Late Night Retro Television Review: Highway to Heaven 4.10 “A Dream of Wild Horses”


Welcome to Late Night Retro Television Reviews, a feature where we review some of our favorite and least favorite shows of the past!  On Thursdays, we will be reviewing Highway to Heaven, which aired on NBC from 1984 to 1989.  The entire show is currently streaming on Amazon Prime, Tubi and other services!

Episode 4.10 “A Dream of Wild Horses”

(Dir. by Michael Landon, originally aired on December 2nd, 1987)

In this episode, traveling angel Jonathan Smith (Michael Landon), and his companion Mark Gordon (Victor French) arrive at a struggling ranch where the widow Billie Harwood (Gail Strickland) is trying to keep her late husband’s legacy alive while caring for her young son Richie (Jason Horst) and aging father Jet Sanders (Richard Farnsworth). It seems that Jet, the patriarch of the family, sort of lost his will to live when he lost his wife and then his son in law, a man he truly thought of as a son. As Jonathan and Mark arrive on the scene, the family members are all at a breaking point. Jet wishes he would just die and quit being a burden. Billie is completely overwhelmed with the ranch, and you get the feeling she’s never truly mourned the loss of her husband. And Richie, who needs someone to love him and pay attention to him, instead is mostly ignored by his family. Jonathan, Mark, a pack of wild horses, and some divine compassion turn out to be just what the family needs to find the inspiration to start putting the pieces of their lives back together. 

Directed by Michael Landon, “A Dream of Wild Horses” is everything I would expect from this series. Considering this episode was in season 4, it’s possible the formula was starting to wear thin with viewers back in 1987, but I thoroughly enjoyed it. For a man like me who loves a good western, I especially enjoyed the ranch setting, the wild horses, and the presence of veteran, Oscar nominated actor Richard Farnsworth as Grandpa Jet Sanders. He’s believable as the man who’s lost his purpose in life, but he’s even better when he turns things around at the end. One of the things I like about this series is the way Jonathan always knows exactly what buttons to push to get the characters going in the right direction. From bluntly telling Grandpa that he needs to quit feeling sorry for himself, to offering the widow a shoulder to cry on, and helping both of them see how much Richie needs their love and guidance, Jonathan’s genuine compassion is something this world really does need. Skeptical viewers may even roll their eyes, but I choose to accept the episode’s inspiring messages at face value. There have been times in my own life when I just needed someone else to care, and this series leans into those types of interactions. This family was broken, and Jonathan and Mark helped turn things around for them by simply caring. Things may be more complex and nuanced in the real world, but the simple act of caring will always be powerful. 

Brad reviews COLLEGE KICKBOXERS (1991)! 


Continuing my theme of low budget, direct-to-video, B-movie action films from the early 90’s, I found a movie called COLLEGE KICKBOXERS playing on Amazon Prime.

Also known as TRAINED TO FIGHT in some circles, COLLEGE KICKBOXERS follows James Caulfield (Ken McLeod, credited as Ken Rendall Johnson for some unknown reason), a young man with martial arts skills, as he navigates his freshman year of college. Things just aren’t going so well for James his first week of school. First, his roommate Mark (Marc D. Williams), an upperclassman, isn’t very nice to him when they first meet, so it appears that their dorm room may not be a place of peace and relaxation this semester. Second, the pretty girl he sets his sights on, Kimberly (Kendra Tucker), seems much more interested in saving the whales, the ozone layer and the planet than she does in dating him. Rude! And third, to cap it all off, one day while James and Mark are working out their differences through martial arts sparring, a racist gang called the White Tigers show up and hurl some very offensive slurs at Mark, who’s black. While James doesn’t seem to like Mark much at this point, he dislikes the racist bigots even more so he defends Mark’s honor, putting himself on a collision course of pain with The White Tigers and their A-hole leader Craig Tanner (played by Matthew Ray Cohen, whose only other role in his career was “Dancer #1” in the classic erotic thriller BODY CHEMISTRY). In all fairness, this clash with racists did result in James and Mark becoming best friends so that was a pleasant and unexpected surprise. 

