of Review and the American Film Institute. That said, the Independent Spirit nominations were still announced earlier today and Anora had a strong showing. Meanwhile, The Brutalist, which did so well with the New York Film Critics Circle, picked up a nomination for Best Director but not Best Picture.

Here are the Spirit Nominations. While looking at the nominations, keep in mind that a lot of potential Oscar nominees were not eligible for a nomination. As a result, the Spirit nominations aren’t exactly the strongest predictive tool when it comes to guessing what will eventually be nominated by the Academy.

Still, it never hurts to be mentioned!

Best Feature

Anora
Producers: Sean Baker, Alex Coco, Samantha Quan

I Saw the TV Glow
Producers: Ali Herting, Sam Intili, Dave McCary, Emma Stone, Sarah Winshall

Nickel Boys
Producers: Joslyn Barnes, Dede Gardner, Jeremy Kleiner, David Levine

Sing Sing
Producers: Clint Bentley, Greg Kwedar, Monique Walton

The Substance
Producers: Tim Bevan, Coralie Fargeat, Eric Fellner

Best First Feature

Dìdi
Director/Producer: Sean Wang
Producers: Valerie Bush, Carlos López Estrada, Josh Peters

In the Summers

Director: Alessandra Lacorazza Samudio
Producers: Janek Ambros, Lynette Coll, Alexander Dinelaris, Cynthia Fernandez De La Cruz, Cristóbal Güell, Sergio Alberto Lira, Rob Quadrino, Jan Suter, Daniel Tantalean, Nando Vila, Slava Vladimirov, Stephanie Yankwitt

Janet Planet
Director/Producer: Annie Baker
Producers: Andrew Goldman, Dan Janvey, Derrick Tseng

The Piano Lesson
Director: Malcolm Washington
Producers: Todd Black, Denzel Washington

Problemista
Director/Producer: Julio Torres
Producers: Ali Herting, Dave McCary, Emma Stone

John Cassavetes Award

Given to the best feature made for under $1,000,000

Big Boys
Writer/Director/Producer: Corey Sherman
Producer: Allison Tate

Ghostlight
Writer/Director: Kelly O’Sullivan
Director/Producer: Alex Thompson
Producers: Pierce Cravens, Ian Keiser, Chelsea Krant, Eddie Linker, Alex Wilson

Girls Will Be Girls
Writer/Director/Producer: Shuchi Talati
Producers: Richa Chadha, Claire Chassagne

Jazzy
Writer/Director/Producer: Morrisa Maltz
Writer/Producer: Lainey Shangreaux
Writers: Andrew Hajek, Vanara Taing
Producers: Miranda Bailey, Tommy Heitkamp, John Way, Natalie Whalen, Elliott Whitton

The People’s Joker
Writer/Director: Vera Drew
Writer: Bri LeRose
Producer: Joey Lyons

