Late Night Retro Television Reviews: CHiPs 1.11 “Name Your Price”


Welcome to Late Night Retro Television Reviews, a feature where we review some of our favorite and least favorite shows of the past!  On Mondays, I will be reviewing CHiPs, which ran on NBC from 1977 to 1983.  The entire show is currently streaming on Freevee!

This week, Ponch again fails to get rich.

Episode 1.11 “Name Your Price”

(Dir by Ric Rondell, originally aired on December 8th, 1977)

This week’s episode opens on an unusually somber note for CHiPs.  It begins in a cemetery.  A woman (Jaime Lynn Bauer) is dressed in chic funeral black and appears to be attending a service.  But it soon turns out that she’s actually just making sure that everyone is so distracted by mourning that they won’t notice her stealing a Rolls Royce!

It turns out that a Rolls is not quite as easy to steal as she thought and soon, she finds herself being pursued by Ponch and Baker.  It’s a chase that leads from the highway and into the city and, to Ponch and Baker’s shock, they lose sight of the stolen car.

“How does a Rolls Royce vanish!?” Ponch asks, in shock.

Ponch is a bit distracted himself this episode.  He has been accepted as a contestant on a game show called Name Your PriceName Your Price is obviously meant to be The Price Is Right and Ponch spends the majority of the episode memorizing the price tags on appliances.  Unfortunately, Ponch does not memorize the price tag of a motorcycle and therefore, he turns out to be a bit of a bust when he appears on the show.  As Baker and his date sneak out of the studio, Ponch is humiliated as the show’s host wonders how a motorcycle cop could not know how much a motorcycle costs.

Oh, Ponch — will you ever win!?

It’s not all bad for Ponch.  He and Baker pull over a car and Ponch is excited to discover that it’s occupied by the two stars of his favorite soap opera.  (Does Ponch do anything other than watch television?)  And Ponch also gets to help out when a chicken truck is involved in a minor accident and dozens of chickens end up running around the highway.  As usual, the main emphasis of this episode is on the idea of the members of the highway patrol working together and keeping the streets safe for chickens and humans.  Yes, this episode says, the CHiPs do chase car thieves and arrest criminals.  But usually, they’re just taking care of mundane tasks and getting little thanks and little pay.

This episode was entertaining.  I enjoyed looking at the cars that were stolen.  If you’re going to commit a crime, you might as well commit it for a Rolls Royce.  And the ending with the game show was a lot more effective than the typical CHiPs ending.  Ponch has spent the first 11 episodes of this show destroying motorcycles so it’s a nice bit of humor that a motorcycle would destroy his chance to get rich.  That’s karma!

Next week, Baker and Ponch continue to keep L.A. safe!

Lisa Marie’s Oscar Nomination Predictions


The Oscar nominations are due to be announced in a few more hours.  I’m still struggling to get caught up with all of the movies that I need to see before I can post my personal Oscar nominations (expect to see them and all of my “best of 2023 lists” at the end of this month) but I have been following the precursor season and I feel confident about predicting what will be nominated in the major categories.

We’ll find out how correct I am in just a few more hours!

Best Picture

American Fiction

Barbie

The Color Purple

The Holdovers

Killers of the Flower Moon

Oppenheimer

Past Lives

Poor Things

The Zone of Interest

Best Director

Greta Gerwig for Barbie

Yorgos Lanthimos for Poor Things

Christopher Nolan for Oppenheimer

Alexander Payne for The Holdovers

Martin Scorsese for Killers of the Flower Moon

Best Actor

Bradley Cooper in Maestro

Colman Domingo in Rustin

Paul Giamatti in The Holdover

Cillian Murphy in Oppenheimer

Jeffrey Wright in American Fiction

Best Actress

Lily Gladstone in Killers of the Flower Moon

Sandra Huller in Anatomy of a Fall

Greta Lee in Past Lives

Carey Mulligan in Maestro

Emma Stone in Poor Things

Best Supporting Actor

Willem DaFoe in Poor Things

Robert De Niro in Killers of the Flower Moon

Robert Downey, Jr. in Oppenheimer

Ryan Gosling in Barbie

Dominic Sessa in The Holdovers

Best Supporting Actress

Emily Blunt in Oppenheimer

Danielle Brooks in The Color Purple

Penelope Cruz in Ferrari

Jodie Foster in Nyad

Da’Vine Joy Randolph in The Holdovers

Poor Things Wins In Houston!


The Houston Film Critics Society has announced its picks for the best of 2023!  The winners are listed below in bold.

