Lisa’s Week In Television: 5/2/21 — 5/8/21


Another week, another list of television programming. Here’s a few thoughts on what I watched this week:

9-1-1 and 9-1-1: Lone Star (Monday Night, FOX)

I watched both of these shows this week and yet, I don’t remember a damn thing about them. If you don’t remember a show, did it actually air?

Allo Allo (Sunday Night, PBS)

This week, the latest daring plan to get the British airmen out of France came to naught. The plan was to use a lawn mower motor to power an antique airplane. Rene said it wouldn’t work and, not surprisingly, it didn’t. I will admit that I laughed so hard at the end of this rather frantic episode that I nearly fell off the living room couch.

Baywatch (Weekdays, H&I)

Life on the beach continues!

On the first of Sunday’s two episodes, Kathleen Kinmont played an FBI agent who went undercover as a lifeguard. Unfortunately, despite the fact that she was supposed to be keeping an eye on the girlfriend of an escaped convict, she was also expected to do lifeguard stuff. This led to some conflict with Mitch. For the record, Mitch was right in that it made absolutely no sense for an FBI agent to pretend to be a lifeguard. The second episode of the night featured a phony treasure hunt, one that attracted real crooks and brought chaos to the beach! Jeff Garlin appeared as a radio DJ who fell in love with CJ. Both episodes were thoroughly silly, though the one with the FBI agent was a smidgen less silly because Kathleen Kinmont appeared to be taking her role more seriously than Jeff Garlin took his.

Monday’s first episode was an odd one. Apparently, there was some sort of weird “red dust wind” blowing over the California coast and, as a result, everyone on the beach was a little bit stranger than usual. Geraldo Rivera guest-starred as a man whose fiancé was secretly in love with Mitch. (In order to get her to fall out of love with him, Mitch took her on a date and acted like a dorky jackass. It didn’t work.) Meanwhile, John O’Hurley (of Seinfeld, Family Feud, and Dancing With Stars fame) played desperate father who was searching for his daughter. This was followed by an episode the featured jet ski training and plenty of beach volleyball action. I’ve noticed that every season of Baywatch featured at least one episode that featured someone getting jet ski training.

Tuesday brought us a Christmas-themed two-parter. Santa’s elves took a vacation on the beach. Hobie befriended yet another homeless girl. Mitch tried to help a homesick lifeguard. And Pamela Anderson fell in love with a priest but sadly, his commitment to God came first. “Y’know,” he told her, “we’re in the same business, saving lives.”

On Wednesday, Logan married a rich widow so that he could get his green card and then, during the second episode, Stephanie was held hostage by an environmental terrorist. It’s amazing how often the lifeguards ended up getting held hostage. I would probably be so traumatized after being held hostage just once that I would look for a new job. These lifeguards somehow manage to handle it happening on a twice-a-month basis.

On Thursday, Mitch asked Tracy to marry him, just to discover that she only had two weeks to live. He spent those weeks trying to make her as happy as possible. The second episode dealt with Mitch trying to recover from Tracy’s death. These episodes were surprisingly effective. Baywatch‘s total lack of irony and willingness to embrace the melodrama really paid off.

The first of Friday’s episodes found Mitch coming to terms with having never lived up to the expectations of his dead father. This was followed by an episode in which Logan needed Stephanie’s help to keep him from being deported back to Australia. In the end, it all worked out and everyone had fun. That’s the important thing.

On Saturday, CJ’s blind ex-boyfriend showed up and help Mitch break up yet another crime ring. This time the master criminal was played by Richard Lynch, who appeared to be having fun. Again, that’s the most important thing!

Court Cam (Wednesdays, A&E)

Dan Abrams’s replacement for Live PD continued the A&E reality show tradition of exploiting people’s misery. I had the show on while I was cleaning the house on Wednesday and I still feel awful about it.

Friends (Weekdays, Channel 33 and HBOMax)

During the episode that I watched on Tuesday night, Rachel and Monica got new jobs while Ross, Chandler, and Joey spent a night hitting the clubs and discovered that they weren’t young anymore. If I remember correctly, it seems like this was something that happened rather frequently on Friends. That said, I enjoyed this episode more than the one I watched a few weeks ago because Matthew Perry looked much healthier.

Hill Street Blues (Weekday Mornings, H&I)

Tuesday morning’s episodes of Hill Street Blues started with Public Defender Chapman (played by future 3-time Oscar winner Frances McDormand) getting fired from her job when it was discovered that she was hooked on cocaine. Meanwhile, Gina (played by future Oscar nominee Jennifer Tilly) was gunned down in a restaurant while having dinner with her boyfriend, Lt. Henry Goldblume (Joe Spano). The episode that followed that found Goldblume going a bit off the deep end as he obsessively investigated Gina’s murder. It’s was all very well-acted by Joe Spano, even if you do have to wonder if there anyone who worked on the Hill who did not, at some point during their service, see a friend or a loved one gunned down in front of them. Judging from what I’ve seen of the show, it was apparently a fairly regular occurrence.

Wednesday morning started off with an episode in which massive police corruption was uncovered, Henry finally started to properly grieve for Gina, and Captain Furillo admitted that he had started drinking again. It also featured an appearance from James Cromwell, speaking in an exaggerated Irish accent, in the role of an animal trainer. The second episode, however, had an entirely new credits sequence, one that featured some new faces in the cast, and — even more importantly — no longer featured half of the cast from the previous episode. In other words, a new season had begun! According to Jeff, I’ve now entered season 6 of Hill Street Blues, which is when the show starts to go downhill. So, we’ll see how long I stick with it, I guess. Anyway, the second episode took place at night and featured a now fully recovered Henry getting held hostage by a militant cult leader, who was played by Yaphet Kotto.

