Late Night Retro Television Review: Friday the 13th: The Series 3.13 “Midnight Riders”


Welcome to Late Night Retro Television Reviews, a feature where we review some of our favorite and least favorite shows of the past! On Fridays, I will be reviewing Friday the 13th: The Series, a show which ran in syndication from 1987 to 1990. The entire series can be found on YouTube!

This week, the show attempts a change of pace!

Episode 3.13 “Midnight Riders”

(Dir by Allan Eastman, originally aired on January 29th, 1990)

An odd episode, this one.

Jack, Micki, and Johnny head out to a small town so that Jack can look up into the night sky and see a once-in-a-lifetime convergence of the stars.  However, possibly as a result of the convergence (it’s never really made clear), a bunch of dead motorcycle riders are resurrected and they rumble into town, seeking vengeance on everyone who took part in the death of their leader.  If the bikers can kill every one of them, their leader will be resurrected.  Finally, the ghost of Jack’s father (Dennis Thatcher) shows up and works with Jack to stop the bikers.  It turns out that Jack and his father had a difficult relationship.  Ryan had a difficult relationship with his father.  Johnny was falsely accused of murdering his father.  We’ve never met Micki’s father but he’s probably a jerk too.

The weird thing about this episode is that it didn’t feature a cursed antique.  Instead, Jack and the crew went to a small town and supernatural stuff started happening shortly after they arrived.  That’s okay, I guess.  In theory, there’s nothing wrong with trying something new.  But, at the same time, the cursed antiques were what set this show apart from all of the other supernaturally-themed television series out there.  Personally, even when the antique’s curse makes no sense, I still enjoy seeing what the show comes up with.

This episode had a lot of atmosphere and a typically good performance from Chris Wiggins.  The ghost bikers were never quite as intimidating as they should have been, despite all of the murders.  If anything, they reminded me a bit too much of Sometime They Come Back.  This episode was a change of pace and, as if often the case with things like this, it didn’t quite work.  Here’s hoping next week will have a cursed antique!

Brad’s “Scene of the Day” – Chow Yun-Fat dances with Jodie Foster!


Chow Yun-Fat is one of the most charismatic men on earth. I’ve always enjoyed his performance in ANNA AND THE KING (1999) with Jodie Foster. He’s wonderful in this big budget American film, and he doesn’t even have to fire two guns! I know several women here in Arkansas who don’t know the first thing about Hong Kong movies, but they still love Chow based on this one film. On a side note, ANNA AND THE KING made over $113 Million at the worldwide box office, which means quite a few people in this world appreciate a more romantic Chow.

Enjoy this scene where the King of Siam surprises Foster’s English schoolteacher, and breaks all kinds of cultural norms, when he asks her to dance. It’s quite a charmer.

Wild Rovers (1971, directed by Blake Edwards)


In Montana, Walter Buckman (Karl Malden) runs his ranch with an iron hand, warning his neighbor, Hansen (Sam Gilman) not to even think of allowing his sheep to graze on his land.  Walter has two sons, hot-headed John (Tom Skerritt) and the laid back and good-natured Paul (Joe Don Baker).  When Walter learns that two of his ranch hands — aging Ross Bodine (William Holden) and young Frank Post (Ryan O’Neal) — have robbed a bank and are heading down to Mexico, he sends John and Paul to bring them back.  Walter is a big believer in the law and he’s not going to allow any of his people to get away with breaking it.

Ross is a veteran cowboy, who only robbed the bank after Walter withheld his pay to cover the damage of a saloon fight between Ross and Hansen’s men.  Frank is the wilder of the two.  He looks up to Ross and Ross is protective of Frank, even if he has a hard time admitting it.  Ross and Frank are heading down to Mexico so Ross can retire in peace.  Instead of going straight to Mexico, though, they make the mistake of stopping by a small town so Frank can play a little poker and visit the town’s brothel.

Wild Rovers was Blake Edwards’s attempt to make an epic, revisionist western and he includes plenty of shots of the sun setting over the mountains as well as several violent shoot-outs that are shot in Peckinpah-style slow motion.  Unfortunately, the story itself isn’t really strong enough to support Edwards’s ambitions and all of the shots of the countryside, while nice to look at, don’t really add up too much.  Wild Rovers was also a troubled production, with MGM slashing Edwards’s original three-hour film down to 106 minutes and advertising it with a poster featuring O’Neal hugging Edwards from behind, making the film look like a buddy comedy in the style of Butch Cassidy and the Sundance Kid (or an early version of Brokeback Mountain) as opposed to a violent and elegiac western.  (In 1986, a director’s cut was released, which ran for 136 minutes.)  If you only know Blake Edwards from his Pink Panther movies, the grim and tragedy-filled Wild Rovers will come as a surprise.