Picture
“American Fiction”
“Are You There God? It’s Me, Margaret.”
“Barbie”
“The Color Purple”
“Godzilla Minus One”
“The Holdovers”
“Killers of the Flower Moon”
“Oppenheimer”
“Past Lives”
“Poor Things”

Director
Alexander Payne, “The Holdovers”
Christopher Nolan, “Oppenheimer”
Greta Gerwig, “Barbie”
Martin Scorsese, “Killers of the Flower Moon”
Yorgos Lanthimos, “Poor Things”

Actor – Leading
Andrew Scott, “All of Us Strangers”
Cillian Murphy, “Oppenheimer”
Jeffrey Wright, “American Fiction”
Leonardo DiCaprio, “Killers of the Flower Moon”
Paul Giamatti, “The Holdovers”

Actress – Leading
Emma Stone, “Poor Things”
Fantasia Barrino, “The Color Purple”
Greta Lee, “Past Lives”
Lily Gladstone, “Killers of the Flower Moon”
Margot Robbie, “Barbie”

Actor – Supporting
Dominic Sessa, “The Holdovers”
Mark Ruffalo, “Poor Things”
Robert De Niro, “Killers of the Flower Moon”
Robert Downey Jr., “Oppenheimer”
Ryan Gosling, “Barbie”

Actress – Supporting
Danielle Brooks, “The Color Purple”
Da’Vine Joy Randolph, “The Holdovers”
Emily Blunt, “Oppenheimer”
Rachel McAdams, “Are You There God? It’s Me, Margaret.”
Rosamund Pike, “Saltburn”

Screenplay
Celine Song, “Past Lives”
Christopher Nolan, Kai Bird and Martin Sherwin, “Oppenheimer”
Cord Jefferson, “American Fiction”
David Hemingson, “The Holdovers”
Greta Gerwig and Noah Baumbach, “Barbie”
Tony McNamara, “Poor Things”

Animated
“The Boy and the Heron”
“Nimona”
“Teenage Mutant Ninja Turtles: Mutant Mayhem”
“Spider-Man: Across the Spider-Verse”
“Robot Dreams”

Cinematography
Hoyte Van Hoytema, “Oppenheimer”
Linus Sandgren, “Saltburn”
Robbie Ryan, “Poor Things”
Rodrigo Prieto, “Barbie”
Rodrigo Prieto, “Killers of the Flower Moon”

Documentary
“20 Days in Mariupol”
“American Symphony”
“Beyond Utopia”
“The Eternal Memory”
“Still: A Michael J. Fox Movie”

Foreign Language
“Anatomy of a Fall”
“Godzilla Minus One”
“Perfect Days”
“Society of the Snow”
“The Zone of Interest”

Score
Robbie Robertson, “Killers of the Flower Moon”
Ludwig Göransson, “Oppenheimer”
Jerskin Fendrix, “Poor Things”
Joe Hisaishi, “The Boy and the Heron”
Daniel Pemberton, “Spider-Man: Across the Spider-Verse”

Song
“I’m Just Ken” from “Barbie”
“Dance the Night” from “Barbie”
“What Was I Made For?” from “Barbie”
“Keep It Movin’ ” from “The Color Purple”
“Meet in the Middle” from “Flora and Son”

Visual Effects
“The Creator”
“Godzilla Minus One”
“Guardians of the Galaxy Vol. 3”
“Mission: Impossible — Dead Reckoning Part One”
“Poor Things”

Stunts
“The Iron Claw”
“Guardians of the Galaxy Vol. 3”
“John Wick: Chapter 4”
“Mission: Impossible — Dead Reckoning Part One”
“Polite Society”

Ensemble
“Barbie”
“Oppenheimer”
“Killers of the Flower Moon”
“The Holdovers”
“The Iron Claw”

Texas Independent Film Award
“Bolivar”
“Breaking the Code”
“Chocolate Lizards”
“I’ll Be There”
“A Town Called Victoria”

Retro Television Reviews: Miami Vice 1.19 “The Home Invaders”


Welcome to Retro Television Reviews, a feature where we review some of our favorite and least favorite shows of the past!  On Mondays, I will be reviewing Miami Vice, which ran on NBC from 1984 to 1989.  The entire show is currently streaming on Tubi!

This week, Crockett and Castillo take down some home invaders.  Yes, Crockett and Castillo.  Not Crockett and Tubbs.  Read on to find out why.

Episode 1.19 “The Home Invaders”

(Dir by Abel Ferrara, originally produced by March 15th, 1985)

Always do your research.

Philip Michael Thomas does not appear in this episode of Miami Vice.  At the start of the episode, it’s mentioned that he’s in New York, visiting Valerie Gordon.  It’s a line that sounds like it was written at the spur of the moment and, when I heard it, I assumed that there had been some sort of behind-the-scenes drama between Thomas and the producers.  Fortunately, before I went with that and said something snarky, I actually looked up the reason for Thomas’s absence and I discovered that he was injured performing a stunt in the previous episode.  Thomas missed this episode because he was recovering.  As well, this was the only episode that he missed during the entire run of Miami Vice.

