Late Night Retro Television Review: Monsters 3.4 “Cellmates”


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.

It’s Rex Manning Day on Monsters!

Episode 3.4 “Cellmates”

(Dir by Stephen Tolkin, originally aired on October 21st, 1990)

Timothy Danforth (Maxwell Caulfield) is a rich American kid who has gotten in trouble while visiting Mexico.  He was arrested after hitting a kid with his car and then punching out the kid’s father, who just happened to be a cop.  After Danforth was arrested, the cops looked inside his car and found a lot of drugs.  Convinced (perhaps correctly) that Danforth is a drug dealer and a smuggler, the cops promptly toss him into a filthy jail cell.

The cocky Danforth is convinced that his father will soon free him from the prison.  However, in the next cell, an old man (Ferdy Mayne) says that Danforth has been tossed into a special cell.  It’s a cell that is reserved for the worst of the worst.  The Old Man says that no one ever leaves the cell.  At first, Danforth laughs off the old man’s claims but, at night, the Old Man dissolves into a puddle of liquid that enters Danforth’s cells and attempts to attack him.  Danforth survives but when he tells his lawyer and his jailers about what happened, the authorities respond by chaining Danforth to a wall, leaving Danforth at the mercy of the Old Man.

It’s a pretty good thing that Danforth is such an unlikable and downright loathsome character because, otherwise, this would be a really disturbing episode.  Instead, Danforth is a stereotypical rich kid who thinks that he can get away with anything and that the rules don’t apply to him.  He shows no remorse about having hit a kid with his car.  He’s cocky and arrogant from the minute we see him.  He’s exactly the kind of guy who gives Americans abroad a bad name.  In the end, it’s hard not to feel that he really doesn’t have anyone but himself to blame for his predicament.  He’s a victim of his own very bad choices and he’s so confident that he’s untouchable that his final fate feels like karma.

This is a pretty simple episode.  A bad guy falls victims to his own stupidity.  There’s nothing likable about Timothy Danforth, though Maxwell Caulfield certainly does a good job in the role.  Caulfield plays Danforth as being an incredibly spoiled brat, someone who has never been held responsible for his actions and who can’t believe that he’s actually in real trouble.  Surprisingly, Caulfield almost gets you to feel sorry for Danforth at the end of the episode.  Danforth really had no idea what he was getting himself involved with.  That said, in the end, bad decisions are bad decisions and Danforth has no one to blame but himself.

This was an effective episode, with a lot of atmosphere and a good performance from Maxwell Caulfield.  So far, Season 3 of Monsters is off to a good start.

 

Lisa Reviews An Oscar Nominee: Arrowsmith (dir by John Ford)


In the 1931 Best Picture nominee Arrowsmith, Ronald Colman stars as Martin Arrowsmith, a doctor who is trying to save lives without compromising his ethics.

Arrowsmith is mentored by the famed bacteriologist, Max Gottlieb (A.E. Anson) and married to a nurse named Leora (Helen Hayes).  At first, Arrowsmith makes his living as the local doctor in Leora’s small hometown in South Dakota.  However, Arrowsmith is ambitious and wants to do more with his life and career than just take care of a small town.  He wants to cure the world of disease.  When he’s offered a position at the prestigious McGurk Institute in New York, he enthusiastically accepts.  Having just suffered a miscarriage, Leora supports Arrowsmith’s decision and travels to New York with him.  No matter what happens, Leora is always there to support her husband, even when he doesn’t seem to appreciate it.

When Arrowsmith thinks that he’s discovered an antibiotic serum that appears to be capable of curing all sorts of diseases, he attempts to stay true to the methods taught to him by Dr. Gottlieb.  He takes his time.  He tests carefully.  He doesn’t rush out and give the serum to everyone.  However, Arrowsmith finds his methods continually sabotaged by his colleagues, who hope to raise money by telling the press about a miracle serum that can “cure all diseases!”  When Arrowsmith later finds himself combatting an outbreak of the Bubonic Plague in the West Indies, he again tries to employ the scientific method but finds himself being pressured by government officials to give his untested serum to every single person on the island.  Eventually, Arrowsmith’s ethics are pushed to their limits when even Leora falls ill.

