Late Night Retro Television Review: Pacific Blue 2.3 “Rapscallions”

Posted on May 6, 2025 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 Tuesdays, I will be reviewing Pacific Blue, a cop show that aired from 1996 to 2000 on the USA Network! It’s currently streaming everywhere, though I’m watching it on Tubi.

It’s another day in L.A.

Episode 2.3 “Rapscallions”

(Dir by Gary Winter, originally aired on September 7th, 1996)

There’s a lot happening in Santa Monica or wherever it is this stupid show takes place.

Mr. Baron (Tom Towles) has hired two thugs to run all the tenants out of a building so it can be turned into a drug den. TC and Cory help the tenants. TC encourages one of them, Travis (Anthony De Longis), to be a big old hero.

The lifeguards challenge the bicycle cops to a street hockey game. Victor goes crazy trying to recruit good players. The lifeguards bring in a professional player who apparently works as a lifeguard during the summer. The bicycle cops still manage to hold the lifeguards to a tie. Their goalie collapses at the end of the game, apparently as a result of getting hit in the face by the puck a hundred times. So, I guess he’s dead now. Oh well. At least the bike cops can feel like heroes before facing another day of people laughing about how dorky they look on their bicycles.

Palermo has a new girlfriend (Marisa Urkovich), which upsets his 16 year-old daughter, Jessie (Johna Stewart-Bowden). Jessie wants her parents to get back together but Palermo has to explain that the divorce is final. He is never going to remarry Jessie’s mother. Palermo’s heart belongs to the bicycles now.

There was a lot happening in this episode and I have to admit that I really didn’t care about any of it. After this episode ended, I started thinking about the show’s main characters and I asked myself whether or not any of them were actually likable. I mean, let’s consider this:

Jim Davidson plays TC Callaway, who doesn’t even have a consistent backstory. When we first met him, he was being pressured to quit his job and become an executive at his family’s business. TC was wealthy when we first met him but we haven’t heard anything about his family or their company since then and TC certainly doesn’t act like someone who grew up with money. Sometimes, TC has a regular girlfriend who lives with him and sometimes, it appears that he does not. Of course, the main problem with TC is that it’s hard to keep him straight from either Victor or Palermo. Once he puts on his riding helmet and his sunglasses, TC basically looks about as generic as someone can. A huge part of the problem is that TC never has any facial expressions or anything that would suggest any sort of personality at all.

Darlene Vogel plays Chris Kelly, who is still whining about being on the bike patrol. When the show started, she was obviously meant to have a will they or won’t they thing with TC but the total lack of chemistry between Darlene Vogel and every performer on the show pretty much ended that. For someone who was originally meant to be one of the main characters, Chris never really seems to have much to do on the show. She spent this episode smirking whenever anyone asked to see Palermo. Everyone’s had that friend that they secretly can’t stand and that’s pretty much who Chris is on this show.

Marcos A. Ferraez plays Victor Del Toro, who at least has a bit of a personality in that he’s always getting angry about something and he always stops and stares whenever he sees anyone wearing a bikini. (Since this series takes place on a beach in California, you can imagine the amount of time that is taken up by this.) Victor is impulsive and competitive but he’s also a bike cop so it’s still hard not to feel like he’s overcompensating because of his job.

Paula Trickey plays Cory McNamara. Cory is as close to being a likable character as you’re going to find on Pacific Blue and Paula Trickey, at least by this point in the series, is definitely the best member of the ensemble. Unfortunately, the show itself seems to only be interesting in either finding excuses for her to get sprayed with water or having her get menaced while wearing a tank top.

And finally, Rick Rossovich is Lt. Palermo. Palermo is strict and no-nonsense, which is actually what you want from a boss. Unfortunately, for the by-the-book boss thing to be compelling, someone in the group has to be a rule-breaker and that’s not really a description that applies to anyone on Pacific Blue. Rossovich was not a bad actor but, at least at this point in the series, Palermo still spends way too much time telling people that bicycle cops are real cops. If you haven’t been able to convince them yet, you never will.