When it looks like things can’t get much worse for James, Craig Tanner and his racists show up at the Chinese restaurant where he works and proceed to take advantage of their superior numbers and kick his ass real good. That’s when something strange happens, the annoying cook Wing (Tak-Wing Tang), who had just messed up James’ chances to score with a chick a few minutes earlier, steps in and shows himself to be a kung fu master, easily dispatching the White Tigers with moves defined by speed, grace, balance, agility, and acupunctural science. Amazed by what he has just seen, James wants some of that and begs Sifu Wing to train him so that he too can become a martial arts master. Receiving the kinds of real-life lessons from Wing that could never be learned in a college classroom, James soon finds himself putting it all on the line in a martial arts tournament that gives him the chance to win $25,000 for his now-injured bestie’s martial arts dojo for at-risk youth. As a bonus, he’ll also get the opportunity to humiliate and destroy the White Tigers once and for all!

An impartial critical assessment of COLLEGE KICKBOXERS would probably not be very kind. For starters Ken McLeod, AKA Ken Rendall Johnson, is not a very good actor. Neither are Marc D. Williams, Kendra Tucker or Matthew Ray Cohen. To be completely honest, they’re pretty bad. I think it would be fair to say that both Ken’s and Marc’s line deliveries are awkward and amateurish, that Kendra is annoying, and that Matthew is over-the-top, and not in a good way. The script is nothing to write home about either, completely relying on the cliches of the genre and the cheesiest of dialogue. In another somewhat bad sign, clocking in at just 88 minutes, it doesn’t necessarily feel like a short movie as the middle portion definitely leaves you wanting more action to show up. 

With that said though, I still had a great time with COLLEGE KICKBOXERS. I think the main reason is that I just love a good underdog story where bullies, and in this case racists, get their comeuppance, and at-risk youth get their own dojos. And I really enjoyed Tak-Wing Tang’s performance as Sifu Wing! He underplays the role in a subtle and humorous way that I found really appealing. Wing also completed the action choreography, which is the true highlight of the film. McLeod isn’t great in the acting department, but he does a fine job when called upon to kick butt. To further illustrate my appreciation of Wing’s action direction, the year after this film was made, he would serve as an action choreographer for Jackie Chan’s amazing POLICE STORY III: SUPERCOP, and a couple of years after that he’d work on Chan’s DRUNKEN MASTER II. The man is talented! And finally, COLLEGE KICKBOXERS has that intangible nostalgic charm that takes me back to the early 90’s when I’d scan over my local video store’s entire inventory, an inventory that was chock full of these types of movies. I enjoyed watching them back then even if they were silly and cheesy, and watching movies like that now takes me back to that more simple and undemanding time. There’s real value in that to me! 

Cross Streets (1934, directed by Frank R. Strayer)


Having graduated from medical school, Dr. Adam Blythe (Johnny Mack Brown) is finally ready to marry his glamorous fiancée, Ann (Claire Windsor).  However, when Ann learns that Adam is going to have to spend years as an lowly paid resident, she ditches him and instead marries Dr. Jerry Clement (Niles Welch).  Blythe, heartbroken, becomes an alcoholic and, after a disastrous operation that leaves a patient dead, Blythe ends up on skid row.  Twenty years later, Blythe is spotted by his old friend Mort (Kenneth Thomson).  A self-made millionaire who dropped out of college, Mort takes Blythe to their 20-year reunion and talks him up as a brilliant surgeon.  When Blythe is pressured into performing a delicate piece of surgery, he is offered a position as the head of the college’s new research wing.  Blythe, meanwhile, meets and falls in love with June (Anita Louise), a young woman who reminds him of Ann.  It turns out that the resemblance is not a coincidence because June is Ann’s daughter!  Ann wants Blythe back and, when she discovers that Blythe is in love with June, she threatens to tell everyone that Blythe is actually June’s father!  All of the secrets and lies lead to the type of  sudden and tragic ending that only a pre-code film could get away with.

Cross Streets is a 65-minute soap opera that features Johnny Mack Brown in a non-western role.  Brown gives a likable performance but he’s less convincing when he has to be bitter.  One reason why Brown was such a successful B-western star is that he always came across as if he had never had a moment of self-doubt in his entire life.  Dr. Adam Blythe is all about self-doubt so he feels miscast in the role.  Claire Windsor is more convincing as the vampish Ann.  The movie has its slow spots and the plot requires a healthy suspension of disbelief but the ending still packs a punch.