Arrowsmith was based on a best-selling novel by Sinclair Lewis, though the plot was changed to make the story more palpable for film audiences.  In the novel, Arrowsmith is a bit of cad who regularly cheats on his wife.  In the film, Arrowsmith is passionate and driven but the exact nature of his relationship with wealthy Joyce Lanyon (Myrna Loy) is left so ambiguous that it actually leaves one wondering why the character is in the film at all.  What both the film and the novel have in common is an emphasis on the importance of science and the scientific method.  Arrowsmith’s idealism runs into the harsh reality of life during an epidemic.  Government officials are more concerned with saying that they’ve done something as opposed to considering whether their actions have ultimately done more harm than good.  In its way, Arrowsmith predicted the COVID era.

Arrowsmith was the first John Ford film to be nominated for Best Picture and its financial success allowed Ford the freedom to go on to become one of Hollywood’s most important directors.  Seen today, Arrowsmith feels a bit creaky and self-important, with little of the visual flair that Ford brought to his later films.  Ronald Colman’s performance as Arrowsmith seems a bit stiff, especially when compared to the much more lively (and sympathetic) performance of Helen Hayes.  Arrowsmith is a big and serious film and, if we’re going to be honest, it’s a little bit boring.  Still, it’s interesting to see the issues of today being debated 90 years in the past.

As for the Oscars, Arrowsmith was nominated for Best Picture, Adaptation, Cinematography, and Art Direction.  It lost in all four of the categories in which it was nominated.  That year, Best Picture was won by Grand Hotel, which curiously didn’t receive any other nominations at all.

Great Moments In Comic Book History #38: The Cover of Green Lantern/Green Arrow #85


“You always have all the answers, Green Arrow … well, what’s your answer to that!?”

Green Lantern and Green Arrow were always mismatched as friends.  Green Lantern was an upstanding citizen of the universe while Green Arrow was the former millionaire who now fighting for the working man.  In Green Lantern/Green Arrow #85 (August, 1971), they discovered that the Green Arrow’s arrows were being used by junkies to commit crimes so that they could pay for their habit.  They were buying the arrows from Speedy, who was the Green Arrow’s own sidekick!  Speedy had gotten hooked on heroin.

Along with a three-issue arc of The Amazing Spider-Man in which Harry Osborne developed a pill addiction, Green Lantern/Green Arrow #85 was one of the first comic books to deal with drug addiction and it featured one of its own heroes getting hooked on a very real drug.  Both artist Neal Adams and writer Denny O’Neil wanted to deal with the issue realistically.  Neal Adams’s cover, featuring not just paraphernalia but Speedy in the act of shooting up, was considered to be very risky in 1971.  Today, it’s the moment that DC finally made the move into exploring more mature storylines.

Previous Great Moments In Comic Book History:

  1. Winchester Before Winchester: Swamp Thing Vol. 2 #45 “Ghost Dance” 
  2. The Avengers Appear on David Letterman
  3. Crisis on Campus
  4. “Even in Death”
  5. The Debut of Man-Wolf in Amazing Spider-Man
  6. Spider-Man Meets The Monster Maker
  7. Conan The Barbarian Visits Times Square
  8. Dracula Joins The Marvel Universe
  9. The Death of Dr. Druid
  10. To All A Good Night
  11. Zombie!
  12. The First Appearance of Ghost Rider
  13. The First Appearance of Werewolf By Night
  14. Captain America Punches Hitler
  15. Spider-Man No More!
  16. Alex Ross Captures Galactus
  17. Spider-Man And The Dallas Cowboys Battle The Circus of Crime
  18. Goliath Towers Over New York
  19. NFL SuperPro is Here!
  20. Kickers Inc. Comes To The World Outside Your Window
  21. Captain America For President
  22. Alex Ross Captures Spider-Man
  23. J. Jonah Jameson Is Elected Mayor of New York City
  24. Captain America Quits
  25. Spider-Man Meets The Fantastic Four
  26. Spider-Man Teams Up With Batman For The Last Time
  27. The Skrulls Are Here
  28. Iron Man Meets Thanos and Drax The Destroyer
  29. A Vampire Stalks The Night
  30. Swamp Thing Makes His First Cover Appearance
  31. Tomb of Dracula #43
  32. The Hulk Makes His Debut
  33. Iron Man #182
  34. Tawky Tawny Makes His First Appearance
  35. Tomb of Dracula #49
  36. Marvel Publishes Star Wars #1
  37. MAD Magazine Plays Both Sides

Glass Jaw (2018, directed by Jeff Celentano)


When the daughter of his trainer dies of a drug overdose at his house, world light heavyweight champion Travis Austin (Lee Kholafai) takes the blame and goes to prison, even though the drugs were brought into his house by his sparring partner, Joe (Brandon Sklenar).