In short, this episode of Pacific Blue didn’t work because the cast was boring and putting them on bicycles did not help. Hopefully, things will change as I continue to watch the series or else it’s going to be long couple of seasons.

Song of the Day: Main Title Track From Touch of Evil by Henry Mancini

Posted on May 6, 2025 by Lisa Marie Bowman

As today is Orson Welles’s birthday, it seems appropriate that today’s song of the day should come from the score of one of his best films, Touch of Evil.

The Unnominated #15: Touch of Evil (dir by Orson Welles)

Posted on May 6, 2025 by Lisa Marie Bowman

Though the Academy of Motion Picture Arts and Sciences claim that the Oscars honor the best of the year, we all know that there are always worthy films and performances that end up getting overlooked. Sometimes, it’s because the competition too fierce. Sometimes, it’s because the film itself was too controversial. Often, it’s just a case of a film’s quality not being fully recognized until years after its initial released. This series of reviews takes a look at the films and performances that should have been nominated but were, for whatever reason, overlooked. These are the Unnominated.

I come here to defend Charlton Heston.

1994’s Ed Wood is a great film that has one unfortunate line. Towards the end of the film, director Ed Wood (Johnny Depp) meets his hero, Orson Welles (Vincent D’Onoforio), in a bar. They talk about the difficulties of directing a film. Wood talks about the trouble that he’s having with Plan 9 From Outer Space. Welles says that he can understand what Wood is going through because the studio is forcing him to cast Charlton Heston as a Mexican in his next movie.

And look, I get it. It is true that Charlton Heston does play a Mexican prosecutor named Mike Vargas in Welles’s 1958 film, Touch of Evil. And it is true that Heston is not the most convincing Mexican to ever appear in a film. And I understand that there are people who enjoy taking cheap shots at Charlton Heston because he did have a tendency to come across as being a bit full of himself and he was a conservative in a industry dominated by Leftists. There are people who actually think Michael Moore doesn’t come across like a self-righteous prick when he confronts Heaton in Bowling for Columbine. I get the joke.

But it’s not true and it’s not fair. When Touch of Evil was first put into production by Universal, Welles was not hired to direct. He was hired to play Hank Quinlan, the formerly honest cop with a habit of planting evidence on those who he believed to be guilty. When Charlton Heston was offered the role of Vargas, he asked who had been hired to direct. When he was told that a director hadn’t been selected, Heston was the one who suggested Welles be given the job. When, as often happened with Welles’s film, the studio decided to take the film out of Welles’s hands, Heston argued for Welles’s vision while Welles was off trying to set up his long-dreamed of film of Don Quixote. Say what you will about Charlton Heston’s career, he fought for Orson Welles, just as he later fought for Sam Peckinpah during the making of Major Dundee. Heston may not have agreed with either Welles or Peckinpah politically but he fought for them when few people were willing to do so.

That Touch of Evil is a brilliant film is pretty much entirely due to Welles’s directorial vision. The story is pure pulp. While investigating the murder of an American businessman in Mexico, Vargas comes to believe that Quinlan is attempting to frame a young Mexican for the crime. While Vargas watches Quinlan, his wife Susie (Janet Leigh) is menaced by the crime lord Joe Grandi (Akim Tamiroff), who has his own issues with both Vargas and Quinlan. The plot may be the stuff of a B-programmer but, as directed by Welles, Touch of Evil plays out like a surreal nightmare, a journey into the heart of darkness that is full of eccentric characters, shadowy images, memorably askew camera angles, and lively dialogue. Welles and cinematographer Russell Metty create a world that feels alien despite being familiar. Just as he did with Gregg Toland in Citizen Kane, Welles shapes a film that shows us what’s happening in the shadows that most people try to ignore.

