Author Archives: Bradley Crain

THE TWILIGHT ZONE (TV Series) – S3, E1: “Two,” starring Charles Bronson and Elizabeth Montgomery!

Posted on by Bradley Crain

You know producer Buck Houghton had high hopes for the opening episode of Season 3 of THE TWILIGHT ZONE when it aired on September 15, 1961. It stars up and coming actors of the time, Charles Bronson and Elizabeth Montgomery, who were all over TV screens in the 50’s and early 60’s, with Bronson emerging as a strong character actor in movies as well. The two would be major stars within a few years, but they weren’t quite there yet. 

This episode, titled “Two,” opens with “The Woman” (Elizabeth Montgomery), who is wearing a tattered dark military uniform, wandering into a bombed out, deserted city, and spotting the remains of a restaurant. Tired and hungry, she goes in and digs around until she finds an old can of chicken. As she’s opening the can, “The Man” (Charles Bronson), who’s wearing a tattered, light-colored uniform, walks in on her. Immediately attacking him with a combination of meat cleavers, bottles, pots and pans, The Man tries to hold her off until if becomes clear that he’s going to have to subdue her, which he does with one vicious punch that knocks her out cold. At this point it’s clear that these are the last two remaining survivors of a devastating war, on opposing sides no less, that completely destroyed the world. When The Man wakes The Woman up by dumping a pot of cold water on her face, he gives her back her chicken and tells her that there is no reason to fight anymore, as everyone else is dead. She doesn’t understand what he is saying so he walks off in frustration. The Woman doesn’t trust The Man, but she begrudgingly starts to follow him around to keep an eye on him. Will they kill each other? Will they join forces to survive? Could they even fall in love? Writer-Director Montgomery Pittman answers all of these questions over the course of the episode’s brisk 25 minutes. 

The allegorical “Two” was a bold choice to open the popular TV show’s third season with its minimalist production set in a few sections of a single bombed-out town and featuring only two characters who barely even speak, especially Montgomery, who says two words throughout the entire episode. Not that much really happens either, so it’s the type of episode that lives or dies based on the performances of the lead actors, and Bronson and Montgomery both deliver outstanding work. Bronson, a dependable character actor at this point in his career, is especially good as The Man. His square-jawed stoicism unravels enough to reveal a weary vulnerability and desire for a connection with another person, even when they’re supposed to be mortal enemies. It’s ultimately a romantic part and Bronson kills it. For those who mostly know Bronson from his post DEATH WISH action star roles, parts like this are a revelation. Montgomery, still a few years away from beginning her iconic portrayal of Samantha in BEWITCHED, is quite beautiful even when she’s this grimy. Her performance as The Woman is even more challenging as it’s almost completely a physical performance, and she shines as her character transforms over the course of the episode.

Ultimately, “Two” may resolve its setup a little too quickly to be realistic, but I still enjoyed it immensely. The performances are outstanding and its hopeful denouement left me with a smile on my face. 

ALFRED HITCHCOCK PRESENTS (TV Series) – S7, E18: “The Woman Who Wanted to Live,” starring Charles Bronson and Lola Albright!

Posted on by Bradley Crain

Charles Bronson appeared in three episodes of the ALFRED HITCHCOCK PRESENTS T.V. series. His first two appearances came in the first season in early 1956 when Bronson was still in the early stages of his career. When “The Woman Who Wanted to Live” aired on February 6th, 1962, Bronson’s standing in the film and television community had risen dramatically. Since those first two appearances, he had headlined several low budget films (MACHINE GUN KELLY and SHOWDOWN AT BOOT HILL), starred in his own television series (MAN WITH A CAMERA), and even co-starred as one of the seven gunmen in the western classic, THE MAGNIFICENT SEVEN! As opposed to those two early appearances, Bronson was a well known commodity to audiences in 1962, and he was on the precipice of breaking out in even bigger roles, as THE GREAT ESCAPE and THE DIRTY DOZEN were just over the horizon!

In “The Woman Who Wanted To Live,” we meet escaped convict Ray Bardon (Charles Bronson), a hardened criminal who was shot in the arm when busting out of prison. In serious pain and in need of some quick cash and a getaway vehicle, Bardon robs a remote gas station, even killing the attendant when he makes a move for his gun. Soon a beautiful young woman named Lisa (Lola Albright) drives up to the station. Bardon wants to steal her car and take off, but surprisingly Lisa, who sees his wounds, convinces him to let her drive him wherever he wants to go. As Bardon wonders why she’s willing to help him, Lisa assures him that she will do whatever he wants her to do as she just wants to stay alive. As they flee into the night, they have to deal with a flat tire and a gang of dangerous thugs, but Lisa continues to help Bardon and even passes up a couple of opportunities to take off to safety. Why is Lisa so invested in Bardon’s survival? If you’re guessing there’s more to the story, you would definitely be right! 