Thomas may be absent but that doesn’t mean that crime is going to take a break in Miami.  A series of violent home invasions lead to Crockett and Castillo getting temporarily assigned to the robbery division.  Crockett is excited to be working under his former boss and mentor, Lt. John Malone (Jack Kehoe).  Castillo quickly realizes that Malone has gotten rusty and that his investigation into the robberies has been sloppy.

This is a moody episode, with the emphasis as much on Crockett’s disillusionment with his old boss as with the efforts to catch the home invaders.  That said, the home invaders are a scary bunch.  Led by Esai Morales and David Patrick Kelly, they are totally ruthless and willing to kill anyone who fails to move quickly enough.  The scenes in which they break into various mansions and threaten the inhabitants are difficult to watch and it definitely captures the trauma of having your personal space invaded and your sense of safety destroyed.

(When I was 17, our house was broken into and, for months, I couldn’t sleep through the night.  Almost every night, I was woken up by what I thought was the sound of someone breaking into my house and I would end up walking through the house in my nightclothes, carrying a golf club for protection.  One night, I nearly hit my sister when she came out of the kitchen with a midnight snack.  It may sound funny now but, at the time, it was terrifying.)

It ends with a shootout that’s violent even by the standards of Miami Vice.  Castillo and Crockett gun down the bad guys and it’s hard not to notice that, while Crockett seems to be clearly upset by the fact that he had to kill a few men, Castillo barely shows any emotion at all.  Castillo is effective because he holds back his feelings about everything.  That’s also why Castillo, and not Crockett, is capable of seeing that Lt. Malone is past his prime.  With the home invaders neutralized, Malone tells Crockett that he’s quitting the force.  His days of being an effective detective are over.  The job and all of the terrible stuff that he deals with on a daily basis has left him burned out and it’s hard not to notice that he and Crockett are the same age.  Fighting crime in Miami takes a toll.

This episode was directed by Abel Ferrara, who keeps the action moving quickly and who fills the screen with ennui-drenched images of people who are not sure whether they’re making any difference at all.  This is an effective episode, even without the presence of Ricardo Tubbs.

Scenes That I Love: Everything’s Alright from Norman Jewison’s Jesus Christ Superstar


In memory of the late Norman Jewison, today scene that I love comes from my favorite film to have been directed by him.

In this scene from 1973’s Jesus Christ Superstar, Mary Magdalene (Yvonne Elliman) attempts to comfort Jesus (Ted Neeley) while Judas (Carl Anderson) tries to pull Jesus away from her.  This scene showcases both Elliman’s angelic voice and Anderson’s ferocious intensity as Mary and Judas present two very different sides of a spiritual journey.

4 Shots From 4 Films: Special Norman Jewison Edition


4 (or more) Shots From 4 (or more) Films is just what it says it is, 4 (or more) shots from 4 (or more) of our favorite films. As opposed to the reviews and recaps that we usually post, 4 (or more) Shots From 4 (or more) Films lets the visuals do the talking.

Rest in Peace, Norman Jewison, a director who believed in the power of cinema to change the world.

4 Shots From 4 Norman Jewison Films

In The Heat of the Night (1967, dir by Norman Jewison, DP: Haskell Wexler)

Fiddler on the Roof (1971, dir by Norman Jewison, DP: Oswald Morris)

Jesus Christ Superstar (1973, dir by Norman Jewison, DP; Douglas Slocombe)

The Hurricane (1999. dir by Norman Jewison, DP: Roger Deakins)

Monday Live Tweet Alert: Join us for Godzilla 1985 and The Bounty Hunter!


As some of our regular readers undoubtedly know, I am involved in hosting a few weekly live tweets on twitter and occasionally Mastodon.  I host #FridayNightFlix every Friday, I co-host #ScarySocial on Saturday, and I am one of the five hosts of Mastodon’s #MondayActionMovie!  Every week, we get together.  We watch a movie.  We snark our way through it.

Tonight, for #MondayActionMovie, the film will be Godzilla 1985, selected and hosted by Sweet Emmy Cat!

Following #MondayActionMovie, Brad and Sierra will be hosting the #MondayMuggers live tweet.  We will be watching 2010’s The Bounty Hunter!