After four years of being incarcerated, Travis is released into a brand new world.  His wife (Korrina Rico), who waited for his release and only cheated on him once in a moment of weakness, now works as a waitress and lives in a small apartment.  Joe is now not only the light heavyweight champion but also refuses to help Travis get back on his feet.  Travis finally ends up working at a gym, owned by the cantankerous Frank Maloney (Mark Rolston).  It’s a tough life but an unexpected opportunity gives Travis a chance to win back his title.

Glass Jaw pretty much lost me as soon as Travis decided to take the rap and go to prison for something that Joe was responsible for.  Being loyal is one thing but being stupid is something else and, by taking the fall, Travis put his wife in a terrible position.  The film had all of the usual boxing cliches but the Big Fight at the end was strangely anti-climatic, even if both Kholafai and Sklenar looked credible while they were throwing punches at each other.

The best performance in the film was delivered by Jon Gries, who had a small role as Travis’s alcoholic father.  I would have liked for the entire movie to have been about his character.

Retro Television Review: The Love Boat 5.12 “Take a Letter, Vicki/The Floating Bridge Game/The Joy of Celibacy”


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!

Set sail for adventure, your mind on a new romance….

Episode 5.12 “Take a Letter, Vicki/The Floating Bridge Game/The Joy of Celibacy”

(Dir by Richard Kinon, originally aired on December 12th, 1981)

Captain Stubing notices that Vicki seems to be depressed.  He asks his crew if they have any idea what’s wrong with her.

Actually, he could have just asked me.  Why is Vicki depressed?  Maybe it’s because she’s a teenage girl who spends all of her time on a boat surrounded by people who are all at least twenty to thirty years older than her?  Maybe it’s because she doesn’t have any friends her own age?   Maybe it’s because Julie’s now too coked up to be the surrogate mother figure that she was during the previous two seasons?  Seriously, there’s a lot reasons why Vicki might be depressed but they all have on solution.  Let Vicki go to school on the mainland and allow her to have some friends her own age!

The crew, however, thinks that the Captain should just hire Vicki to be his secretary.  Stubing agrees.  Vicki is happy to have a job and she immediately does the exact same thing that I would do under those circumstances.  She rearranges the captain’s entire office.  The Captain can’t find anything but personally, I think his office does look better once everything has been straightened up.  A messy office leads to a messy mind and, on a cruise ship, a messy mind can lead to a collision with an ice berg.

Vicki then issues a cheerful memo, telling all the members of the crew that they should give the Captain a daily run-down of their plans for the day.  Again, I think that makes total sense.  The crew, however, is outraged.  The Captain is worried that Vicki is taking her position too seriously but he doesn’t know how to fire her.  (When did Captain Stubing become a wimp?  This is a weird episode.)  The crew decides to give Vicki so much work that she’ll quite out of frustration but they discover that Vicki is determined to do a good job.  No one knows what to do….

LET HER HAVE FRIENDS HER OWN AGE AND A NORMAL LIFE!  THAT’S THE ONLY THING YOU HAVE TO DO!

Anyway, the overworked Vicki eventually falls asleep on the job.  The Captain uses that as an excuse to fire her.  Vicki smiles because she didn’t really enjoy the job in the first place.  Usually, the relationship between the Captain and Vicki is one of the better elements of The Love Boat but this episode left me feeling really bad for Vicki.  She’s really missing out on the best years of her life.