After watching all three of Charles Bronson’s episodes of ALFRED HITCHCOCK PRESENTS, I believe that “The Woman Who Wanted To Live” just may be the best of the bunch. It’s not as creepy as “And So Died Riabouchinska,” and it certainly doesn’t play up the black comedy like “There Was An Old Woman,” but it does pack quite the emotional punch. First, the story is very effective, as we watch the bond that seems to be developing between the escaped criminal and his captive. You can’t help but wonder if we may be watching two twisted souls who may actually need each other. Hitchcock was always good at throwing people into desperate situations together, and script definitely goes that route here. In the short 25 minutes contained in this episode, each character is given the opportunity to truly help the other, as she helps mend his wounds and he protects her from roadside thugs with bad intentions. Even as the two help each other, as the story plays on, a tightening grip seems to take hold on the audience as to why Lisa hasn’t escaped when she’s had her chances. The strength of the episode just may be the fact that when the big reveal happens, it’s as plain as the nose on your face even though I never considered it a single time, something I have in common with our criminal, Frank Bardon. Second, this episode features two excellent performances from the stars. Interestingly, Charles Bronson and Lola Albright would appear together in the Elvis movie, KID GALAHAD, later this same year. As usual, Bronson brings a real world intensity to the role of the wounded and desperate criminal. With his lived in features, Bronson is incapable of presenting himself in a way that doesn’t seem true and authentic, whether he’s playing a cop or a killer, and his presence here is a clear indicator of his impending stardom. In a tribute to Albright’s performance, the two stars have quite a nice chemistry together, and she steals the final scenes as her character transforms right in front of our eyes and we understand why she’s refused to run away.

With its strong script and the excellent lead performances from Bronson and Albright, I easily recommend “The Woman Who Wanted To Live” as a superior episode of ALFRED HITCHCOCK PRESENTS. This episode truly surprised me and has lingered with me since I first watched it a few days ago. 

ALFRED HITCHCOCK PRESENTS (TV Series) – S1, E25: “There was an Old Woman,” starring Estelle Winwood and Charles Bronson!

Posted on by Bradley Crain

For a little bit of historical perspective, Charles Bronson was an up and coming young character actor when he appeared in the 25th episode of season 1 of ALFRED HITCHCOCK PRESENTS, “There Was an Old Woman,” which originally aired March 18, 1956. Having already shared the screen with the likes of Gary Cooper, Spencer Tracy, Katherine Hepburn and Burt Lancaster, Bronson had an interesting face that would allow him to comfortably play a wide range of roles in 1950’s Hollywood, from Native Americans (DRUM BEAT and APACHE), murderous criminals (CRIME WAVE and BIG HOUSE USA), compassionate doctors (the TV series MEDIC), and even deaf mutes (HOUSE OF WAX). In the mid-1950’s, Bronson was alternating between character parts on the big screen and guest starring roles on the small screen. For someone like me, it’s fun looking back at these early years and roles when Bronson was a hungry, young actor just trying to keep working. Not blessed with matinee idol looks, he attacked his roles with a gusto that, with the benefit of hindsight, would form a foundation that would eventually lead to him becoming the most popular actor in the world a decade later.

In “There Was an old Woman,” down-on-their-luck married couple, Frank Bramwell (Charles Bronson) and Lorna Bramwell (Norma Crane), are desperate for cash. While finishing off their breakfast at the local cafe, they overhear a private conversation between a milkman and the counter guy concerning the vast wealth of a local old woman named Monica Laughton (Estelle Winwood), an eccentric widow who lives alone in a grand, outdated Victorian house. The Bramwell’s think they’ve won the lottery and soon they’ve hatched a scheme to work their way into Mrs. Laughton’s home in hopes of relieving her of all that money. Once inside her home, the young couple gets much more than they bargained for when they discover that the kind and proper old woman lives in a fantasy world of imaginary people, imaginary dinner parties, and imaginary funerals. They play along with her delusions for a while and set about looking for the money, but when they can’t find it, Frank pulls out his knife and threatens to kill Mrs. Laughton and all her “guests” if she doesn’t give them her money. Needless to say, Mrs. Laughton may be nutty, but she has a few tricks up her sleeve and the Bramwell’s just may be on their way to being permanent guests! 