One thing that Wild Rovers does have going for it is a good cast.  William Holden and an energetic Ryan O’Neal are a solid team and Karl Malden, Tom Skerritt, Rachel Roberts, James Olson, and Moses Gunn all give good performances too.  This movie also provides Joe Don Baker with a sympathetic role and he’s very likable as the laid back Paul Buckman.  It’s not the type of role that Baker often got to play and it’s obvious that a lot of scenes between John and Paul were cut from the film but, in the truncated version, Joe Don Baker’s Paul Buckman becomes the moral center of the film’s story.

Wild Rovers was a disappointment at the box office, one of many that Edwards suffered in the 70s before he and Peter Sellers brought back Inspector Clouseau.

Retro Television Review: St. Elsewhere 1.22 “Addiction”


Welcome to Retro Television Reviews, a feature where we review some of our favorite and least favorite shows of the past! On Fridays, I will be reviewing St. Elsewhere, a medical show which ran on NBC from 1982 to 1988.  The show can be found on Hulu and, for purchase, on Prime!

This week, the first season comes to a close.

Episode 1.22 “Addiction”

(Dir by Mark Tinker, originally aired on May 3rd, 1983)

“To life,” Dr. Auschlander toasts towards the end of the finale of St. Elsewhere’s first season and the sentiment could not be more called for.

While Auschlander has spent the episode hanging out with a friend of his and getting into fights with disrespectful street punks, Dr. Morrison’s wife has been giving birth to their son.  While someone breaks into the supply room and takes off with a huge supply of drugs, Dr. White is sobbing and telling his estranged wife that he knows he has to get help for his addictions.  While one drug addict (Ralph Seymour) commits suicide by injecting an air bubble into his veins, Dr. Craig’s cocky son, Stephen (Scott Paulin), visits from medical school and turns out to be quite a weed-smoking, pill-popping drug user himself.  Ehrlich, assigned to show Stephen around the hospital and teach him what it’s like being a resident, considers telling Dr. Craig that his son has a drug problem but apparently decides not to.  Dr. Craig is very proud that his son is going to follow the family tradition of becoming a surgeon.  Meanwhile, Dr. Fiscus cheats on Shirley Daniels with Kathy Martin.  Fiscus, you idiot.

Life goes on at St. Eligius.  That’s was the theme of the finale and it’s also been the theme of the first season.  For all the bad things that happen, there are also good things.  Some patients die.  Some doctors are incompetent.  But babies are born and doctors like Morrison and Ehrlich and Chandler haven’t given up and are still trying to make the world a better place.  Dr. Auschlander may be terminally ill with cancer but he embraces life and we should all do the same.

It’s a good ending for an overall good first season.  There were a few weak episodes.  Dr. Samuels was a pretty annoying character and I’m a bit relieved to see that David Birney left the show after this season.  Ed Flanders can be a bit overly somber as Dr. Westphall and Howie Mandel is still one of the least convincing doctors that I’ve ever seen.  That said, Morrison, Ehrlich, Chandler, Nurse Daniels, and even Dr. White are interesting characters and I look forward to seeing what happens with them during season 2.  The season’s stand-out was definitely William Daniels as the pompous yet still likable Dr. Craig.  Other than the terrible storyline where he cheated on his wife (and I still claim that was a dream episode, like almost all of the stuff with Dr. Samuels), Dr. Craig was this season’s standout character.

Next week, we start season 2!

Guilty Pleasure No. 83: Meteor (dir by Ronald Neame)


1979’s Meteor is about a big rock that is tumbling through space.  Earth is directly in its path and, if it hits the planet, it could be an extinction-level event.  Unfortunately, little bits of the rock keep breaking off and crashing into Earth, destroying cities and fleeing extras.  Goodbye, Hong Kong.  Goodbye, Switzerland, which is destroyed via stock footage lifted from Avalanche.  Goodbye, New York, which blows up in such spectacular fashion that the scene was later re-used in The Day After.

It might seem like the planet is doomed.  The meteor is unstoppable.  Bruce Willis hasn’t become a star yet.  But fear not!  Some of the brightest faces of the 70s have been recruited to stop the meteor.  Natalie Wood, in one of her final films, plays a translator and gets covered in muddy river water.  Sean Connery wears a turtleneck and curses in that Scottish way of his.  Karl Malden wears a hat and tells people to calm down while he calls the President.  Brian Keith plays a Russian with all the grace and skill of a cat trying to rip open a bag of treats.  Martin Landau is the military official who doesn’t think that the scientist know what they’re talking about.  Henry Fonda is the president.  That’s a lot of balding men for one movie and it’s hard not to notice that both Malden and Keith often seem to be wearing a hat whenever they share a scene with Connery.  My personal theory is that the production, having spent all of their money on blowing up New York, couldn’t afford more than two toupees so everyone had to take turns wearing them.  (The few scenes where Malden is hatless while in Connery’s presence are often oddly filmed, with either Connery on Malden standing with their back to the camera, almost as if the scenes were actually done with a stand-in.)