There’s really not a boring character to be found in Touch of Evil and the cast is full of old colleagues and friends of Welles. Marlene Dietrich shows up as Quinlan’s former lover. Mercedes McCambridge plays a leather-clad gang leader. Dennis Weaver is the creepy owner of a remote motel. (Two years before Psycho, Touch of Evil featured Janet Leigh being menaced in a motel. Mort Mills, who played Psycho’s frightening highway patrolman, plays a member of law enforcement here as well.) Zsa Zsa Gabor shows up for a few brief seconds and it makes a strange sort of sense. Why shouldn’t she be here? Everyone else is. Joseph Cotten plays a coroner. Ray Collins plays a local official. In the film’s skewered world, Charlton Heston as Mike Vargas works. His upright performance grounds this film and keeps it from getting buried in its own idiosyncrasies. Big personalites are everywhere and yet the film is stolen by Joseph Calleia, playing Quinlan’s quiet but observant partner. Calleia’s performance is the heart of the film.

Touch of Evil was not nominated for a single Oscar and that’s not surprising. It’s not really the type of film that was noticed by the Academy in the 50s. It was too pulpy and surreal and, with its story of a crooked cop framing someone who might very well be guilty anyway, it was probably too subversive for the Academy of the 1950s. It would take a while for Touch of Evil to be recognized for being the noir masterpiece that it is. In a perfect world, Welles would have been nominated for directing and for his larger-than-life performance as Quinlan. Joseph Calleia would have been nominated for Supporting Actor and perhaps both Janet Leigh and Marlene Dietrtich would have been mentioned for Supporting Actress. That didn’t happen but it would have been nice if it had.

Previous entries in The Unnominated:

Brad’s “Scene of the Day” – The Restaurant Shootout – from A BETTER TOMORROW (1986)!

Posted on May 6, 2025 by Bradley Crain

One of the most influential scenes in action movie history, the restaurant shootout from A BETTER TOMORROW still packs a punch. I watched HAVOC (2025) from director Gareth Evans recently and he used the music from this scene in his movie. It felt like a love note to fans of Hong Kong cinema like me, and it made me want to revisit this movie again immediately. Chow Yun-Fat is amazingly badass, and John Woo himself even shows up at the end.

Enjoy, my friends!

A BETTER TOMORROW (1986) – John Woo and Chow Yun-Fat change action movies forever!

Posted on May 6, 2025 by Bradley Crain

As I continue my celebration of Chow Yun-Fat, who turns 70 years old on May 18, 2025, I decided to revisit the film that made him a star, the Hong Kong classic A BETTER TOMORROW (1986).

This undisputed action movie classic opens with Ho (Ti Lung) and his partner and best friend, Mark (Chow Yun-Fat) going about a normal workday. Except these two men are part of a triad organization that manufactures counterfeit American dollars. Ho seems serious while Mark appears to be the fun, cool guy, with his trench coat, Alain Delon sunglasses, and huge smile. They stroll through their organization’s offices, play with piles of fake money, and Mark even lights his cigarette with a $100 bill. They seem to have the world by a string when their boss asks Ho to take an up and coming guy in the organization named Shing (Waise Lee) along on their next deal in Taiwan. Before heading to Taiwan, Ho goes to see his dad in the hospital where he sees his younger brother Kit (Leslie Cheung), who has entered the Hong Kong police academy and is completely unaware that Ho is part of a criminal organization. Ho’s dad doesn’t want to see his sons on the opposite side of the law, so he asks him to leave his life of crime behind. Ho decides that the job in Taiwan will be his last, but unfortunately, the deal quickly goes awry, turning into a big shootout, with Ho and Shing barely escaping with their lives. They are tracked down by the police where Ho turns himself in, allowing Shing to escape. When the triad bosses find out that Ho has been arrested, they send a big henchman to kidnap his dad, who is now at Kit’s house, as leverage to make sure Ho doesn’t talk to the police. Kit, his girlfriend and his dad all fight the huge henchman, but dad is eventually stabbed to death. Cut to Mark reading the paper and seeing that his best friend has been arrested. He finds the betrayer in the Fung Lim restaurant and proceeds to take his revenge, in slow motion and with two guns no less. On his way out though, he takes a couple of rounds to his right knee.

