Late Night Retro Television Review: CHiPs 3.14 “Wheeling”


Welcome to Late Night Retro Television Reviews, a feature where we review some of our favorite and least favorite shows of the past!  On Mondays, I will be reviewing CHiPs, which ran on NBC from 1977 to 1983.  The entire show is currently streaming on Prime!

Things get weird in California.

Episode 3.14 “Wheeling”

(Dir by Barry Crane, originally aired on December 8th, 1979)

This is one of those weird episodes where Ponch and Jon just keep running into the same people over and over again.

Artie (Paul Gale), Don (Ray Vittie), and Alan (Ron Lombard) are all in wheelchairs but they’re not going to let that stop them from enjoying life and, far more dangerously, playing tag while driving on the highway.  Artie’s van taps Alan’s car.  Alan taps Don’s car.  Don tries to tap Artie’s van.  It’s dangerous and Ponch and Jon, when they see it, promptly pull the three men over.  Ponch is impressed with Artie’s joie d’vivre.  As usual, Baker is less impresses and is like, “You — of all people! — should understand the danger!”  (I swear, poor Larry Wilcox.  While Erik Estrada got to smile through each episode, it always fell on Wilcox to be the killjoy.)

That said, both Jon and Ponch came to admire Artie and his determination to make sure that all of his wheelchair-bound friends get the most out of life.  They even help Artie present a fancy new wheelchair to Brent (David Gilliam), a surfer who has not been able to bring himself to leave the hospital ever since he learned that he will never walk again.

Artie and the gang help out Jon and Ponch as well.  Jon and Ponch are searching for a blue car that was involved in a street race that left one teenager with a broken leg.  The teenager’s father, Harry (Taylor Lacher), has been speeding up and down the freeway, searching for the car.  Harry even made a citizens arrest, though Delgado (Fil Formicola) had an alibi for the time that Harry’s son was injured.  While Delgado makes plans to sue Harry for false arrest. Artie happens to spot the blue car that Jon and Ponch are looking for.  Way to go, Artie!

But then, after all of this, Artie and his friends decide to race on Harry’s street.  Harry goes crazy.  He jumps in his car and takes off after Artie’s van, not realizing that Artie was the one who helped the police catch the guy who hit Harry’s son.  It leads to a huge accident at a construction site.  The van flips over.  Harry’s car flips over.  Harry breaks his leg.  Artie’s breaks both of his arms.  The judge sentences Harry to serve as Artie’s manservant until Artie’s arms heal.  Everyone has a good laugh, including Harry.

What a weird episode!  I mean, its heart was definitely in the right place.  The whole point of the episode was that Artie and his friends were just as capable as anyone who could walk.  That’s a good message.  But, then, out of nowhere, Artie is suddenly involved in a street race and Harry is trying to crash into his van.  And then, at the end of it, everyone finds it all to be terrifically amusing.  And somehow, Ponch and Jon manage to be at the scene of every incident involved Harry, Artie, and Artie’s friends.  Like, seriously, what are the odds?  There are other highway patrolmen in California.

Again, a strange episode.  As always, the scenery was nice.  It’s always fun to see what the world looked like in 1979.  And I appreciated that this episode made a strong case for people not taking it upon themselves to make a citizens arrest because, seriously, people who do that tend to be so obnoxious.

Anyway, I enjoyed it.  It was just weird enough to be fun.  Drive safely out there!

Sometimes, It’s Good To Miss A Game


I was feeling bad about missing tonight’s game between the Rangers and the Reds but then I looked at the score — 14-3, Reds — and I realized maybe it was for the best!  Just looking at the numbers, it looks like the Reds put on a hitting clinic and the Rangers had no answer for it.

That’s baseball.  You’re going to lose a few.  Let’s hope this is just a fluke and not a sign of things to come.

Congratulations, Cincinnati!

Go Rangers!

 

Celebrate Victoria Smurfit’s birthday with a catfight!