If you enjoy entertainment that features black comedy, ironic twists of fate, and deadly danger in the most unexpected of places, you’ll enjoy this macabre gem of an episode. “There Was an Old Woman” sets the Bramwell’s up to think that they’re the ones in charge, until it’s revealed in an instant that they are in way over their head with the eccentric Mrs. Laughton. Bronson and Norma Crane are good as the married couple with bad intentions. I guess it would be more accurate to say that Bronson’s character has the bad intentions while Norma’s character just seems to have picked the wrong man. Bronson is in his amoral, bully-thug mode here, a type of role he played very well in the early years of his career. I thought Norma Crane projected a sort of innocent sweetness, and I felt sorry for her as events spiraled out of control. But the real star of the episode is Estelle Winwood as the delusional “old woman” of the title. She steals the show as Monica Laughton, delivering a fun and deceptively cunning performance as the grande dame who’s much more aware of the dangers around her than she lets on. She may be eccentric, but she’s nobody’s fool. Estelle Winwood is perfect in the role, a testament to a woman who was 73 years old when this episode aired and who would go on to work for over 20 more years, with her final role on an episode of the TV series QUINCY, M.E. that aired in 1980. One of the joys of watching older TV shows and movies is discovering more about some of these talented actors and actresses who starred in them. Winwood had an incredible, five decade career, and she would pass away in 1984 at 101 years of age. 

Overall, I recommend “There Was an Old Woman” to any person who appreciates Alfred Hitchcock, vintage TV, black comedy, Charles Bronson, Norma Crane, and Estelle Winwood. It’s interesting and fun stuff! 

ALFRED HITCHCOCK PRESENTS (TV Series) – S1, E20: “And So Died Riabouchinska,” starring Claude Rains and Charles Bronson!

Posted on by Bradley Crain

I’ve never been a rabid consumer of horror films, but I do love Alfred Hitchcock. And when you consider that Charles Bronson was featured three times in his TV series, ALFRED HITCHCOCK PRESENTS, you know I’m all in. Bronson first appeared in the season 1 episode, “And So Died Riabouchinska” which starred the Invisible Man himself, Claude Rains! I thought it would be fun to revisit this early episode from the classic TV series. 

When a juggler named Ockman is found dead in the basement of a vaudeville theater, Detective Krovitch (Charles Bronson), a no-nonsense police investigator, is on the case. The prime suspect quickly emerges to be John Fabian (Claude Rains), a ventriloquist whose act revolves around his beautiful female dummy, Riabouchinska, who we find out is modeled after a long, lost love. As Krovitch interrogates Fabian and all of those around him, including his embittered wife Alyce (Wynne Miller), and her lover, the shady manager Douglas, it becomes clear that the ventriloquist has a dark and dangerous past. We discover a Fabian who is lost in a world of obsession, self delusion and even perversion, a world that the now deceased Ockman was threatening to expose.  Without giving too much away, this episode blends psychological horror with police procedural and spits out an episode that still resonates loudly on the freaky-meter!

Adapted by Mel Dinelli from Ray Bradbury’s short story, “And So Died Riabouchinska” is an exceptional entry in Season 1 of the ALFRED HITCHCOCK PRESENTS TV series. Claude Rains is incredible as Fabian. It’s a thespian tour-de-force, with Rains creating a role that’s creepy, pathetic, and oddly relatable all at the same time. I haven’t seen many of Rains’ most notable works, but based on his performance here, I do know that he’s amazing. Charles Bronson, whose strong screen presence was as obvious as the nose on his face, even this early in his career, goes toe to toe with Rains (and Riabouchinska) and helps ground the episode in something resembling the real world. It’s not a showy role for the legendary tough guy, but he conveys the toughness and authority that would go on to define his career. Performances aside, the episode is truly set apart with an emotional storyline that plumbs the depths of the human psyche in a way that seems daring for 1956 television. There are parts of this episode that will definitely make you squirm in your seat! 

Overall, in my opinion, “And So Died Riabouchinska” is an essential episode of the ALFRED HITCHCOCK PRESENTS series. It’s a lot of fun seeing Hitchcock introduce the show at the beginning and wrap it up at the end, but the best part is the fact that the story that takes place in-between is creepy, clever, and compulsively re-watchable.

