I love actor Al Lettieri. He was such an incredible “heavy” in classic movies like THE GODFATHER and THE GETAWAY.
I will always appreciate his performance as Frank Renda, one of the most badass bad guys that Charles Bronson ever faced in a movie. It’s a shame that he died so young, because he was an incredible actor. Enjoy this badass scene from MR. MAJESTYK, and remember one of the greats!
Every Monday night at 9:00 Central Time, my wife Sierra and I host a “Live Movie Tweet” event on X using the hashtag #MondayMuggers. We rotate movie picks each week, and our tastes are quite different. Tonight, Monday February 24th, we’re watching THE SEVEN-UPS starring Roy Scheider, Tony Lo Bianco, Ken Kercheval, Richard Lynch, and Bill Hickman.
THE SEVEN-UPS is about an elite New York City police unit, led by detective Buddy Manucci (Roy Scheider). The unit is nicknamed the “seven-ups” based on their ability to secure convictions and jail sentences of 7 years and up. While working a job, one of his fellow seven-ups is killed, and Buddy will do anything to find the men who did it.
I wrote a full review of THE SEVEN-UPS just last week because it’s truly a great movie and features one of the best car chase sequences ever put on film. Rather than repeat a lot of those same facts, I’m including a link to my review below, which also includes the trailer for the film:
So, join us tonight for #MondayMuggers and watch THE SEVEN-UPS! It’s on Amazon Prime.
I’ve been having the best time reviewing Rutger Hauer films every Sunday. Today, I revisit THE OSTERMAN WEEKEND from 1983. Hauer made this film the year after BLADE RUNNER, so he was in the prime of his career. It also teams him up with an all-star supporting cast and master director Sam Peckinpah.
THE OSTERMAN WEEKEND opens with CIA Director Maxwell Danforth (Burt Lancaster) watching a recording of agent Laurence Fassett (John Hurt) making love to his wife. When Fassett hits the shower, two KGB assassins come in and kill her. Consumed by grief, Fassett hunts down the assassins and uncovers a Soviet spy network known as Omega. Fassett has identified three American men as top Omega agents… television producer Bernard Osterman (Craig T. Nelson with an awful, glued-on mustache), plastic surgeon Richard Tremayne (Dennis Hopper) and stock trader Joseph Cardone (Chris Sarandon). Rather than arrest the men and risk alarming the KGB, Fassett proposes to director Danforth that they try to turn one of the three men to the side of the West in hopes that this person will provide the information needed to bring down the Omega network.
Enter controversial television journalist John Tanner (Rutger Hauer). Fassett knows that Tanner has been close friends with Osterman, Tremayne, and Cardone since all four attended Berkeley together, and he believes that Tanner can successfully turn one of them. Although initially highly skeptical, the super patriotic Tanner begins to change his mind when Fassett shows him videotaped evidence of his old friends talking with a Russian agent in various capacities. Tanner reluctantly agrees to try turn one of his friends at their annual “Osterman Weekend” reunion which is coming up that week at Tanner’s house. He does have one condition… that Danforth, the CIA director will appear as a guest on his show. Danforth agrees to this condition. So that weekend, Tanner and his wife Ali (Meg Foster) welcome their old friends and their wives into their home, while Fassett has video camera equipment installed and hangs out in a van spying on the festivities. There’s no doubt it will turn out to be an awkward weekend, and you can’t help but wonder if Fassett may have more sinister motives than he’s letting on.
I’ll go ahead and say that I had a great time watching THE OSTERMAN WEEKEND for the first time in thirty-plus years. I’ve often read a criticism that the plot of this film is “incomprehensible.” Based on a book by Robert Ludlum, the story is purposely designed to keep you guessing up until its big reveal, but I didn’t have any trouble following it all. I’d say the biggest issue is that it doesn’t really stand up under close scrutiny. Some of the actions of the various characters don’t always make a lot of sense in light of the movie’s big twist near the end, but that didn’t take away from my personal enjoyment of the film. I just went along with the plot wherever it took me, and that was easy for me to do based on the cast that we have assembled. Any movie that includes Rutger Hauer, Burt Lancaster, John Hurt, Craig T. Nelson, Dennis Hopper, Chris Sarandon, Meg Foster, Helen Shaver, and Candy Yates will get a watch from me. Heck, Tim Thomerson even shows up as a motorcycle cop at one point. It’s a who’s who of excellent actors who always make their films watchable. In my opinion, it’s Hauer, Hurt, Foster and Nelson who do the most with their characters and take home the acting honors for their work here. Burt Lancaster is one of the all-time greats, and he does a good job, but it’s a one note character so there isn’t much he can do. Hopper and Sarandon are also fine, but their characters don’t really stand out. Their screen wives, Shaver and Yates, seem to be here mostly for eye candy because their tops are off for an abnormally large amount of their screen time! Speaking of eyes, the Hauer / Foster team up has to be on the list of the most striking combo pair of eyes in the history of cinema. Foster has the most noticeable eyes of any actress I’ve ever seen.