If a person has co-starred in a movie with Charles Bronson or Chow Yun-fat, I’m a fan of theirs for life. Back in 2003, the lovely Victoria Smurfit played a villain in Chow’s BULLETPROOF MONK. To celebrate her birthday, I’m sharing this fight scene from the film, also featuring Jaime King. Enjoy!

At Close Range (1986, directed by James Foley)


Brad Whitewood, Sr. (Christopher Walken) is known as Big Brad, a rural crime lord who rules the backwoods of Pennsylvania.  When his son, Little Brad (Sean Penn, trying too hard to be James Dean), comes to live with him, Big Brad goes out of his way to try to bring the teenager into his criminal lifestyle.  At first, Little Brad loves being a part of the family business but witnessing a murder and falling in love with Terry (Mary Stuart Masterson) caused Little Brad to start to move away from his father.  With the FBI closing in on the Whitewood family, Brad Sr. starts to eliminate everyone who he considers to be a threat, including the members of his own family.

Based on a true story, this neo-noir features a great cast, including Chris Penn, Millie Perkins, Kiefer Sutherland, Crispin Glover, David Strathairn, Tracey Walter, and Mary Stuart Masterson.  Unfortunately, the movie itself moves at a plodding pace.  There are some good and disturbing scenes, like the montage where Big Brad starts to eliminate the members of his gang.  The film does a good job of showing how seductive Big Brad’s criminal lifestyle can be to a bunch of kids who have basically been written-off by society.  But the story itself is so bleak that most people will end up tuning out long before Little Brad finally turns against his father.

Whatever other flaws it may have, At Close Range does feature one of Christopher Walken’s best performances.  Walken is chillingly evil as Big Brad.  He’s got enough charisma to be believable as someone who could bring a gang together but he’s also frightening as he starts killing anyone who he thinks might talk to the police or the FBI.  Big Brad is a remorseless killer and Walken plays him as being a classic sociopath, someone who cannot understand why the members of his gang and family would get upset when he starts killing some of them.  To Big Brad, that just goes with the territory.  It’s a part of doing business.  With his distinct way of speaking and his trademark tics, Walken is someone who has inspired many impersonators and it can be easy to forget that he’s also a damn good actor.  Films like At Close Range remind us of just how talented Walken actually is.

Retro Television Review: Miami Vice 3.22 “Viking Bikers From Hell”


Welcome to Retro Television Reviews, a feature where we review some of our favorite and least favorite shows of the past!  On Mondays, I will be reviewing Miami Vice, which ran on NBC from 1984 to 1989.  The entire show can be purchased on Prime!

This week, it’s Reb Brown vs Don Johnson!

Episode 3.22 “Viking Bikers From Hell”

(Dir by James Quinn, originally aired on April 3rd, 1987)

Biker Reb Gustafson (Reb Brown) has been released in prison, just in time to seek vengeance for the death of his mentor, The Wire.  The Wire was killed in a drug deal gone bad so Reb decides to just track down every dealer that The Wire did business with during the final two weeks of his life and kill every one of them.  Working with Lascoe (John Matuszak) and Toad (Sonny Landham), Reb cuts a trail of terror through Miami’s underground.  Soon, there’s only one name left on the list …. SONNY BURNETT!

At this point, of course, everyone in Miami should know that Sonny Burnett is actually Sonny Crockett.  I’ve lost track of how many time Crockett and Tubbs have gotten their undercover identities blown.  Usually, the people who figure out that Sonny and Rico are undercover end up dying almost immediately afterwards.  But a few of their enemies have survived and it’s odd that they never seem to bother to tell anyone, “Hey, those guys are actually cops.”

This episode of Miami Vice is violent that it verges on self-parody.  (I guess that’s to be expected as the script was written by the great John Milius,  Milius was credited as “Walter Kurtz.”)  Reb Brown is an amusing actor.  He never showed much emotion but he always looked believable whenever he was relentlessly tracking down someone that he wanted to kill.  Brown is both this episode’s greatest strength and its greatest weakness.  As played Brown, Reb Gustasfson barely flinches when he gets shot.  He’s a relentless killing machine, the terminator on a motorcycle.  That does certainly make him an intimidating figure.  At the same time, this episode also features Reb Brown doing his signature yelling and, for me, it was hard to watch this episode without thinking about all the close-up, high-pitched screaming that he did in Space Mutiny.