BEST DIRECTOR

Ali Abbasi
The Apprentice

Sean Baker
Anora

Brady Corbet
The Brutalist

Alonso Ruizpalacios
La Cocina

Jane Schoenbrun
I Saw the TV Glow

BEST SCREENPLAY

Scott Beck, Bryan Woods
Heretic

Jesse Eisenberg
A Real Pain

Megan Park
My Old Ass

Aaron Schimberg
A Different Man

Jane Schoenbrun
I Saw the TV Glow

BEST FIRST SCREENPLAY

Joanna Arnow
The Feeling That the Time for Doing Something Has Passed

Annie Baker
Janet Planet

India Donaldson
Good One

Julio Torres
Problemista

Sean Wang
Dìdi

BEST LEAD PERFORMANCE

Amy Adams
Nightbitch

Ryan Destiny
The Fire Inside

Colman Domingo
Sing Sing

Keith Kupferer
Ghostlight

Mikey Madison
Anora

Demi Moore
The Substance

Hunter Schafer
Cuckoo

Justice Smith
I Saw the TV Glow

June Squibb
Thelma

Sebastian Stan
The Apprentice

BEST SUPPORTING PERFORMANCE

Yura Borisov
Anora

Joan Chen
Dìdi

Kieran Culkin
A Real Pain

Danielle Deadwyler
The Piano Lesson

Carol Kane
Between the Temples

Karren Karagulian
Anora

Kani Kusruti
Girls Will Be Girls

Brigette Lundy-Paine
I Saw the TV Glow

Clarence “Divine Eye” Maclin
Sing Sing

Adam Pearson
A Different Man

BEST BREAKTHROUGH PERFORMANCE

Isaac Krasner
Big Boys

Katy O’Brian
Love Lies Bleeding

Mason Alexander Park
National Anthem

René Pérez Joglar
In the Summers

Maisy Stella
My Old Ass

BEST CINEMATOGRAPHY

Dinh Duy Hung
Inside the Yellow Cocoon Shell

Jomo Fray
Nickel Boys

Maria von Hausswolff
Janet Planet

Juan Pablo Ramírez
La Cocina

Rina Yang
The Fire Inside

 BEST EDITING

Laura Colwell, Vanara Taing
Jazzy

Olivier Bugge Coutté, Olivia Neergaard-Holm
The Apprentice

Anne McCabe
Nightbitch

Hansjörg Weissbrich
September 5

Arielle Zakowski
Dìdi

ROBERT ALTMAN AWARD – Given to one film’s director, casting director, and ensemble cast

His Three Daughters
Director: Azazel Jacobs
Casting Director: Nicole Arbusto
Ensemble Cast: Jovan Adepo, Jasmine Bracey, Carrie Coon, Jose Febus, Rudy Galvan, Natasha Lyonne, Elizabeth Olsen, Randy Ramos Jr., Jay O. Sanders

BEST DOCUMENTARY (Award given to the director and producer)

Gaucho Gaucho
Directors/Producers: Michael Dweck, Gregory Kershaw
Producers: Christos Konstantakopoulos, Cameron O’Reilly, Matthew Perniciaro

Hummingbirds
Directors: Silvia Del Carmen Castaños, Estefanía “Beba” Contreras
Co-Directors/Producers: Miguel Drake-McLaughlin, Diane Ng, Ana Rodriguez-Falco, Jillian Schlesinger
Producers: Leslie Benavides, Rivkah Beth Medow

No Other Land
Directors/Producers: Yuval Abraham, Basel Adra, Hamdan Ballal, Rachel Szor
Producers: Fabien Greenberg, Bård Kjøge Rønning

Patrice: The Movie
Director: Ted Passon
Producers: Kyla Harris, Innbo Shim, Emily Spivack

Soundtrack to a Coup d’Etat
Director: Johan Grimonprez
Producers: Rémi Grellety, Daan Milius

 BEST INTERNATIONAL FILM (Award given to the director)

All We Imagine as Light
France, India, Netherlands, Luxembourg
Director: Payal Kapadia

Black Dog
China
Director: Guan Hu

Flow
Latvia, France, Belgium
Director: Gints Zilbalodis

Green Border
Poland, France, Czech Republic, Belgium
Director: Agnieszka Holland

Hard Truths
United Kingdom
Director: Mike Leigh

PRODUCERS AWARD  presented by Bulleit Frontier Whiskey – The Producers Award, now in its 28th year, honors emerging producers who, despite highly limited resources, demonstrate the creativity, tenacity, and vision required to produce quality independent films.

Alex Coco

Sarah Winshall

Zoë Worth

 SOMEONE TO WATCH AWARD  – The Someone to Watch Award, now in its 31st year, recognizes a talented filmmaker of singular vision who has not yet received appropriate recognition.

Nicholas Colia
Director of Griffin in Summer

Sarah Friedland
Director of Familiar Touch

Pham Thien An
Director of Inside the Yellow Cocoon Shell

TRUER THAN FICTION AWARD – The Truer Than Fiction Award, now in its 30th year, is presented to an emerging director of non-fiction features who has not yet received significant recognition.

Julian Brave NoiseCat, Emily Kassie
Directors of Sugarcane

Carla Gutiérrez
Director of Frida

Rachel Elizabeth Seed
Director of A Photographic Memory

SILENT RAGE – Revisiting the Chuck Norris film from my youth.

Posted on December 4, 2024 by Bradley Crain

SILENT RAGE is one of those movies that I watched quite a bit as a kid, and I thought it was pretty scary. Fox-16 out of Little Rock played it quite often. We didn’t have cable in Toad Suck so I’d watch whatever movies that were playing, especially if they had action. I’d say my initial interest and appreciation for Chuck Norris began with this film, and I still watch Chuck quite a bit to this day. With that said, I’m not sure I’ve watched SILENT RAGE again since I was a teenager. If I’m going to watch Chuck, I’ll generally watch CODE OF SILENCE, LONE WOLF MCQUADE, MISSING IN ACTION, INVASION USA, THE DELTA FORCE, or even FIREWALKER or HERO AND THE TERROR. But this week, I was browsing through Tubi and saw my childhood friend SILENT RAGE and decided to give it another spin.