As for the other two stories, neither was very interesting.  A bridge club made up of four widows takes the cruise and are shocked when one of them (played by Nanette Fabray) decides she would rather spend time with a handsome dentist (Robert Alda) than play bridge.  My question here is why would you spend money to play bridge on a cruise while you could just play at home for free.  If you’re on a cruise, enjoy the scenery!  Don’t just play bridge.  Meanwhile, Barry Styles (Jim Trent) pretended to be a big believer in celibacy in order to get “ice queen” Linda Trent (Carlee Watkins) to fall for him.  Doc and Gopher made a bet on whether or not he would be successful.  DOC!  GOPHER!  You two know you’re better than that!

This week’s cruise was just sad.  The bridge club wasted a lot of money.  Linda was the center of a misogynistic bet.  Vicki is still going to be lonely and depressed next week.  What a sad trip on The Love Boat.

Here Are The 2024 DGA Nominations


The Director Guild has announced its nominees for the best of 2024.  This is one of strongest of the precursors so A Complete Unknown getting mentioned both by the DGA and the SAG would seem to indicate that it’s going to get a Best Picture nod as well.  We’ll find out next week!

FEATURE FILM
JACQUES AUDIARD, Emilia Pérez
SEAN BAKER, Anora
EDWARD BERGER, Conclave
BRADY CORBET, The Brutalist
JAMES MANGOLD, A Complete Unknown

FIRST-TIME THEATRICAL FEATURE FILM
PAYAL KAPADIA, All We Imagine as Light
MEGAN PARK, My Old Ass
RAMELL ROSS, Nickel Boys
HALFDAN ULLMANN TØNDEL, Armand
SEAN WANG, Dìdi

Song of the Day: Heroes by David Bowie


For today’s song of the day, we have my favorite David Bowie song, HeroesHeroes was also featured in one of my favorite downbeat movies, 1981’s Christiane F.

I, I will be king
And you, you will be queen
Though nothing will drive them away
We can beat them, just for one day
We can be heroes, just for one day

And you, you can be mean
And I, I’ll drink all the time
‘Cause we’re lovers, and that is a fact
Yes we’re lovers, and that is that
Though nothing will keep us together
We could steal time just for one day
We can be heroes for ever and ever
What d’you say?

I, I wish you could swim
Like the dolphins, like dolphins can swim
Though nothing, nothing will keep us together
We can beat them, for ever and ever
Oh we can be Heroes, just for one day

I, I will be king
And you, you will be queen
Though nothing will drive them away
We can be Heroes, just for one day
We can be us, just for one day

I, I can remember (I remember)
Standing, by the wall (by the wall)
And the guns, shot above our heads (over our heads)
And we kissed, as though nothing could fall (nothing could fall)
And the shame, was on the other side
Oh we can beat them, for ever and ever
Then we could be Heroes, just for one day

We can be Heroes
We can be Heroes
We can be Heroes
Just for one day
We can be Heroes

We’re nothing, and nothing will help us
Maybe we’re lying, then you better not stay
But we could be safer, just for one day

Oh-oh-oh-ohh, oh-oh-oh-ohh, just for one day

Songwriters: Brian Eno / David Bowie

KID GALAHAD (1962) – Charles Bronson teaches Elvis how to box! Happy Birthday to the King!


In celebration of the January 8th birthday of the great Elvis Presley, I decided to watch his 1962 film KID GALAHAD, the only film where he co-stars with my movie hero Charles Bronson. I’ve always been a fan of Elvis Presley and seeing him on-screen with Bronson is a real treat for me.