Charles Bronson interviews the slasher in 10 TO MIDNIGHT (1983)!

Posted on by Bradley Crain

Charles Bronson played a cop a bunch of times in the 1980’s, but my personal favorite is Leo Kessler from 10 TO MIDNIGHT. Kessler wants to be a better dad to his daughter Lori (Lisa Eilbacher), but first he needs to catch a psychotic killer who’s murdering beautiful young women. One of the most interesting things about 10 TO MIDNIGHT is the way it tries to fuse a badass cop film with the popular slasher films of the 1980’s. It’s arguably Bronson’s best Cannon film, and Gene Davis is a certifiable creep as the slasher, Warren Stacy. Enjoy this infamous scene where Kessler confronts Stacy about his, ummm… private sexual activities!

Brad reviews HOUSE OF WAX (1953), starring Vincent Price and a very young Charles Bronson!

Posted on by Bradley Crain

As my readers probably know, I’m one of actor Charles Bronson’s biggest fans, and I’m always on the lookout for venues showing his films on the big screen. In the summer of 2024, the Ron Robinson theatre in downtown Little Rock screened the 1953 Vincent Price classic, HOUSE OF WAX, which features Bronson in one of his earliest on-screen roles. It was so early, he was still being billed as Charles Buchinsky! Of course I wasn’t going to miss it! 

HOUSE OF WAX stars Vincent Price as Professor Henry Jarrod, a talented wax sculptor in early 20th-century New York City. Jarrod’s museum, which features historical figures that look amazingly lifelike, is his pride and joy. However, his business partner, Matthew Burke (Roy Roberts), has grown impatient with his investment and decides he wants to burn down the wax museum for the insurance money. When Jarrod refuses to take part in the fraudulent scheme, Burke sets the museum on fire, leaving Jarrod presumed dead in the process. But Jarrod survives, and with the help of his mute henchman Igor (Charles Bronson), returns to open a new wax museum with a dark and dangerous twist… his exhibits are eerily lifelike because they are real bodies coated in wax. As his former friend Sue Allen (Phyllis Kirk) and her boyfriend Scott Andrews (Paul Picerni) snoop around the house of wax, they begin to suspect that Jarrod has lost his mind and has descended into the mad depths of murder. Will they be able to expose Jarrod’s gruesome secret, or will they become his next exhibit?!!

Directed by André de Toth, HOUSE OF WAX is a landmark horror film, notable for its early use of 3D and Vincent Price’s excellent performance. The film’s strength lies in its undeniably creepy premise, that of turning human beings into wax sculptures, as well as Price’s ability to blend sophistication with menace. Jarrod is quite the sympathetic character at first, but he’s gradually revealed to be certifiably insane as a result of his near-death experience, and that transformation is quite scary. Young Charles Bronson’s portrayal of Igor is also quite freaky. His cold, blank, murderous stare says, “I’ll kill you and not even think twice about it.” His stalking of the heroine, played by Phyllis Kirk, in the dark, spooky house of wax near the end, is one of the true highlights of the movie. It’s also fun seeing Carolyn Jones (AKA Morticia Addams) show up as a spirited victim of the madman! Of course, you can’t help but notice the moments set up for the 3D effects, which come off as quite gimmicky at this point. I specifically took note of the movie’s use of paddleballs and leg kicks! I must admit, however, that these dated elements add to the overall charm of HOUSE OF WAX as a reminder of the olden days of 50’s Hollywood! 

Overall, in my humble opinion, HOUSE OF WAX is a classic scary movie. It’s a perfect treat for fans of vintage horror as well as a testament to the magnetic screen presence of Vincent Price!

Brad reviews SHARKANSAS WOMEN’S PRISON MASSACRE (2015)! 

Posted on by Bradley Crain

The exploitively titled SHARKANSAS WOMEN’S PRISON MASSACRE opens up with employees of an “Arkansas Fracking” company causing such a disturbance underground that spiky, ancient sharks wake up and start swimming in our swamps and eating whoever they happen to come across. As a lifelong Arkansan, I’m guessing this would have to be set near the Louisiana line, but I don’t think it’s ever made clear. It doesn’t really matter because the movie is actually shot in the state of Florida. This shark awakening just happens to coincide with a group of hot, womens’ prison inmates, including Christine Nguyen and Cindy Lucas, getting into a van to go clear some stumps in that same shark swamp that’s just outside of the walls of the penitentiary that they’re currently residing in. We also meet Detective Kendra Patterson (Traci Lords) and her partner, who are looking for a group of criminals, led by Honey (Dominique Swain), who may have escaped into that same swamp that now contains our ancient, spiky sharks and our sexy Arkansas inmates! Before you know it, the trials and tribulations of every person involved will be put on the back burner as they try not to become the next victim of the Sharkansas Women’s Prison Massacre. 