Cut to three years later and Ho is getting out of prison. Kit doesn’t want to have anything to do with him and blames him for their father’s death. Distraught, but knowing he needs to work, he goes to a taxi company run by Ken (Kenneth Tsang) and is able to land a job. While working his shift, he goes by their old office building and sees Mark, who’s now a cripple with a limp and a leg brace. Shing, now a boss, walks out of the building surrounded by his bodyguards and throws cash on the ground at Mark’s feet, treating him like nothing more than a beggar. Ho goes to talk to Mark and the two men embrace. Mark wants to join forces with Ho and retake the underworld by storm. Ho wants to steer clear of his old life and try to reconnect with a completely uninterested Kit. Everything comes to a head when Kit is set up by Shing to be shot and Mark is viciously beaten. Determined to relive his old glory days, and now having given up on Ho for help, Mark breaks into the triad’s offices and steals the plate that is used to create the phony money. Ho has decided he can no longer sit on the sidelines. He and Mark use the plate as an excuse to lure Shing and his men to the docks where they engage in an apocalyptic shootout that will change all of their lives forever.

It’s hard to know where to start when talking about a movie like A BETTER TOMORROW. I’m not going to do a normal review where I discuss the various pros and cons of the film. Why, you ask? Because it’s a great movie, but it’s so much more than just that. A BETTER TOMORROW would change action filmmaking forever, and eventually turn Director John Woo and actor Chow Yun-Fat into worldwide stars. It would become the highest grossing film in Hong Kong cinema history. It would create a trenchcoat fad in tropical Hong Kong that would find its way across the world entrapping movie nerds like a young Quentin Tarantino. It would create the heroic bloodshed film genre, a genre that would become a staple of Hong Kong cinema for years to come. It would mix balletic action and raw emotion in a way that had never been done before. And the whole world would eat it up. John Woo may have even made better action films in the ensuing years with movies like THE KILLER and HARD-BOILED, but they were all inspired by the greatness and success of A BETTER TOMORROW. It’s quite simply one of the most influential movies of all time, and it’s still influencing later generations of filmmakers. I watched Gareth Evans’ new film HAVOC (2025) a few days ago, and it clearly pays homage to this amazing film through its use of music from a key scene.

I did want to talk a little bit about the main stars of the film. Ti Lung, who plays Ho, was one of the great stars of the Shaw Brothers kung fu films from the 70’s. He’s excellent in the lead role, so much so that the he would win the Taiwan Golden Horse award as best actor for his performance. Leslie Cheung, who plays the younger brother Kit, was a huge pop star in Hong Kong. He sings the memorable tune that plays over the film’s closing credits. I’ll admit that his portrayal of Kit gets on my nerves, though. While I can understand his feelings of anger towards his brother, he often comes off as whiney, acting more like a petulant child than a serious adult. He would become a very good actor over time, but I don’t think he’s very good here. On a sad note, on April 1st, 2003, suffering from depression, Cheung would commit suicide by jumping off the 24th floor of the Mandarin Hotel in Hong Kong. It was a tragic end for a great Hong Kong artist. It’s hard to believe now, but prior to A BETTER TOMORROW, Chow Yun-Fat was considered “box office poison.” He had been a TV star in Hong Kong, but his movies would never do very well. That would all change with A BETTER TOMORROW. Even though he was more of a supporting character in the film, he became the undisputed breakout star and he would capture the hearts of the people of Hong Kong and all of Asia from that point forward. His charismatic performance became the personification of the flawed, emotional, heroic, super-badass. Women loved him and men wanted to be like him, and he made it all look so easy. I’ve said before that he’s one of the great international movie stars of the last 40 years. It all began with A BETTER TOMORROW.