We’re supposed to breathe a sigh of relief when we see that Henry Fonda is playing the President but I’ve seen Fail Safe and I remember him allowing the Russian to nuke New York City.  Interestingly enough, New York gets destroyed in this film too.  Why didn’t President Fonda care about New York City?  Of course, the scientists and the military folks are all located in a control center that’s located under the city.  Malden mentions that they’re right next to the Hudson River.  It doesn’t seem to occur to anyone that this is a bad idea but, then again, they also elected Henry Fonda president again.

My late friend and colleague Gary Loggins described Meteor as being a “crashing bore.”  I have to admit that this is one of the few times that I have ever disagreed with Gary.  Meteor is a tremendous amount of fun, as long as you’re watching it with a group of people and nobody takes it seriously.  (The first time I saw it was at one in the morning while I was in college.  Jeff and I watched it in the lounge of one of the dorms.  We may be the only two people to have romantic memories of Meteor.)  Meteor features a cast of champion scenery chewers.  Karl Malden, Sean Connery, Martin Landau, Brian Keith, none of them were exactly subtle actors and giving them an excuse to argue about how to deal with a meteor allows for a lot of very enjoyable overacting.  As well, the special effects are so cheap and obviously fake that it’s hard not to laugh out loud whenever the film cuts to that shot of the meteor rolling through space or the incredibly shiny American and Russian missiles slowly heading towards it.

Meteor’s a lot of fun, even if it is one of those movies where no one points out that our heroes inevitably seem to make every situation worse with their own stupidity.  It’s very much at the tail-end of the 70s disaster boom.  Watch it for the stars.  Watch it for the rock.  And watch it for the hairpieces.

Previous Guilty Pleasures

  1. Half-Baked
  2. Save The Last Dance
  3. Every Rose Has Its Thorns
  4. The Jeremy Kyle Show
  5. Invasion USA
  6. The Golden Child
  7. Final Destination 2
  8. Paparazzi
  9. The Principal
  10. The Substitute
  11. Terror In The Family
  12. Pandorum
  13. Lambada
  14. Fear
  15. Cocktail
  16. Keep Off The Grass
  17. Girls, Girls, Girls
  18. Class
  19. Tart
  20. King Kong vs. Godzilla
  21. Hawk the Slayer
  22. Battle Beyond the Stars
  23. Meridian
  24. Walk of Shame
  25. From Justin To Kelly
  26. Project Greenlight
  27. Sex Decoy: Love Stings
  28. Swimfan
  29. On the Line
  30. Wolfen
  31. Hail Caesar!
  32. It’s So Cold In The D
  33. In the Mix
  34. Healed By Grace
  35. Valley of the Dolls
  36. The Legend of Billie Jean
  37. Death Wish
  38. Shipping Wars
  39. Ghost Whisperer
  40. Parking Wars
  41. The Dead Are After Me
  42. Harper’s Island
  43. The Resurrection of Gavin Stone
  44. Paranormal State
  45. Utopia
  46. Bar Rescue
  47. The Powers of Matthew Star
  48. Spiker
  49. Heavenly Bodies
  50. Maid in Manhattan
  51. Rage and Honor
  52. Saved By The Bell 3. 21 “No Hope With Dope”
  53. Happy Gilmore
  54. Solarbabies
  55. The Dawn of Correction
  56. Once You Understand
  57. The Voyeurs 
  58. Robot Jox
  59. Teen Wolf
  60. The Running Man
  61. Double Dragon
  62. Backtrack
  63. Julie and Jack
  64. Karate Warrior
  65. Invaders From Mars
  66. Cloverfield
  67. Aerobicide 
  68. Blood Harvest
  69. Shocking Dark
  70. Face The Truth
  71. Submerged
  72. The Canyons
  73. Days of Thunder
  74. Van Helsing
  75. The Night Comes for Us
  76. Code of Silence
  77. Captain Ron
  78. Armageddon
  79. Kate’s Secret
  80. Point Break
  81. The Replacements
  82. The Shadow

Film Review: X-15 (dir by Richard Donner)


James Stewart, Charles Bronson, and Mary Tyler Moore!?  All in a film directed by Richard Donner!?

Well, kind of.