KID GALAHAD opens with Walter Gulick (Elvis Presley) returning to his hometown in upstate New York. Recently discharged from the army, and in the need of money, the aspiring mechanic finds his way to Willy Grogan’s (Gig Young) boxing camp and agrees to spar with one of his up-and-coming young boxers. Walter doesn’t have much boxing skill, but he ends up having one hell of a right hook and knocks the young boxer flat on his ass. Seeing this, Willy Grogan, who has all sorts of personal and financial problems, thinks Walter might be the answer to getting out of debt to his bookie. Willy asks his trainer Lew (Charles Bronson) to work with the young, strong Walter, who’s now been dubbed “Galahad” by Willy’s girlfriend Dolly (Lola Albright) after he had protected her honor from a “man who doesn’t know how to behave around a lady.” Pretty soon, Willy has fights arranged for Walter under the name of “Kid Galahad.” The first fight begins with Galahad getting his faced being punched repeatedly until he gets one opening and then knocks the other fighter out with one punch. After that, with Lew’s help, Galahad’s skills start showing definite improvement. When he’s not working with Lew at the gym, Galahad finds time to romance and propose to Willy’s sister, Rose (Joan Blackman). This causes problems with the troubled Willy who doesn’t want his sister married to some “meatball” or “grease monkey.” Even worse, smelling money, gangster Otto Danzig (David Lewis) and his henchmen start putting pressure on the financially troubled Willy to force Galahad to take a dive in his big fight with “Sugar Boy” Romero so they can clean up on the fix, going so far as breaking Lew’s hands. Will Willy get the balls to say no to the gangsters? Will Galahad be able to beat Sugar Boy Romero and then retire to open his garage with Rose by his side? You probably already know, but you’ll just have to watch and see!

1962’s KID GALAHAD is a remake of a 1937 movie of the same name directed by Michael Curtiz, and starring cinematic legends Edward G. Robinson, Bette Davis, and Humphrey Bogart. I’ve never seen the earlier version, so I will not compare the two in any way. And to be completely honest, I haven’t watched very many Elvis Presley movies either. As I type this, I can’t think of a single moment I remember in his filmography not included in KID GALAHAD, and I wouldn’t have watched this one without the presence of Charles Bronson. With that said, I think Elvis gives a good performance in KID GALAHAD. He’s very likable, with his character having an old-fashioned chivalry towards women, a friendly, open way with men, and an appreciation for a strong work ethic. I think Elvis handles each of these parts of his character in a way to that makes me want to root for him. As good as Elvis is as Kid Galahad, Gig Young does most of the heavy lifting as the story really revolves around his character’s troubles even more than it does around Galahad. I think he does a pretty good job of taking a character who’s a pretty sorry guy, and by the end of the movie we actually find ourselves starting to like him. Even though he’s in a true supporting role, Charles Bronson is excellent as the trainer who teaches Galahad how to box. Every scene Bronson’s in is elevated by his enormous screen presence and authority. With Bronson in his corner, you feel Galahad is capable of anything. The most powerful scene in the entire film is when the gangsters try to buy his character off under the threat of violence, and he refuses, leading to his hands being broken. After becoming one of the biggest stars on the planet a number of years later, it’s easy to look back at these moments and wonder how in the hell was he not already a huge star in 1962.

Of course, this being an Elvis Presley movie, there are several musical numbers spread throughout the movie. While I don’t remember too much about the songs themselves, they didn’t really take me out of the drama of the movie either. I actually enjoyed seeing Elvis perform, with the people around him clapping along and enjoying themselves. I do remember a specific scene where Elvis is singing as he’s driving down the road, and Bronson’s sitting in the back seat with a big smile on his face like he’s having a great time. That’s my favorite moment of all the songs.  

Although I haven’t watched many of his movies, I’ve been an appreciative fan of Elvis Presley all my life. I can’t tell you how many times I heard his Christmas album in my younger years, as my mom would play it almost on repeat once we got to November. He was a talented, versatile singer whose charisma and stage presence have never been matched, and whose influence on music and entertainment is immeasurable. The fact that Elvis Presley and Charles Bronson made KID GALAHAD together means something to me, and I had a great time revisiting the film on his birthday!

See the Original Trailer for KID GALAHAD below.

The Manliest Covers Of True Men


by Wil Hulsey

From 1957 to 1975, True Men Stories featured articles about real men doing manly stuff, like fighting wild animals and saving women from enemy soldiers.  Below, check out a few of the manliest covers of True Men!

Artist Unknown

Artist Unknown

by Earl Norem

by Earl Norem

by Earl Norem

by Earl Norem

by Wil Hulsey

by Wil Hulsey

by Wil Hulsey

by Wil Hulsey

by Wil Hulsey

by Wil Hulsey

by Wil Hulsey

Unknown Artist

 

Here Are The 2025 SAG Nominations


Due to the catastrophic wildfires currently burning in California, Tte Screen Actors Guild dispensed with their usual big nominations announcement and instead sent out a simple press release their morning.