This is the great Sam Peckinpah’s final film, and I don’t agree with the people who complain that his career ended with a whimper. THE OSTERMAN WEEKEND is not in the same league as THE WILD BUNCH, RIDE THE HIGH COUNTRY, THE STRAW DOGS, or THE GETAWAY, but not many films are, including most of his own. And this movie is certainly visionary in one area, and that is found in its main theme about the damage that can be done with the manipulation of the media, including physical media, like videotape and audiotape. The primary driver of the film from the very beginning to the very end is the danger of false information that looks and sounds true. I can promise you that as I type this, and as you read it, there are people all over this world trying to make lies sound or appear true so they can share them on the news and on social media. I invite you to question everything you read, watch or hear on any outlet where you receive your news. Peckinpah’s final film beats this into our heads, just 40 years earlier.
Sam Peckinpah was known for his stylish and violent action sequences. THE OSTERMAN WEEKEND is more of a paranoid thriller, but it does feature some good action. There’s a chase sequence early in the film where Hauer’s wife and son are kidnapped, and he’s forced to commandeer the truck of honeymooners John Bryson (a Peckinpah regular) and Anne Haney (Greta from LIAR LIAR) to take off in hot pursuit. The scene features Peckinpah’s signature stunts, slow motion, and a myriad of cool tracking shots. There’s another fun scene where Hauer is using a baseball bat to defend himself against his pal Craig T. Nelson, who’s been shown to be a martial arts expert. It’s an exciting scene even if Hauer does get his ass kicked, in slow motion no less. And I always appreciate a movie with some good crossbow action, especially when it’s being wielded by a lady. The poster of the film prominently features a lady with a crossbow and we get to see Meg Foster step into that role in the actual film. She gets one especially gruesome, blood gurgling kill.
Overall, I think THE OSTERMAN WEEKEND is a good film. It is not nearly as bad as the critics of the time labeled it, and it’s not as good as Peckinpah’s best work, but you can certainly do a lot worse. It has a great cast, a timely message, a lot more sex and nudity than I remembered, and some cool action sequences. It’s definitely worth a watch!
I was pleasantly surprised when I saw that a new movie co-starring Chow Yun-Fat was released in time for the Chinese New Year. Chow doesn’t work that much these days, so anytime he’s in a new movie, it’s an important event for me. And just look how cool he still looks in the picture above. The man is turning 70 on May 18th, for pete’s sake!
I was unaware of the DETECTIVE CHINATOWN franchise when I noticed Chow’s participation in this film on IMDB. It has been a huge box office hit as part of this year’s Chinese Lunar New Year festivities. DETECTIVE CHINATOWN 1900 is the 4th installment in the series that actually stars actors Baoqiang Wang and Liu Horan as Gui and Qin Fu, respectively. In this installment, the duo investigates the murder of a white woman in San Francisco’s Chinatown in 1900. Chow seems to be playing some sort of Chinatown boss in this film that also features John Cusack as the U.S. Congressman whose daughter is murdered. It looks kind of silly, but hopefully it’s also a lot of fun. I’ll definitely be checking this film out, and at least one of the other installments in preparation.
Enjoy this trailer for DETECTIVE CHINATOWN 1900!
Charles Bronson starred in four movies and one TV show in 1958. Two of those movies were produced by Harold Knox, written by Louis Vittes, and directed by Gene Fowler, Jr. The first of the two films was SHOWDOWN AT BOOT HILL, an excellent low budget western that featured Bronson as a bounty hunter with a chip on his shoulder and love in his heart. The second film was GANG WAR.