Tubbs ends up in the hospital in this one.  An attack by Reb and his biker pals leaves Tubbs with a concussion.  Crockett visits the hospital and there’s a scene where he attempts to have a conversation with a heavily drugged Tubbs.  Tubbs’s comments make about as much sense as the last words of Dutch Schultz but it’s still kind of nice to see that Crockett actually does care about his partner.  The two of them haven’t always seemed particularly happy with having to work together over the course of the third season.

Biker fans will also be happy to note that Kim Coates has a small role in this one.  Crockett and Tubbs beat him up in a biker bar while demanding information about Reb.  The odd thing here is that Crockett and Tubbs go into the biker bar and make no attempt to hide the fact that they’re actually cops.  And all of the bikers in the bar seem to already know that they’re cops.  Seriously, were Crockett and Tubbs the two worst undercover cops in history?

This was an enjoyably over-the-top episode.  It was a bit silly but, when it comes to Reb Brown, would you want it any other way?

4 Shots From 4 Films: Special 1975 Edition


4 Or More Shots From 4 Or More 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 pay tribute to the year 1975.  It’s time for….

4 Shots From 4 1975 Films

One Flew Over The Cuckoo’s Nest (1975, dir by Milos Forman, DP: Haskell Wexler and Bill Butler)

Dog Day Afternoon (1975, dir by Sidney Lumet, DP: Victor J. Kemper)

Deep Red (1975, dir by Dario Argento, DP: Luigi Kuveiller)

Monty Python and the Holy Grail (1975, dir. Terry Gilliam & Terry Jones, DP: Terry Bedford)

Monday Live Tweet Alert: Join Us for Silicon Towers!


As some of our regular readers undoubtedly know, I am involved in hosting a few weekly live tweets on twitter and occasion ally Mastodon.  I host #FridayNightFlix every Friday, I co-host #ScarySocial on Saturday, and I am one of the five hosts of Mastodon’s #MondayActionMovie!  Every week, we get together.  We watch a movie.  We snark our way through it.

Tonight, for #MondayActionMovie, the film will be Silicon Towers!

It should make for a night of fun viewing and I invite all of you to join in.  If you want to join the live tweets, just hop onto Mastodon, pull up Silicon Towers on YouTube, start the movie at 8 pm et, and use the #MondayActionMovie hashtag!

Enjoy!

 

Scenes I Love: Jaws


“You know the thing about a shark, he’s got…lifeless eyes, black eyes, like a doll’s eye. When he comes at ya, doesn’t seem to be livin’. Until he bites ya and those black eyes roll over white.” — Quint

People have blamed Spielberg and his breakout film, Jaws, as the cause of the blockbuster mentality that studios have had since this film came out. Studios and producers wanted to recreate the ultra-successful box-office numbers of Jaws. Despite the fact that this film was modestly budgeted, people nowadays who think they’re film experts point to it as the culprit. They’ve called it the film that begun the dumbing down of Hollywood when creativity was sacrificed for profit.

Why did I pick a scene from this film as a favorite? I picked this particular scene because it’s one reason why the film succeeded and made people come back again and again. It’s a scene that perfectly captures one reason why we love to see films in a communal setting. We want to share the same experience and emotions this scene brought up from the pit of each audience’s psyche.

Jaws didn’t ruin the creativity in filmmaking. I like to think that this one film was a filmmaker at his most creativie (shark wouldn’t work properly so Spielberg kept it off-screen which just added to the terror and tension in the film). This very scene goes down as one of the greatest film monologues. It sets up the danger the trio faces with some anecdotal evidence from the very person who survived the experience, but who might have become unhinged because of it. I love the look of frozen terror on the face of Richard Dryefuss’ character as he listens to Robert Shaw tell the story of the ill-fated journey of the U.S.S. Indianapolis.

This latest “Scenes I Love” is why I consider Spielberg one of the best filmmaker of his generation and probably beyond that.