SHARKANSAS WOMEN’S PRISON MASSACRE is pretty much the exact film that you’d expect it to be. It’s cheap, with terribly cheesy special effects, bad acting and some super-sexy women. It was made for the SyFy channel so it doesn’t really have graphic gore or nudity, which I’m sure is disappointing for those hoping for more bosoms and blood. I did enjoy a scene early in the film when the ladies are extremely warm from a tough day of clearing stumps so they start spilling water on their white T-shirts, while their faces contort in unbridled pleasures. The film is directed by Jim Wynorski who’s known for his low budget exploitation movies such as CHOPPING MALL (1986), BIG BAD MAMA II (1987), NOT OF THIS EARTH (1988), BODY CHEMISTRY 4: FULL EXPOSURE (1995), ALABAMA JONES AND THE BUSTY CRUSADE (2005), and COBRAGATOR (2015). For the director’s fans, this movie has much more in common with his classic PIRANHACONDA (2012) than it does his BUSTY WIVES (2007) series. 

The cast of SHARKANSAS WOMEN’S PRISON MASSACRE is pretty much top notch for a film like this. I can honestly say that I’ve never seen Traci Lords in one of her porn films, but I’ve always thought she was pretty good looking, and she is here. I did have Cinemax for a number of years as a young man so I’ve definitely seen some of Christine Nguyen’s work. I would come across titles like TARZEENA: JIGGLE OF THE JUNGLE (2008) starring Christine, and the man in me couldn’t help but stop and check out the story. Finally, as a huge fan of director John Woo’s FACE/OFF (1997), I remember liking Dominique Swain as Sean Archer’s rebellious young daughter in the film. In this film, she’s the queen of overacting as a lesbian outlaw who’s out to bust her lover out of jail when she finds herself in a life or death battle with deadly, ancient land sharks. It’s not exactly the performance of a lifetime, but it’s still kind of fun if you’re in the right frame of mind. 

At the end of the day, you’re either the kind of person who likes a movie like SHARKANSAS WOMEN’S PRISON MASSACRE or you’re not. There’s not a lot of in between. It’s personally not my favorite kind of film, but I’ll pretty much watch anything with an Arkansas connection, even though this one is “in title only.” For fans of the director, the film DINOCROC VS. SUPERGATOR, or some of the beautiful cast members, this film may be just what your looking for this October!

Brad reviews KARATE KID: LEGENDS (2025), starring Jackie Chan and Ralph Macchio!

Posted on by Bradley Crain

I’m a huge fan of the 1984 film, THE KARATE KID. The stars aligned perfectly for my lifelong love affair. I was 10 or 11 years old, and my family had recently purchased our first VCR when the movie was released on VHS tape. I’ll never forget that first viewing. It was one of the most exhilarating films I had ever watched, and it’s fair to say that I literally wanted to be the karate kid. I was also smitten with Elizabeth Shue as the kid’s girlfriend, “Ali with an I!” I’m still infatuated with her to this day. I watched THE KARATE KID PART II (1986) and THE KARATE KID PART III (1989) at the movie theater, especially enjoying Part II, although I did miss the beautiful Ali. For a short, skinny guy from Toad Suck, Arkansas, the story of a skinny kid getting the best of the much stronger bullies was irresistible to me. The strong relationship between Daniel (Ralph Macchio) and Mr. Miyagi (Pat Morita) gives the stories so much heart, which makes the rousing finales even more emotionally satisfying. I didn’t care so much for THE NEXT KARATE KID (1994) where Hillary Swank stepped in as the kid. Even with the return of Mr. Miyagi, I wasn’t very interested in a movie that didn’t feature the character of Daniel LaRusso. 