Finally, I wanted to take a moment to discuss the Director of A BETTER TOMORROW, John Woo. Woo had been kicking around the Hong Kong film industry for many years, having directed quite a few martial arts films and comedies in the 70’s and early 80’s. By the time of A BETTER TOMORROW, he was considered past his prime. He wanted to make films like his heroes Jean-Pierre Melville and Martin Scorsese, but was considered too much of a risk by most of the local industry. Luckily for him, Tsui Hark and Cinema City would give him a chance to make the movie he wanted to make, even if it came with a tight budget, and a cast that included a fading martial arts star and the human equivalent of box office poison. Woo would take this opportunity and change what action movies looked like forever. Good for him, and us, as we’d get so many great films, including one of my all time favorites, FACE/OFF (1997) with John Travolta and Nicolas Cage. I said all of this about the stars because before A BETTER TOMORROW came out, it looked like a project that would go nowhere fast. Instead it changed the world of cinema. It also changed the world of a movie nerd from Toad Suck, Arkansas, with the aftermath of its success providing so many hours of entertainment in my own life. It’s truly amazing what one great film can do.

Lisa Marie Reviews An Oscar Winner: Citizen Kane (dir by Orson Welles)

Posted on May 6, 2025 by Lisa Marie Bowman

For some reason, certain people seem to feel the need to try to reduce what Orson Welles accomplished with 1941’s Citizen Kane.

In 1971, the famous film critic Pauline Kael published an essay called Raising Kane, in which she argued that screenwriter Herman J. Mankiewicz deserved the majority of the credit for Citizen Kane. This was Kael’s shot at rival Andrew Sarris and his embrace of the auteur theory. (1971 was the same year that Kael described Dirty Harry as being a “fascist work of art” so I guess even the best film critics can have a bad year.) David Fincher’s father, after reading Kael’s essay, wrote the screenplay for Mank, which not only made the case that Mankiewicz deserved the credit but which portrayed Orson Welles in such a negative fashion that you really did have to wonder if maybe Orson had owed old Jack Fincher money or something. Herman J. Mankiewicz himself always claimed that he deserved the majority of the credit for Citizen Kane but then he would, wouldn’t he?

The truth of the matter is that Mankiewicz did write the screenplay for Citizen Kane and he did base the character of Charles Foster Kane on William Randolph Hearst and the character of Kane’s second wife on Hearst’s mistress, Marion Davies. There’s some debate over how much of the film’s narrative structure belongs to Mankiewicz and how much of it was a result of Welles rewriting the script. Mankiewicz played his part in the making of Citizen Kane but he played that part largely because Orson Welles allowed him to. Like all great directors, Welles surrounded himself with people who could help to bring his vision to life. (That’s something that would think David Fincher, of all people, would understand. Aaron Sorkin may have written The Social Network but the reason why the film touched so many is because it was a David Fincher film.)

Make no mistake about it. Citizen Kane is Orson Welles’s vision and Welles is the one who deserves the majority of the credit for the film. The themes of Citizen Kane are ones to which Welles would frequently return and the cast, all of whom bring their characters to vivid life, is made up of largely of the members of Welles’s Mercury Theatre. The tracking camera shots, the dark cinematography, and the satiric moments are all pure Welles. As the Fincher film argues, Mankiewicz may have very well meant to use the film to attack Hearst for his personal hypocrisy and for opposing the political ambitions of Upton Sinclair. If so, let us be thankful that Orson Welles, as a director, was smart enough to realize that such didacticism is often deadly dull.