It should make for a night of fun viewing and I invite all of you to join in.  If you want to join the live tweets, just hop onto Mastodon, pull up Godzilla 1985 on YouTube, start the movie at 8 pm et, and use the #MondayActionMovie hashtag!  Then, at 10 pm et, switch over to Twitter and Prime, start The Bounty Hunter, and use the #MondayMuggers hashtag!  The live tweet community is a friendly group and welcoming of newcomers so don’t be shy. 

Late Night Retro Television Reviews: Degrassi Junior High 2.4 “Dinner & A Show”


Welcome to Late Night Retro Television Reviews, a feature where we review some of our favorite and least favorite shows of the past!  On Sunday, I will be reviewing the Canadian series, Degrassi Junior High, which aired on CBC and PBS from 1987 to 1989!  The series can be streamed on YouTube!

In yourself, you must believe….

Episode 2.4 “Dinner & A Show”

(Dir by John Bertram, originally aired on January 25th, 1988)

It’s a night of awkward dates and dinners on this week’s episode of Degrassi Junior High!

Yick Yu finally works up the courage to ask Melanie if she would like to go to a movie with him.  While Kathleen rolls her eyes in the background, Melanie says that she’d love to see a movie with Yick.  Yick suggests that they see Revenge of the Reptile, which is really gory and features killer reptiles!  Melanie says that she’s not into any of that and suggests that they instead see Crying Into The Wind.  Yick agrees, even though it’s obvious that Crying Into The Wind is not a film that is going to appeal to a typical 13 year-old male.

After Yick leaves, Kathleen makes fun of Melanie for having a date.  Melanie replies that it’s not a date.  She and Yick are just friends and Melanie is looking for “a man.”  Right on schedule, Snake walks up and asks Melanie if she wants to see a movie.  Melanie, forgetting all about her plans with Yick, says, “Sure!”  Snake suggests Revenge of the Reptile.  Melanie, forgetting that she’s not into gory reptile films, says, “Sure!”

Poor Yick is heartbroken when Melanie tells him that something has come up and she won’t be able to go to the movies with him.  Arthur suggests that Yick cheer himself up by going to see Revenge of the Reptile….

Meanwhile, Shane’s parents want to have dinner with Spike and her mother.  Shane’s parents have decided a few things.  First off, the baby is going to be given up for adoption.  Secondly, Shane is going to private school.  While sending Shane to a private school might not be a bad idea, deciding what’s going to happen to the baby before they’ve even met Spike or her mother is definitely not cool.  Shane’s parents are the first of many bad parents that will show up over the course of Degrassi’s long history.

Spike decides to just not tell her mom about the dinner invitation.  But then Shane’s parents call personally and invite them to a fancy restaurant.  Needless to say, it’s not a pleasant dinner.  Shane’s father not only wants to send Shane to private school but he also thinks that Spike should be sent to a home for unwed mothers, like a character in a 1930s farm melodrama.  Shane’s mother, meanwhile, makes no secret of the fact that she blames Spike more than she blames her son.  Finally, Shane stands up for himself and says that he’s not going to go to private school.  Of course, Shane then ruins the moment by saying that he’s ready to be a father.  No, Shane, you’re not.  You’re barely ready to be in the 8th Grade.

At the movie theater, Snake and Melanie discover that they really don’t have much in common.  Snake may be a nice guy but he’s a terrible conversationalist.  Joey and Wheels, upset that they don’t have dates, show up and spend the whole time making snarky comments.  (Joey brings along a toy Godzilla that he uses to try to scare Melanie.)  Worst of all, Yick shows up and finds himself staring straight at Melanie.  Melanie smiles awkwardly while Yick’s heart breaks once again.

The next day, at school, Melanie tells Kathleen that her date wasn’t that great.  Meanwhile, Spike asks Shane if he even wants her to have the baby and Shane can’t answer.

I loved the way the episode contrasted the awkwardness of Melanie’s date with the awkwardness of Spike’s dinner.  Melanie’s problems are nowhere near as serious as Spike’s but both of them are a result of immature people trying to make mature decisions.  The main theme of this episode is that no one is ready to be an adult.  Melanie says that she’s ready to date “a man,” but she can’t even find it in herself to be honest with Yick.  Yick and Snake both want to start dating but they’re still incapable of understanding that Revenge of the Reptile is not exactly a romantic movie.  Shane wants to be a father but can barely stand up to his own parents.  Shane’s parents may be adults but they don’t understand that being an adult means talking to other people before deciding their lives for them.  The only person who truly understands how lost everyone is Spike and all she can do is try to make it day-by-day.

Watching an episode like this, it’s nice to know that Spike will eventually find happiness with Snake and that her daughter will grow up to be Emma.  I can only imagine how emotionally devastating all of this must have been for people watching it for the first time in 1988.  Degrassi Junior High rarely offered false hope, which is why it remains relevant today.