For tonight’s horror on television, we have 1973’s The Night Strangler.
This is the sequel to The Night Stalker and it features journalist Carl Kolchak (Darren McGavin) in Seattle. (After all the stuff that happened during the previous movie, Kolchak was kicked out of Las Vegas.) When Kolchak investigates yet another series of murders, he discovers that paranormal murders don’t just occur in Las Vegas and aren’t just committed by vampires.
I actually prefer this movie to The Night Stalker. The Night Strangler features a truly creepy villain, as well as a trip down to an “underground city.” It’s full of ominous atmosphere and, as always, Darren McGavin is a lot of fun to watch in the role in Kolchak.
Welcome to Retro Television Reviews, a feature where we review some of our favorite and least favorite shows of the past! On Fridays, I will be reviewing St. Elsewhere, a medical show which ran on NBC from 1982 to 1988. The show can be found on Hulu and, for purchase, on Prime!
This week, St. Eligius loses a resident.
Episode 2.21 “Rough Cut”
(Dir by Eric Laneuville, originally aired on May 9th, 1984)
Bobby Caldwell and Joan Halloran decide to stop being Boston’s most boring couple by taking an impromptu trip to Paris. But then Bobby catches himself in his zipper while trying to put on his pants sans underwear and the trip is cancelled. Bobby spends the rest of the episode walking very carefully.
Fiscus agrees to pose for a story on eligible Boston bachelors and soon finds himself being photographed wearing only a bow-tie and a pair of black briefs. That’s more of Howie Mandel than I’ve ever wanted to see. Potential suitors start to call the hospital. Fiscus is excited until his discovers that they’re all men.
Dr. Wendy Armstrong commits suicide.
St. Elsewhere was a show that frequently mixed comedy and drama but it was still undeniably jarring how this episode went from Howie Mandel getting half-naked and Mark Harmon stiffly moving down a hospital corridor to Dr. Armstrong downing a bunch of pills and dying in the OR. Wendy killed herself after she was told that she would be invited back to do the second year of her residency. (The first two seasons of St. Elsewhere represented a year in the life of its characters.) Bulimic, feeling guilty about a patient who miscarried, and traumatized by her assault at the hands of Peter White, Wendy ended things.
Before Wendy’s suicide, Westphall, Auschlander, and Craig had decided to cut Morrison from the program. While Craig and Auschlander respected Morrison as a person, they felt that he was still struggling as a doctor. Seriously, Dr. Craig? You took his dead wife’s heart but you won’t find him a place at the hospital? However, with Wendy dead, Morrison is invited to take her spot. Morrison accepts. So, I guess that worked out for him.
To the surprise of no one, Dr. White is also cut from the program. He loudly announces that he’s going to sue for his right to continue as a resident. “I’ll be back,” he shouts, sounding like Warren Stacy at the end of 10 To Midnight. Remember how that turned out?
10 To Midnight (1983, dir by J. Lee Thompson, DP: Adam Greenberg)
This was a good episode. Even though I never really cared much for Wendy’s character, her death was still handled well and it was emotionally effecting. Next week, the second season of St. Elsewhere comes to a close.
Today’s horror scene that I love is the opening production number of Michele Soavi’s 1987 masterpiece, Stagefright.
Not only does the opening scene wonderfully satirize both a certain type of stage production and a certain type of exploitation film, it also lets the audience know that they’re about to something that is more than just another Italian slasher film. With this opening sequence, Soavi announced his arrival as a major filmmaker.
Personally, I can’t help but laugh when the saxophone makes an appearance. Anyone who has ever been involved in a community theater will relate to the moment.
Like Ed Kemper, the 2023’s The Company We Keep is based on the crimes of Edmund Kemper.