And there’s nothing dull about Citizen Kane. It’s a great film but it’s also an undeniably fun film, full of unforgettable imagery and scenes that play like their coming to us in a dream. It’s a film that grabs your interest and proves itself to be worthy of every minute that it takes to watch it. I was lucky enough to first see Citizen Kane at a repertory theater and on the big screen and really, that’s the best way to watch it. It’s a big film that’s full of bigger-than-life characters who are ultimately revealed to be full of the same human longings and regrets as all of us. As a young man, the fabulously wealthy Charles Foster Kane thinks that it would be “fun” to run a newspaper. Later, he thinks that he’s found love by marrying the niece of the President. He runs for governor of New York and, watching Welles in these scenes, you can see why FDR tried to recruit him to run for the Senate. Welles has the charisma of a born politician. When Welles first meets Susan Alexander (Dorothy Comingore) it’s easy to laugh. The great man has just been splashed by a taxi. Susan laughs but then winces in pain due to a tooth ache. Later, Kane insists on trying to turn her into an opera star. He runs a negative review written by his friend (Joseph Cotten) and then he promptly fires him. As in all of Welles’s films, it’s all about personal loyalty. Kane may betray his wife and the voters but he’s ultimately just as betrayed by those around him. In the end, you get the feeling that Kane was desperately trying to not be alone and yet, that’s how he ended up.

There are so many stand-out moments in Citizen Kane that it’s hard to list them all. The opening — MIGHTY XANADU! — comes to mind. The satirically overdramatic newsreel is another. (Citizen Kane can be a very funny film.) Joseph Cotten’s performance continues to charm. Orson Welles’s performance continues to amaze. Who can forget Agnes Moorehead as Kane’s mother or Everett Sloane as Mr. Bernstein, haunted by that one woman he once saw on a street corner? Myself, I’ve always liked the performances of Ray Collins (as the sleazy but strangely reasonable Boss Gettys), Paul Stewart (as the subtly menacing butler), and Ruth Warrick (as Kane’s first wife). Mankiewicz may have put the characters on paper but Welles is the one who selected the amazing cast that brought them to life.

Citizen Kane was nominated for nine Oscars and it won one, for the screenplay written by Welles and Mankiewicz. Best Picture went to How Green Was My Valley. When was the last time anyone debated who should be given credit for that movie?

Cattle Stampede (1943, directed by Sam Newfield)

Posted on May 6, 2025 by Jedadiah Leland

Billy the Kid (Buster Crabbe), that western do-gooder who has been framed for crimes that he didn’t commit, narrowly escapes being captured by a group of bounty hunters. To thank the man who helped him and his sidekick, Fuzzy Q. Jones (Al St. John), escape, Billy agrees to help the man’s family make a cattle drive. It turns out that local ranchers are being targeted by rustlers who cause the cattle to stampede and then buy up what’s left of the herd at a discount. Even though Mary Dawson (Frances Gladwin) doesn’t trust Billy and initially suspects him of being one of the rustlers, Billy and Fuzzy take over the cattle drive and protect the family from Coulter (Glenn Strange) and Elkins (Frank Ellis). They even prove their worth by rescuing Mary after she’s kidnapped by the villains.

This is one of the many Poverty Row westerns to feature Billy the Kid not as an outlaw but instead as a hero. Best-known for playing Tarzan, Flash Gordon, and Buck Rogers, Buster Crabbe was a believable hero even if he was more than a little too old to be nicknamed “the kid.” Al St. John provides the comedic relief and veteran bad guys Charles King, Glenn Strange and Frank Ellis go through the motions as the villains, much as they did in countless other westerns of the era. Cattle Stampede is typical of the cheap western programmers that came out of the Poverty Row studios in the 40s. It was simplistic and predictable but featured enough western action to keep the kids in the audience entertained. Today, its main selling point is a nostalgic one.

The Billy the Kid films are always strange because they avoid the reason why Billy is being pursued by the law and instead just present him as being another generic western hero. It seems like a waste of a good legend.