In GANG WAR, Charles Bronson plays Alan Avery, a high school teacher in Los Angeles who’s walking home one night and happens to witness a gangland killing. He calls the police to report the murder, but he doesn’t want to get any further involved so he doesn’t give them his name. Avery was on his way home from a trip to the pharmacy where he had picked up a prescription for his pregnant wife (Gloria Henry) who is suffering from migraines. In the stress of the moment, he left the pharmacy sack in the phone booth and the police are able to track him down to his home. After being pressed by the police, Avery reluctantly agrees to testify. He’s a great witness as he’s able to give the police a description of the car and its license plate number. His information leads to the arrest of Joe Reno, the second in command to mobster Maxie Meadows (John Doucette). Maxie sends his attorney Bryce Barker (Kent Taylor) over to the police station to see Captain Finch. Finch happens to be on Maxie’s payroll, and he immediately tells Barker about the witness. He even leaks it to the press so they can run a story revealing Avery’s name and address. Maxie would prefer to buy Avery’s silence, but he also wants a little insurance, so he sends his punch drunk henchman Chester over to slap around Avery’s wife. This order is akin to asking Lennie Small from OF MICE AND MEN to go play with some puppies. Simple-minded Chester proceeds to kill Mrs. Avery. When Avery comes home and finds his wife dead, he heads directly to Maxie’s house to kill him. The cab driver who took Avery to Maxie’s place just happened to see his gun, so he called the cops. Just before Avery can squeeze off a kill shot, the police show up and arrest him. Pissed that Avery was able to get so close to killing him, Meadows puts an actual hit out on him this time. Will the high school teacher be able to survive his battle against the mob?!!
(Note: The analysis below ventures into spoiler territory for both GANG WAR and SHOWDOWN AT BOOT HILL. You may want to watch these films prior to reading the rest of the review.)
As a lifelong fan of Charles Bronson, I really appreciate his work with director Gene Fowler, Jr. in 1958. Fowler recognized Bronson’s charismatic screen presence, but he also recognized something deeper in the legendary icon… his heart. SHOWDOWN AT BOOT HILL seemed to be giving us Bronson as a typical western hero, only to reverse course and turn Bronson into a romantic lead who would choose to throw down his guns so he could establish roots in a community and spend his life with the woman he loves. In a similar way, GANG WAR seems to be setting Bronson up to be a vigilante, not much different than the type of character he would be portraying throughout the 70’s and 80’s. But when 70’s and 80’s Bronson would be pulling his trigger, Fowler presents a more thoughtful Bronson who recognizes that the best revenge can sometimes be in letting someone live with the consequences of their own decisions. This allows him to lower his gun, walk away and continue his life free of the guilt and the legal consequences that would undoubtedly come with taking another person’s life. This decision honors his wife’s legacy much more than murder and a lifetime in jail ever would.
There are many good performances in this little gem. Bronson may not have been a “star” when this film was made, but there is no doubt that he was ready. He simply commands every frame that he appears in from the beginning to the end. John Doucette and Kent Taylor are also memorable as the gangster and his paid off lawyer, respectively. Doucette’s Maxie Meadows is certainly a stereotype of the gangsters in TV’s and movies at the time, but he plays the part well, saving his very best for his last moments of the film. Kent Taylor has the movie’s best story arc. When we meet him, he’s an alcoholic who can’t stand what he’s allowed himself to become, yet he continues to run every time Maxie calls. It’s a strong moment when he decides he won’t do it anymore. And Jennifer Holden is simply gorgeous as Marie, Maxie’s woman. Speaking of nice scenery, it was also fun seeing a Los Angeles that included landmarks like the Capitol Records Building and the old Nickodell Restaurant. So much of the action in GANG WAR takes place against these iconic backdrops, and for a guy who’s never been to LA, seeing these places again almost makes me feel like a resident.
Overall, while GANG WAR does feel like an old fashioned 50’s movie, it has plenty of things to recommend it, not the least of which is an excellent performance from a young Charles Bronson. At a 75 minute run time, it’s definitely worth a viewing.
The trailer for GANG WAR is presented below:
James Stewart is one of the great movie stars of all-time. His work with Frank Capra (MR. SMITH GOES TO WASHINGTON, IT’S A WONDERFUL LIFE) and Alfred Hitchcock (REAR WINDOW, VERTIGO) is legendary. In my household, Stewart’s work with director Anthony Mann is celebrated just as much as those other classics. Mann and Stewart made five classic westerns, beginning with WINCHESTER ‘73 in 1950 and ending in 1955 with THE MAN FROM LARAMIE. I own them all on DVD and watch them quite often. It’s very cold in Arkansas today, so I decided to write about the Yukon-set THE FAR COUNTRY, from 1954.