Here are the SAG’s film nominations.  The SAG is a usually pretty good precursor so the folks who were celebrating the victory of the Brutalist on Sunday night have a bit less to celebrate today.  That said, the 2,0000-person nominating committee appear to have really liked The Last Showgirl.  Let’s keep Pamela Anderson’s Oscar hopes alive!

Outstanding Performance by a Male Actor in a Leading Role
ADRIEN BRODY / László Tóth – “THE BRUTALIST”
TIMOTHÉE CHALAMET / Bob Dylan – “A COMPLETE UNKNOWN”
DANIEL CRAIG / William Lee – “QUEER”
COLMAN DOMINGO / Divine G – “SING SING”
RALPH FIENNES / Lawrence – “CONCLAVE”

Outstanding Performance by a Female Actor in a Leading Role
PAMELA ANDERSON / Shelly – “THE LAST SHOWGIRL”
CYNTHIA ERIVO / Elphaba – “WICKED”
KARLA SOFÍA GASCÓN / Emilia/Manitas – “EMILIA PÉREZ”
MIKEY MADISON / Ani – “ANORA”
DEMI MOORE / Elisabeth – “THE SUBSTANCE”

Outstanding Performance by a Male Actor in a Supporting Role
JONATHAN BAILEY / Fiyero – “WICKED”
YURA BORISOV / Igor – “ANORA”
KIERAN CULKIN / Benji Kaplan – “A REAL PAIN”
EDWARD NORTON / Pete Seeger – “A COMPLETE UNKNOWN”
JEREMY STRONG / Roy Cohn – “THE APPRENTICE”

Outstanding Performance by a Female Actor in a Supporting Role
MONICA BARBARO / Joan Baez – “A COMPLETE UNKNOWN”
JAMIE LEE CURTIS / Annette – “THE LAST SHOWGIRL”
DANIELLE DEADWYLER / Berniece – “THE PIANO LESSON”
ARIANA GRANDE / Galinda/Glinda – “WICKED”
ZOE SALDAÑA / Rita – “EMILIA PÉREZ”

Outstanding Performance by a Cast in a Motion Picture
A COMPLETE UNKNOWN
MONICA BARBARO / Joan Baez
NORBERT LEO BUTZ / Alan Lomax
TIMOTHÉE CHALAMET / Bob Dylan
ELLE FANNING / Sylvie Russo
DAN FOGLER / Albert Grossman
WILL HARRISON / Bobby Neuwirth
ERIKO HATSUNE / Toshi Seeger
BOYD HOLBROOK / Johnny Cash
SCOOT MCNAIRY / Woody Guthrie
BIG BILL MORGANFIELD / Jesse Moffette
EDWARD NORTON / Pete Seeger

ANORA
YURA BORISOV / Igor
MARK EYDELSHTEYN / Ivan
KARREN KARAGULIAN / Toros
MIKEY MADISON / Ani
ALEKSEY SEREBRYAKOV / Nikolai Zakharov
VACHE TOVMASYAN / Garnick

CONCLAVE
SERGIO CASTELLITTO / Tedesco
RALPH FIENNES / Lawrence
JOHN LITHGOW / Tremblay
LUCIAN MSAMATI / Adeyemi
ISABELLA ROSSELLINI / Sister Agnes
STANLEY TUCCI / Bellini

EMILIA PÉREZ
KARLA SOFÍA GASCÓN / Emilia/Manitas
SELENA GOMEZ / Jessi
ADRIANA PAZ / Epifania
ZOE SALDAÑA / Rita

WICKED
JONATHAN BAILEY / Fiyero
MARISSA BODE / Nessarose
PETER DINKLAGE / Dr. Dillamond
CYNTHIA ERIVO / Elphaba
JEFF GOLDBLUM / The Wonderful Wizard of Oz
ARIANA GRANDE / Galinda/Glinda
ETHAN SLATER / Boq
BOWEN YANG / Pfannee
MICHELLE YEOH / Madame Morrible

Outstanding Action Performance by a Stunt Ensemble in a Motion Picture
DEADPOOL & WOLVERINE
DUNE: PART TWO
THE FALL GUY
GLADIATOR II
WICKED