SILENT RAGE opens in a wild household. John Kirby (Brian Libby) is awakened from his sleep by a kid wearing a Stormtrooper mask and shooting him with a laser gun. The kid tells Kirby he’s got a phone call. Kirby is clearly not doing well. He’s making strange sounds and his body movements are as funky as hell. Add to this situation, wild kids running around the house and a woman, who I’m guessing is their mom, screaming at them. To say this woman’s voice is annoying as she screams at the kids would possibly be my understatement of 2024. When Kirby answers the phone he tells the unseen doctor on the other end of the line, “I’m losin’ it, Doc! I’m not gonna make it” and he hangs up. I have to admit I’m understanding of Kirby at this point. I’ve only witnessed the activities of that house for a couple of minutes and I’m losin’ it! So in what seems like a reasonable move at the time, Kirby goes outside to the woodpile, grabs an axe, and then walks back into the house and confronts the loud lady. She immediately begins screaming in fear and runs upstairs and locks herself into the bedroom. Her fear scream is probably twice as annoying as her “screaming at kids” voice. Prior to Kirby chopping down the door with his axe, she’s able to scream out the window to a passing mailman for help. Soon after this message to the mailman, Kirby puts the lady, and the audience, out of our collective misery.

In what is possibly the fastest response time in law enforcement history, a blazer immediately pulls up front and sheriff Dan Stevens (Chuck Norris) emerges from the passenger side. From this point forward, I will disregard his character name and refer to him as Chuck Norris. Every other person will be referred to as their characters’ names. I thought Norris was cool in SILENT RAGE when I was a kid, and I must admit I still think he’s pretty awesome as he calmly walks into the house where John Kirby has just committed multiple murders. After a few minutes, Kirby attacks Norris. The two men scuffle, but Kirby is able to break free and jump out the upstairs window onto the ground and run into the woods. Norris follows and is immediately almost shot by his deputy, Charlie (Stephen Furst). Quick tangent – it may seem strange at first to think of Stephen Furst (Kent Dorfman from ANIMAL HOUSE) as Norris’ deputy, and after watching the film again, I’ll go ahead and agree that it is a strange choice. He basically plays a goofy guy who has no business in law enforcement and that is made abundantly clear throughout the film. Back to the woods we go where Norris, after barely escaping being shot in the head by Charlie, engages in an additional fight with Kirby. He’s able to subdue the murderer and handcuff him. Now in the back of the cop car, Kirby breaks out of his handcuffs, kicks open the door and begins attacking various men with guns. It’s at this point that he’s shot about 14 times. He should be dead at this point, but I do understand for the sake of running time, that there will be additional plot developments.

These additional plot developments arrive in the form of doctors operating on John Kirby to try to save his life. Fortunately, nature takes its course and Kirby dies, or so we think. It seems that Dr. Phillip Spires (Steven Keats) has a god complex and administers an experimental serum that brings Kirby back to life. Not only that, at the dosage he’s being given, it turns him into an indestructible killing machine. Dr. Tom Halman (Ron Silver) is the voice of reason who tries to convince Dr. Spires to let him die, but to no avail. Dr. Spires is doing this for science and mankind and secretly keeps Kirby alive with Doctor Paul Vaughn (William Finley). The two men think they can control him, but of course they’re wrong. Alive, and now superhuman, Kirby escapes to wreak havoc. And only one man can stop the indestructible, superhuman killing machine, and that man’s name is Chuck Norris.

Just a few additional thoughts before I close. First, Toni Kalem plays Chuck’s love interest, Alison, in the film. His relationship with her does slightly take away from his cool factor as they make love at one point to the cheesiest, corniest 80’s song called “A Time for Love.” She also has an extremely annoying scream voice herself when Kirby comes after her at the end. Second, the cool factor is almost completely restored when Chuck takes on a bar full of drunken, violent bikers and single-handedly destroys them. I think it’s nice of the 22 bikers to come at Chuck one at a time. It would have been a lot harder for him to take on 22 people diving on him at the same time. Third, I stated earlier that the power-crazed Dr. Phillip Spires was played by actor Steven Keats. For those who follow the film career of Charles Bronson like I do, you will immediately recognize Keats as the same actor who played Paul Kersey’s son-in-law in DEATH WISH. In SILENT RAGE he’s a narcissistic jerk, in DEATH WISH he’s a whiny wuss. That’s a solid 1-2 fist-punch of un-likability, Steven!!

I did enjoy the nostalgia factor of re-watching SILENT RAGE after many years. And Chuck Norris getting out of that blazer to go after John Kirby at the beginning of the film was still cool. There were a few things already mentioned above that bothered me more now than they did when I was a kid, but at the end of the day, Chuck Norris is still Chuck Norris. And I will always enjoy Chuck Norris!