Jeff Webster (James Stewart) and his crusty ol’ coot of a partner Ben Tatem (Walter Brennan) head North towards Dawson City, in the Yukon Territory, with a herd of cattle. The two men encounter a variety of problems along the way, with the biggest being the corrupt Judge Gannon (John McIntire) of Skagway, Alaska. When Jeff finds himself in front of the judge for killing two cowhands who tried to steal his herd, Gannon acquits him on the charges but decides to keep his herd as payment for the court fees. With their cattle taken away from them, Jeff and Ben sign up to help business lady Ronda Castle (Ruth Roman) take supplies to Dawson City, where she plans to set up shop. After their first day on the trip, Jeff and Ben double back to Skagway and re-take their herd and take off towards Dawson as fast as they can go, with Gannon and his men in hot pursuit. They’re able to make it into Canada, so Gannon and his goons turn back, determined to hang the men if they ever come back through Skagway.
So Jeff and Ben make it to Dawson City with their cattle where they sell them off for $2 per pound to Ronda. Suddenly flush with cash, the two partners buy a gold claim and proceed to find some nice golden nuggets! When they head back into town, they find that Judge Gannon has now come to Dawson City and is in partnership with Ronda. Of course, that bastard immediately starts cheating the miners out of their claims, this time with gunman Madden (Robert J. Wilke) by his side, enforcing his corrupt actions with lead. Jeff and Ben decide they’re going to sneak out of town with their loot, but Gannon finds out about it and sends his men to stop them. Ben is killed in the process and Jeff is seriously injured. Jeff has tried his best up to this point to not get involved with the mess in Dawson City, but with his best friend now dead, he decides it’s time for Judge Gannon and his thugs to be stopped.
James Stewart is just so good as Jeff Webster. The best thing about his work with Mann is how each of the movies would give him a meaty role that capitalized on his basic decency, while simultaneously making him a more complex, layered man, miles away from the likes of Mr. Smith or George Bailey. In THE FAR COUNTRY, he’s as tough as nails, but he really doesn’t want to get involved with the people around him. It takes the death of his best friend for him to finally commit to helping them stand up against the bad guys. Stewart’s work here, and in the other Mann westerns, ranks with his very best.
The remainder of the cast is uniformly excellent. Three time Oscar winner Walter Brennan is always a welcome presence in a movie I’m watching. While he’d pretty much settled into the “old coot” role that would come to personify the later part of his career, his character is a valuable conscience for Stewart a couple of times in the story. I thought that John McIntire and Ruth Roman really stood out in their respective roles as the corrupt Judge Gannon and the stubbornly, independent businesswoman Ronda Castle. Both give excellent performances. The cast is rounded out with a who’s who of character actors like Jay C. Flippen, Harry Morgan, Robert J. Wilke, Royal Dano, and Jack Elam. It’s always nice seeing these familiar faces pop up in these old westerns.
I love it when movies are filmed on location in beautiful places. THE FAR COUNTRY was filmed at the Jasper National Park in Alberta, Canada, which added another interesting element to the film. The final thing I want to say about the film is that the screenplay for THE FAR COUNTRY was written by Borden Chase, who had penned RED RIVER a few years earlier. Not only would Chase write this movie, he would also write the screenplays for WINCHESTER ‘73 and BEND OF THE RIVER, both westerns that paired Anthony Mann and Jimmy Stewart. Chase was an excellent writer of western material, and his strong work in this group of films is crucial to their enduring success.
Overall, I confidently recommend THE FAR COUNTRY to any person who enjoys westerns or Jimmy Stewart. I might rank THE NAKED SPUR and THE MAN FROM LARAMIE slightly above this one in the Mann / Stewart westerns, but the truth is that you can’t go wrong with any of them.
I’m sharing the trailer for THE FAR COUNTRY below:
Episode 8 begins with Sam Grafton (Sam Gilman) riding up to the Starett cabin as Shane (David Carradine), Tom (Tom Tully). Marian (Jill Ireland), and Joey (Christopher Shea) are chopping and stacking wood. He has a new plow for the family, and he also has a letter that has arrived for Marian from Boston. The letter is from Mr. Warren Eliot (Robert Brown), a handsome former boyfriend who is now a state Senator in Massachusetts. His letter explicitly states the fact, and also reminds Marian, that she was once “the most beautiful girl in Boston.” Tired of working like a mule for little or no appreciation and only discussing things like plow handles and wood for the winter, Marian is excited when Warren’s letter announces that he is coming for a visit. This throws the household, and Shane, into quite a tizzy. And it gets even worse when Warren arrives, for everyone but Marian and Rufe Ryker (Bert Freed) that is. Marian feels like she’s 18 again, and Ryker sees this as an unexpected opportunity to get the Starett’s and Shane out of the valley. Spending their days riding horses and talking about the old times, the new times, and everything in between, Warren eventually asks Marian to marry him and go back to Boston. Marian is unable to say yes or no immediately and asks for a little time to think about it, especially since it would be such a big change for Joey. Of course, all of this puts Shane in a pissy mood, but he still won’t tell Marian exactly how he feels, even though she presses him about it a couple of times. Will Marian agree to marry the dashing Warren Eliot? Will Ryker finally get his hands on the Starett land? Will Joey and his turtle have to travel across the country? Will Shane have to pull up stakes and move on down the trail? I think you probably know the answers, but the fun is always in watching it unfold!