The Company We Keep does take a few liberties with the true story. For one thing, it’s set in the present instead of the 70s. As well, Carter Holcomb (Cary Mark), who is this film’s version of Kemper, works not for the Highway Department but instead at a grocery store. His boss is Pete Matthews (Eric Roberts). Pete is a terrible manager but he’s played by Eric Roberts so you can’t help but like him.
Otherwise, The Company We Keep sticks closer to the facts of the case than some of the other films that I’ve seen about Kemper. Carter Holcomb has just been released from prison. His juvenile record has been expunged. He’s living with his harsh mother (Sharon Jordan). And he’s murdering hithchhikers, keeping their remains in his closet, and imagining having conversations with them.
It’s a creepy movie, largely because Ed Kemper is a very creepy killer. It’s also rather oddly paced and it doesn’t really have much a plot, beyond Carter getting annoyed with his mother and killing people. Like the real Kemper, Carter is friends with the cops who are investigating the murders and that certainly adds an interesting wrinkle. There’s a clever scene where Carter gets arrested just to discover that it’s his friends playing a trick on him.
Though the film has some pretty serious pacing issues, It’s still a well-acted film. Cary Mark is appropriately awkward as Carter Holcomb and Sharon Jordan wisely doesn’t play his mother as being an over-the-top tyrant but instead as someone who has suddenly found herself living with a son who she really doesn’t know. And, of course, the film features Eric Roberts, giving an amusing performance as the incompetent boss from Hell. As I’ve always said, any film is improved by the casting of Eric Roberts.
Previous Eric Roberts Films That We Have Reviewed:
Today’s horror song of the day is perhaps not as well-known as some of the other songs that I’ve shared. It appeared in Lucio Fulci’s controversial (to put it mildly) giallo, The New York Ripper. That film is so infamous for its violence, nihilism, and killer who quacks like a duck that it is something overlooked that it features a great score from Francesco De Masi.
This is the main theme from The New York Ripper and it captures the movie’s mix of horror and police procedural. It’s the 70s cop show theme from Hell.
This October, I’m going to be doing something a little bit different with my contribution to 4 Shots From 4 Films. I’m going to be taking a little chronological tour of the history of horror cinema, moving from decade to decade.
Today, we start the 90s!
4 Shots From 4 Films
Henry: Portrait of a Serial Killer (1990, dir by John McNaughton)
Candyman (1992, dir by Bernard Rose)
Buffy the Vampire Slayer (1992, dir by Fran Rubel Kuzui)
For today’s horror on the lens, we have a 1973 made-for-TV movie called Satan’s School For Girls.
After her sister turns up dead, Elizabeth (Pamela Franklin) refuses to accept that official conclusion that it was a suicide. Instead, Elizabeth is convinced that it was murder and that it has something to do with the exclusive school that her sister attended, the Salem Academy for Women.
Well, honestly, the Salem part is a dead giveaway. I think we can all agree on that.
Anyway, this movie features a Satanic cult, an old school clique, and plenty of early of 70s fashion choices. It may be silly but it’s also definitely entertaining.
As some of our regular readers undoubtedly know, I am involved in a few weekly watch parties. On Twitter, I host #FridayNightFlix every Friday and I co-host #ScarySocial on Saturday. On Mastodon, I am one of the five hosts of #MondayActionMovie! Every week, we get together. We watch a movie. We tweet our way through it.
Tonight, at 10 pm et, I will be hosting #FridayNightFlix! The movie? 1990’s Tremors!
If you want to join us this Friday, just hop onto twitter, find Tremors on Prime, start the movie at 10 pm et, and use the #FridayNightFlix hashtag! I’ll be there happily tweeting. It’s a friendly group and welcoming of newcomers so don’t be shy.
In 2011’s Me Again, David A.R. White stars as Rich.
Rich is a typical David A.R. White character. He’s a preacher with a young family and he has lost his ability to excite his congregation. His sermons are dry and boring and show little connection with the concerns or lives of those listening. Rich is burned out and his wife, April (Ali Landry), is tired of listening to him complain. When they were children, April promised Rich that they were meant to be together. Now that they are adults and married, April and Rich are separated and April wants to make the divorce final.