Cross Streets is not easy to find but there is a not-great upload available on YouTube.

Retro Television Review: Coming to America 1.1 “Pilot”


Welcome to Retro Television Reviews, a feature where we review some of our favorite and least favorite shows of the past!  On Thursdays, I will be reviewing Coming to America, which aired on CBS in 1989.  Almost the entire show is currently streaming on YouTube!

Fresh off the success of the film Coming To America, Eddie Murphy served as executive producer of a series based on the film.  How did that work out?  Read on to find out!

Episode 1.1 “Pilot”

(Dir by Tony Singletary, originally aired on July 4th, 1989)

The pilot for Coming to America begins with the story already in progress.  We get an overhead shot of New York while Prince Tariq (Tommy Davidson, speaking with an unconvincing accent) explains that he and his minder, Omar (Paul Bates), have been sent to America so that Tariq can attend college.  (Tariq is established as being the younger brother of the character that Eddie Murphy played in the original film.)  Tariq and Omar have rented a room from diner owner Carl Mackey (John Hancock).  Carl is a curmudgeon.  Tariq expects everyone to treat him like royalty.  Carl grumbles about not getting to eat unhealthy food before a doctor’s visit.  Tariq does an extended Stevie Wonder impersonation.

Uh-oh, Tariq’s out of money!  In just nine months, he spends all of his money on movies and clothes.  What can Tariq do?  Maybe he and Omar can work in Carl’s diner!  Uh-oh, Tariq’s started a dance party in the diner and he orders Omar to join the fun!  Carl shows up at an inopportune time and Omar is fired.  Can Tariq take responsibility for his actions?

“I’m a Beverly Hills Cop, you’re a Beverly Hills cop too and in 48 hours, we’re Trading Places.” Tariq says at one point and seriously, you have to wonder why they didn’t toss a reference to The Golden Child in there.  Tariq is royalty so it certainly would have made more sense for him to refer to himself as being a Golden Child as opposed to being a Beverly Hills Cop.  That’s the type of show this is, though.  The humor is heavy-handed but it also misses way too many opportunities.

My friend from Australia, Mark, sent me the link for this pilot (it’s on YouTube) and he dared me to see how much I could watch before turning it off in disgust.  I managed to get through the entire thing but it wasn’t easy.  To be honest, I nearly stopped this thing as soon as Tariq’s opening narration began.  When that much exposition is stuffed into the opening narration, you know that you’re about watch a disjointed mess of a program.  Indeed, one could argue that calling this program disjointed is a case of me being charitable.  In the end, the main problem is that, after all the build-up of Tariq being a prince, the plot itself could just as easily been the plot of a thousand other mediocre sitcoms.  How many times did Lisa and Kelly have to take jobs at the Max in Saved By The Bell?  Both Malibu CA and One World suggested that working at a restaurant was the best — perhaps the only! — way to learn responsibility.  The Coming to America diner looks almost exactly like the City Guys diner.  How is this not a Peter Engel production?

Coming to America aired once.  There was never a second episode.  Hence, today, we’ve started and ended a series!  Next week, something new will premiere in this time slot.  Hopefully, it will be better than both Malibu CA and Coming to America.

Scenes I Love: The Barn Raising Scene From Peter Weir’s Witness


Today’s scene that I love comes from Peter Weir’s 1985 film, Witness.  In this scene, the Amish come together and raise a barn.  This scene celebrates community and also gives Harrison Ford a chance to show off his real-life carpentry skills.

4 Shots From 4 Films: Special Peter Weir 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!

August 21st is the birthday of the great (and sadly retired) director Peter Weir.  It’s time for….

4 Shots From 4 Peter Weir Films

Picnic At Hanging Rock (1975, dir by Peter Weir, DP: Russell Boyd)

The Last Wave (1977, dir by Peter Weir, DP: Russell Boyd)

Witness (1985, dir by Peter Weir, DP: John Seale)

The Truman Show (1998, dir by Peter Weir, DP: Peter Biziou)