After being away for sixteen years, THE KARATE KID was given new life in 2010 when it was rebooted with Jackie Chan as the martial arts master and Jaden Smith as his bullied student. I wasn’t that interested in watching it due to the presence of Jaden Smith, but I ended up watching it because I love Jackie Chan. It didn’t make a lasting impact on me, but I must admit that I did end up enjoying the film. Then when the T.V. series COBRA KAI came out in 2018 with William Zabka and Ralph Macchio in the leads, I was immediately taken back to my teenage years, and I loved it all over again. I especially loved how the series brought back so many of the characters from the first three movies, including my beloved Ali! The series paid homage to the original 80’s films, which satisfied old farts like me, while introducing a bunch of new teenagers and drama that brought in a whole new audience. I was so happy the “karate kid” world was back in my life. 

Which brings us to KARATE KID: LEGENDS (2025), a movie that blends the world of the original KARATE KID and COBRA KAI, with Mr. Miyagi and Daniel LaRusso, with the world created in the KARATE KID reboot starring Jackie Chan as Master Han. When I first saw the trailer for “Legends” that features LaRusso and Master Han working together to train the young Li Fong, I knew it was a movie I wanted to see. The plot is nothing new as kung fu prodigy Fong (Ben Wang), haunted by his brother’s tragic death, relocates from Beijing to New York City with his mom (Ming-Na Wen). Forbidden from fighting by his protective mother, Li meets and starts falling for his classmate Mia (Sadie Stanley). Unfortunately for Li, Mia’s ex-boyfriend turns out to be a badass karate bully named Conor (Aramis Knight), who proceeds to demonstrate his skills with fists to Fong’s face and kicks to Fong’s torso. With the contrived help of a wise-cracking Master Han and an emotionally earnest Sensei LaRusso, Fong enters the “5 Boroughs Fighting Tournament” to settle the score with Conor and prove that he’s all the man that Mia will ever need.

I liked KARATE KID: LEGENDS. The pure nostalgia of watching Daniel LaRusso show his love for Mr. Miyagi by sharing the master’s teachings with Li Fong is quite satisfying for me. Adding to that feel-good vibe is the opportunity to see Ralph Macchio and Jackie Chan working together on screen. The legendary Chan may be over 70 years old, but he’s still fun and energetic. And Ralph Macchio still seems to be defying the aging process. At 63 years of age when filming KARATE KID: LEGENDS, Macchio is twelve years older than Pat Morita was when he starred as Mr. Miyagi in the original 1984 film. That fact is amazing to me. And the familiar storyline of an underdog standing up to a bully is engaging no matter how many times we’ve seen it before. With fight choreography that’s both acrobatic and bone-crunching at times, as well as a running time of just over an hour and a half, director Jonathan Entwistle delivers a fast, easy-to-watch, and entertaining film. With that said, KARATE KID: LEGENDS does have some issues. Primarily, I wanted more Chan and Macchio. A lot of the film’s run-time focuses on Li Fong’s move to New York, his blossoming relationship with Mia (and her dad), his troubles at school and with the bully, as well as the tragedy of his brother. By the time Chan and Macchio start training him, a big part of the movie is over. Since they’re the main reason I wanted to watch the film, that was a little disappointing. Also, the relationship between Mr. Miyagi and Daniel-san is so important in the original films, but this movie misses that part completely between Li Fong and either of his teachers, Master Han or Sensei LaRusso. Without an emotional connection being created in this film, the overall impact is blunted for new viewers who aren’t bringing in 40 years of nostalgia with them.

Overall, I’m happy I spent an hour and a half of my life revisiting the world of THE KARATE KID. This film itself may not bring in a lot of new fans, but it offers tons of fan service to old timers like me.

Rest in peace, Claudia Cardinale (1938-2023)

Posted on by Bradley Crain

It makes me sad to hear of the passing today of Claudia Cardinale, one of the most beautiful women in the history of cinema. She’s always been special to me because she co-starred with Charles Bronson in Sergio Leone’s ONCE UPON A TIME IN THE WEST (1968). I also loved her in THE PROFESSIONALS with Lee Marvin (1966). Thanks Claudia for sharing your beauty and your talents with all of us. In your honor, I share this clip from one of the great western masterpieces, ONCE UPON A TIME IN THE WEST!

Brad’s Scene of the day – George Strait’s greatest moment on screen, from PURE COUNTRY (1992)!

Posted on by Bradley Crain

Kyle Chandler is a good actor. I especially enjoyed him in the TV series’ FRIDAY NIGHT LIGHTS and BLOODLINE. But the first time I ever remember him is when he played the asshole Buddy Jackson in PURE COUNTRY. George Strait isn’t the greatest actor in the world, but his telling Buddy off at the end of the film has to be his career highlight.

Happy 60th birthday, Kyle!