Poor Rich! No one respects him and he’s about to lose his family. His one friend, Tony (Tommy Blaze), tries to offer some good advice but Rich doesn’t want to hear it. Rich just wants to feel sorry for himself and watch an odd infomercial hosted by Big Earl (Bruce McGill). Big Earl says that if you call his number, he can change your life. Rich doesn’t call the number but his life gets changed anyways.
Rich finds himself being transported from one body to another. When he wakes up, he’s a wealthy man who has no friends and who has a heart condition. Just as quickly, he finds himself in the body of Chloe (Andrea White Logan), an insecure super model with an eating disorder. Then, suddenly, he’s in the body of a fish floating in a fish tank in Tony’s restaurant. Then he’s his daughter’s teen boyfriend, who is pressuring her to start taking birth control. (AGCK!) Then he’s in his wife’s body. Briefly, he takes control of Della Reese. He even spends some time in jail, talking to Big Earl.
And I guess the idea is that, from going to body to body, Rich learns why he needs to stop feeling sorry for himself and actually make the effort to make his marriage work. He also comes to understand the problems of a few other people. The rich man needs to go to church. The model needs to do something about all the disparaging post-it notes that she has hanging around her house. Her daughter’s boyfriend needs to be handcuffed with a sock in his mouth. The fish need as new home. You get the idea.
This movie …. well, let’s give credit where credit is due. David A.R. White is not a bad actor and his comedic timing is adequate. There were a few moments when he did make me smile. I laughed out loud when he suddenly became a fish. As a director, though, White goes a bit overboard. The whole thing with Rich becoming a model starts out as relatively humorous but then it just goes on and on. As well, I appreciated the message of taking care of other people but I’m not sure that the best way to communicate that message was for the very white Rich to briefly inhabit the body of a black housekeeper. The intentions may have been good but the execution often left me cringing.
MeAgain is like a lot of faith-based comedies. There are a few humorous moments but, in the end, it’s just too uneven to really work.
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, I will be reviewing Highway to Heaven, which aired on NBC from 1984 to 1989. The entire show is currently streaming on Tubi and several other services!
This week, Jonathan is a dream warrior.
Episode 4.19 “The Correspondent”
(Dir by Michael Landon, originally aired on February 24th, 1988)
Journalist Hale Stoddard (Darren McGavin) sits in a South American prison cell and waits to be executed. One-by-one, the other prisoners are dragged out of the cell and shot by the country’s new government. Hale passes the time by writing a letter that he knows no one will ever read.
Suddenly, Hale is no longer in the cell. Instead, he’s in the basement of his house. And there’s Jonathan. Jonathan explains that time has stopped and now, Hale is in his wife’s dream. Martha (Patricia Smith) dreams of Hale never being at home. She dreams of their son having both arms, even though he lost those arms in an accident when he was younger. (She also dreams of their now-adult son as always being a child.) Martha dreams about Hale’s former mistress, Eleanor (Eileen Barnett), standing around the house. (Hale argues that Eleanor was never in the house but Jonathan explains that, in Martha’s dreams, she is.) Hale comes to realize how often he deserted Martha because he couldn’t deal with settling down and raising a family. And now, while Martha dreams of him, Hale is about to be shot and killed….
Except, he’s not. It turns out that the South American prison was Hale’s dream. When Hale wakes up, he’s still at home. He tells Martha that he won’t be going to South American after all.
Awwww! How sweet.
This was a bit of a weird episode but I liked it. I appreciated how the show created Martha’s dream world by adding randomly weird details (like an oversized chair at the breakfast table, which was meant to represent Hale’s absence). Darren McGavin gave a good performance as Hale and resisted the temptation to overact. With the episode, the show tried to do something different and, for the most part, it succeeded.
Through the Shattered Lens 