Near the end of my review of episode 7, I made the following comment, “I don’t think they (Shane and Marian) look at each other longingly a single time, which did make me a little sad. Here’s hoping they’ll double that up in Episode 8!” All I can say is be careful what you wish for. In this episode, Marian and her old boyfriend, now Senator Eliot, take center stage. And Shane is off to the side sulking most of the time while Marian is basking in all the compliments and attention. I was kind of hoping that Warren would turn out not to be quite as perfect as he first appears, you know, one of those deals where he has duplicitous motives or something. But no, he really is just about perfect. And Shane, poor Shane… you would think that he might finally tell Marian how he really feels about her. But not our Shane. When she point blank asks him what he thinks she should do, with a little hope in her voice that he might try to talk her out of it, his response is “you’d be crazy not to say yes.” And then he goes off to sulk some more. At the end of the day, I can’t help but wonder if Shane doesn’t have a hell of a point! But the heart wants what the heart wants, and it doesn’t always make sense.
As for the moments where Shane and Marian look longingly at each other, this episode does indeed double up with a couple of doozies. The first time is when Shane tells her that he introduced himself to Warren earlier that day at Grafton’s as her “hired man.” She tells Shane that “you know you’re family. You know that don’t you Shane? Don’t you?” As Shane is hitching up his horse to leave, she runs out the door and stares at him, then he stares at her and then does a double take, and then she stares at him some more. Even I started to get a little uncomfortable! And there was another scene late in the episode where they chop wood together late in the evening that has be serving as a metaphor for making love or something. They are working that wood together and looking at each other and sweating. The scene ends with her saying “it’s good to be needed,” to which he replies, “yeah” while somewhat out of breath. From that point forward, we know poor Warren doesn’t stand a chance. I’ve never watched any of these episodes before starting this series of reviews, so I had no idea this was coming when I finished up last week’s review. Needless to say, Episode 8 fulfilled my quota of sexual tension between the two for at least the next few episodes combined!
Overall, while I did enjoy episode 8, I must admit that it’s not one of my favorite episodes so far, especially with Shane coming off more like lovelorn teenager than a tough gunslinger for most of the episode. The resolution is a little silly as well, with Shane and Warren actually teaming up in a bar fight with Ryker’s men. But with that said, the writers must be credited for providing me exactly what I asked for in my last review, in spades. So, thank you Jack Schaefer and Ellen Violett! As we’re reaching the midway point of the complete series, I’m looking forward to what episode 9 has to offer.
I couldn’t let today go by without recognizing John Travolta. I’ve enjoyed so many of his films over the years, especially movies like GREASE, BLOW OUT, PULP FICTION, and GET SHORTY. But the movie I probably love the most is FACE/OFF. I remember watching it at the movie theater back in 1997 and thinking it was the best movie ever. It came out at a perfect time when I was obsessed with John Woo, and I was still enjoying Travolta’s mid-90’s comeback. I still watch FACE/OFF at least once every year.
Enjoy this excellent scene from John Woo’s FACE/OFF!
I’m guessing it started with JAWS (1975) and JAWS 2 (1978) since they played often on Fox-16 out of Little Rock when I was a kid, but I’ve been a fan of actor Roy Scheider for as long as I can remember. He’s one of those actors who has his own section in my massive collection of physical movie media. I’ve read about every film he’s ever made, and I’ve watched most of them. Surprisingly, THE SEVEN-UPS is the first Roy Scheider film I’ve written about on The Shattered Lens.