Retro Television Review: Fantasy Island 6.16 “Return To The Cotton Club/No Friends Like Old Friends”

Posted on May 6, 2025 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 Tuesdays, I will be reviewing the original Fantasy Island, which ran on ABC from 1977 to 1984. Unfortunately, the show has been removed from most streaming sites. Fortunately, I’ve got nearly every episode on my DVR.

This week, we’re traveling in time!

Episode 6.16 “Return to the Cotton Club/No Friends Like Old Friends”

(Dir by Don Weis, originally aired on February 26th, 1983)

Aspiring singer Charlie Whelan (Lou Rawls) wants to go back to a time where all that mattered was talent. As he tells Roarke and Tattoo, it’s all about image and connections now. Charlie wants to go back to the Cotton Club, the famous New York club where blacks were allowed to perform on stage while gangsters sat in the audience. Roarke sends Charlie back in time and soon, Charlie is at the Cotton Club. He meets Dutch Schultz (J.D. Cannon). He befriends the club’s manager, Gus Kelly (Yaphet Kotto). He falls for another singer, Linda (Berlinda Tolbert).

The first thing I noticed about this fantasy is that The Cotton Club looked really cheap. It looked like an old VIP lounge in an airport. It was kind of tacky. The other thing I noticed is that the fantasy wasn’t historically accurate. The Cotton Club was not owned by Dutch Schultz. In fact, Schultz had little to do with The Cotton Club. The gangster who owned the Cotton Club was Owney Madden, an Irish gangster who eventually left New York City for Hot Springs, Arkansas. In the show’s defense, the man who Charlie knew as Dutch Schultz was eventually revealed to be another guest who was having a fantasy of his own. I’ve always had mixed feelings about Roarke’s habit of combining fantasies. I feel like a guest should only have to pay half-price if their fantasy is going to mixed up with somebody else’s.

As for this fantasy, it was okay. Lou Rawls certainly gave a better performance here than he ever did on Baywatch Nights. And Yaphet Kotto was a charming as ever, even if his role was, again, not historically accurate. (The Cotton Club may have hired black performers but otherwise, it was heavily segregated.) I like almost anything involving 1930s gangsters. I can’t help it. They had style.

As for the other fantasy, Doreen Murphy (Markie Post) wants to have a reunion with her friends from college. Doreen asks Roarke to make her rich and beautiful so that she can shame all of the people who never believed in her. Roarke gives her a magic necklace that changes her from being a brunette to being a blonde. That’s all it takes! One of Doreen’s friends is Liz (Cybill Shepherd). Liz is married to the unfaithful Al (Lyle Waggoner), who takes an interest in Doreen. Doreen learns a lesson about true beauty being more than just an appearance. She also learns that people don’t dislike her as much as they dislike her bitter attitude. Doreen gives the necklace to Liz so that Liz can get her cheating husband back. Good, I guess.

This was an uneven trip to the Island. Neither story was particularly compelling. The Cotton Club fantasy at least had Yaphet Kotto. Otherwise, this was a forgettable trip. The writers really didn’t even seem to be trying to come up with anything unexpected or surprising. At least the Island continues to look lovely.

Scenes That I Love: The Opening Tracking Shot from Orson Welles’s Touch of Evil

Posted on May 6, 2025 by Lisa Marie Bowman

Since today is Orson Welles’s birthday, I wanted to share at least one scene that I love from his films. The famous tracking shot from 1958’s Touch of Evil, which begins in America and ends in Mexico, truly shows Orson Welles at his visionary best.

It’s also Welles at his most clever. Knowing that he wouldn’t be given control over the editing of the footage he shot, Welles included as many long shots as possible to make it more difficult for an editor to chop up or alter his vision.

4 Shots From 4 Films: Special Orson Welles Edition

Posted on May 6, 2025 by Lisa Marie Bowman

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 celebrate what would have been the 110th birthday of the great Orson Welles! It’s time for….

4 Shots from 4 Orson Welles Films