James Stewart does not actually appear onscreen in 1961’s X-15.  However, he does provide the narration, explaining to us the origins of the NASA’s X-15 project and why it’s important that America be the first to explore and conquer space.  He talks about the men who risked their lives to test the rocket and the women who supported them and who started every day with the knowledge that they might never see their husband again after he left for work.  There’s something undeniably comforting about hearing Stewart’s voice in this film.  It’s the voice of an idealized America.  It’s a little weary.  There’s definitely a bit of age in the voice.  It’s the voice of a man and a country that has had to survive a lot, especially over the past few years.  But it’s also an incurably optimistic voice.  You hear that voice and you know that everything is going to be okay.

Richard Donner’s directorial debut, X-15 is a docudrama that often plays out like a commercial for the X-15 and America’s young space program.  The film mixes actual footage of the X-15 with scenes of the pilots returning (and sometimes not returning) home.  The emphasis is on each man doing what needs to be done to make the program a success and each woman doing what she has to do to support her man.  Throughout the film, there are scenes where the wives and the girlfriends of the pilots hear sirens and explosions and silently hope that they won’t be the one getting the call.

Making her film debut, Mary Tyler Moore plays Pamela, the girlfriend of pilot Matt Powell (played, in rather dull fashion, by David McLean).  When Pamela first arrives at the base, the wives warn her about overreacting to every explosion.  Major Rinaldi (Brad Dexter) warns her to not even try to get pregnant because that would take Powell away from the program.  (When Rinaldi talks to Pamela, he comes across as more than just being a 50s-style sexist.  That would be expected, considering that the film was made in 1961.  Instead, Rinaldi actually comers across as being rather threatening.  It’s kind of disturbing, to be honest.)  Pamela comes to understand the importance of Matt’s work and Matt …. well, Matt’s kind of dull.

Actually, despite being played by wonderful character actors like James Gregory and Kenneth Tobey, just about every man in this film is kind of boring.  This is one of those films that celebrates the idea of cold, hard professionalism.  No one shows much emotion, even when one of the pilots is killed in an accident.  No one is blamed.  No one is shouted at.  It’s just something that happens and everyone understands the risks.  It’s actually an admirable attitude and one reason why I have a thing for pilots.  But the deliberate blandness of the pilots in X-15 makes it difficult to keep track of who’s who.  The only male actor who makes a real impression is Charles Bronson, playing Lt. Col. Brandon.  Bronson’s incredible screen presence makes up for the fact that his character doesn’t have much of a personality.

That said, it’s a bit of a disappointment that Jimmy Stewart is not onscreen and Mary Tyler Moore has to share her scenes not with Bronson but instead with the dull David McLean.  When the film was released in 1961, it was providing audiences with something that they hadn’t seen before and I imagine it was truly exciting to see a rocket fly, however briefly, into space.  However, modern audiences have seen Top Gun and Top Gun: Maverick.  I’ve seen The Right Stuff, which covers much of the same material as X-15.  As a result, when viewed today, X-15 is a bit dull and features little of the flair that would characterize Richard Donner’s later directorial efforts.  Today, the main reason to watch the film is for Stewart, Moore, and Bronson.  Not having them acting opposite each other feels like a huge missed opportunity.

Live Tweet Alert: Join #FridayNightFlix for Mitchell!


As some of our regular readers undoubtedly know, I am involved in a few weekly watch parties.  On Twitter, I host #FridayNightFlix every Friday and I co-host #ScarySocial on Saturday.  On Mastodon, I am one of the five hosts of #MondayActionMovie!  Every week, we get together.  We watch a movie.  We tweet our way through it.

Tonight, at 10 pm et, I will be hosting #FridayNightFlix!  The movie?  1975’s Mitchell, starring the great Joe Don Baker!

If you want to join us this Friday, just hop onto twitter, start the movie at 10 pm et, and use the #FridayNightFlix hashtag!  I’ll be there tweeting and I imagine some other members of the TSL Crew will be there as well.  It’s a friendly group and welcoming of newcomers so don’t be shy.

Mitchell is available on Prime and Tubi!

See you there!

4 Shots From 4 Films: Special Henry Fonda Edition


4 Shots From 4 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 the birthday of Henry Fonda!  Fonda was born 120 years ago today and, over the course of his long career, he was often cast in role the epitomized everything great about America.  It’s rare to find a Henry Fonda film in which he played an out-and-out villain, though he did just that in Sergio Leone’s Once Upon A Time In The West.  (Leone, in fact, cast Fonda as the evil Frank because he knew audiences would be shocked to see Fonda coldly gunning down settlers and their families.)

In honor Henry Fonda’s legacy, here are….

4 Shots From 4 Films

My Darling Clementine (1946, dir by John Ford)

Fort Apache (1948, dir by John Ford)

Once Upon A Time In The West (1968, dir by Sergio Leone)

My Name Is Nobody (1973, dir by Tonino Valerii)