NYPD detective Buddy Manucci (Roy Scheider) leads a team of elite cops, known as the “seven-ups.” They’ve acquired this nickname because most of the criminals they arrest receive sentences that are 7 years and longer, which makes their superiors on the force very happy. Granted, the team does use a variety of unorthodox methods to find and arrest the criminals, which can also rub their superiors and some of their fellow cops the wrong way. Buddy’s childhood friend Vito Lucia (Tony Lo Bianco), an undertaker by trade who has his finger on the pulse of the criminal activities in his community, serves as an important snitch for the team, with his information often leading to major busts. Unbeknownst to Buddy, prominent members of various organized crime families and other white-collar criminals start getting kidnapped and held for ransom in the community. Buddy’s unaware of the full extent of the kidnappings, but he asks his old friend / snitch Vito about this when he actually witnesses the abduction of a crooked bail bondsman he’s following named Festa. We know that Vito is the mastermind behind all of the kidnappings, and his two main henchmen, Moon (Richard Lynch) and Bo (Bill Hickman), are impersonating cops just long enough to confuse and abduct the various criminals. When the Seven-Ups stake out a funeral meeting of various mobsters in the area, squad member Ansel (Ken Kercheval) is killed as part of a screwed-up abduction attempt. Buddy spots Moon and Bo trying to flee the area and tries to chase them down in an incredible car chase that ends when Buddy is almost decapitated in a violent collision with a parked 18-wheeler. With one of their own dead and with the wild chases through the streets, the members of the team are placed on suspension and even investigated as suspects for the kidnappings. Not content to just lay low during their suspensions, the seven-ups continue to try to figure out what’s going on, doing whatever it takes to get the information they need. When Buddy and his group start applying incredible pressure to some of the local mobsters about who shot Ansel, he gets information that ties the killing and the kidnappings to his friend Vito. This time when he meets with Vito, Buddy feeds him false information, thus setting a trap to bring the whole operation down.
After viewing THE SEVEN-UPS again for the first time in a while, it continues to be my opinion that this movie is severely underrated. It’s a great cop film from the early 70’s, anchored by an excellent lead performance from Roy Scheider, who’s wearing one of the coolest leather jackets in the history of cinema. Coming in hot off the heels of THE FRENCH CONNECTION (1971), and with many connections to the Oscar winner, it seems that somehow this great film has fallen through the cracks over the years. I mean, how often do you hear people talk about this movie? THE SEVEN-UPS is directed by Philip D’Antoni, his only directorial credit, although he did serve as the Producer for both BULLITT (1968) and THE FRENCH CONNECTION. D’Antoni clearly values a good car chase sequence. THE SEVEN-UPS contains a thrilling car chase, which really isn’t that big of a surprise when you learn that stunt coordinator Bill Hickman, who plays the bad guy Bo in this film, coordinated the car chase sequences in BULLITT and THE FRENCH CONNECTION. This film features my personal favorite car chase sequence from any film that I’ve seen to date. Don Ellis composed the memorable musical score, a service that he also provided in THE FRENCH CONNECTION. I point out all of these ties to THE FRENCH CONNECTION because, in my humble opinion, the talent behind that film created another classic in THE SEVEN-UPS.
Complimenting Roy Scheider’s lead performance, THE SEVEN-UPS has a strong supporting cast. Tony Lo Bianco, Ken Kercheval (of DALLAS fame), Bill Hickman, and Richard Lynch are all quite memorable in their respective roles. I also like the 1973 New York City setting for the film. In movies like this and the following year’s DEATH WISH, we get to see a New York that no longer exists. To me, this only adds to the gritty realism of the film.
Overall, THE SEVEN-UPS is a movie I recommend without any reservations. If you’re a fan of 70’s cop thrillers, you simply can’t go wrong with this one.
I share the trailer for THE SEVEN-UPS below:
Every Monday night at 9:00 Central Time, my wife Sierra and I host a “Live Movie Tweet” event on X using the hashtag #MondayMuggers. We rotate movie picks each week, and our tastes are quite different. Tonight, Monday February 17th, we’re watching FLIGHT 7500 starring Leslie Bibb, Ryan Kwanten, Amy Smart, Jamie Chung, Nicky Whelan, and Johnathon Schaech.
FLIGHT 7500 is the story about an airplane that departs the Los Angeles International Airport bound for Tokyo. As the overnight flight makes its way over the Pacific Ocean during its ten-hour course, the passengers encounter what appears to be a supernatural force in the cabin!
Although FLIGHT 7500 was chosen by Sierra, I’m looking forward to watching it for the first time for several reasons:
So, join us tonight for #MondayMuggers and watch FLIGHT 7500! It’s on Amazon Prime.
I’ve included the trailer for FLIGHT 7500 below:
Through the Shattered Lens 