Thursday morning saw two episodes dealing with the death of Officer Harry Garibaldi. Played by Ken Olin, Harry was a regular during the pervious season but his disappearance from the opening credits left little doubt that he would not survive being stabbed by a bookie. Of course, the show still milked the question of whether or not Harry would die for all the drama that it could. (The main problem, of course, is that Harry was never a particularly likable character to begin with.) Kiel Martin, who was consistently one of the best actors on the show, had an amazing scene after Harry died, in which his character, recovering alcoholic J.D. LaRue, had a complete meltdown.

When I watched Friday morning’s episodes of Hill Street Blues, I came to understand what Jeff meant about this season being the beginning of the end. The first episode featured the arrest of Harry Garibaldi’s murderer. The suspect, who only confessed because he had suckered Furillo into giving him an immunity deal, was then gunned down by Harry’s father. So, yes, the murderer was dead but unfortunately, Harry’s father was going to prison for life. In previous episodes, this would have led to some serious reflection on the part of the characters. However, this time,, everyone just shrugged off the fate of Harry’s father. The bad guy was dead and nothing else mattered. The second episode featured a mentally ill man who thought he was the movie character Rambo. It was all fun and games until he tragically died at the end of the episode. Again, this is a trick that Hill Street Blues played so often that, from the minute the guy showed up, I knew what was going to eventually happen to him. If you’re quirky during the first half of an episode of Hill Street Blues, you’ll be dead by the end of the second half.

Things continued to go downhill during the first of Saturday’s episodes as a new character, Lt. Norman Buntz (played by Dennis Franz), went on a personal vendetta against a petty thief. Buntz eventually ended up executing the thief during a liquor store robbery. Previously, Hill Street Blues would have held a character like Buntz in contempt but, during this new season, apparently the show’s moral compass was reset. The first episode of the morning also featured Detective Neal Washington getting shot for what seemed to be the 100th time. I have to admit that I didn’t pay much attention to the second episode, beyond noting that Michael Richards (a.k.a. Karmer from Seinfeld) was playing a crook. Otherwise, life on the Hill suddenly felt far less interesting than it did at the start of this week.

Judge Jerry (Weekdays, Syndication)

Jerry Springer is a TV judge now! Nobody in the courtroom fights or yells. In fact, due to COVID, the gallery is empty and all of the cases are “virtual.” Somehow, Jerry comes across as being even more sleazy when he’s being respectable than he did when he was hosting his circus of a talk show.

The Office (All the Time, Comedy Central)

On Tuesday, I watched several episodes from season 4. I started with Dinner Party and I ended with Goodbye Toby. As a result, I had both Hunter’s song and Michael’s rendition Goodbye Toby stuck in my head for several hours. I’ve also spent this week telling random people, in my best Holly Flax voice, “Kevin, I’m really proud of you!”

The Old Guys (Sunday Night, PBS)

This week, Tom’s daughter nearly married Sally’s son. It didn’t work out, naturally. The main theme of this episode seemed to be that old people are clueless about new technology but that young people are just stupid in general. As with the previous episodes that I’ve seen, the jokes weren’t extremely clever but they were very well-delivered by Jane Asher, Clive Swift, and Roger Lloyd-Pack. Apparently, this was also the last episode of The Old Guys and, starting this Sunday night, PBS will be airing a different British sitcom in its place.

Open All Hours (Sunday Night, PBS)

On this week’s episode, Arkwright continued to abuse Granville and Granville continued to hate every moment of his existence. This is one bleak show.

The Rookies (Sunday Morning, H&I)

H&I aired two episodes of this old 70s cop show on Sunday morning. I watched both but I only remember one. It dealt with an older cop being driven crazy by the stress of the job and the feeling of being underappreciated. The Rookies were able to talk him down.

Saved By The Bell (Sunday Morning, MeTV)

I watched two episodes of this classic show on Sunday morning. The first episode featured Zack skipping school because he was apparently too exhausted after the summer to handle class. It was his mother’s idea. On the one hand, I could full sympathize with skipping school but, on the other hand, who asks for permission beforehand? I guess that’s what happens when you’re making a show about high school in which the lead character is expected to be both a rebel and a role model. Anyway, the various members of the Saved By The Bell cast came by to visit Zack and they thought about everything that happened over the summer. Is there anything more creatively bankrupt than a clip show?

The second episode was the one where Zack and Slater get into a physical brawl in the school hallway because they both like the same girl. This episode is a personal favorite of mine. If Belding hadn’t intervened, Slater would have totally kicked Zack’s ass.

Seinfeld (Weeknights, Channel 33 and Hulu)

I watched an episode on Tuesday night. Elaine was confused by her new boyfriend’s love for the song Desperado. George was confused the fact that the local cult was willing to brainwash everyone but him. Jerry destroyed a valuable chest of drawers and Kramer nearly killed some tourists. It made me laugh. That said, at the end of the episode, it was kind of implied that Elaine’s boyfriend died because the ER doctor was distracted by the song Witchy Woman. That was dark!

Storage Wars (Tuesday Night, A&E)

To be honest, the only reason I watched the two latest episodes was to see if there was any new Brandi/Jarrod developments. There were not. In fact, Jarrod was not in any either of the episodes and Brandi was only in one. Unfortunately, neither of the episodes were that interesting. With the exception of Ivy, I’ve never cared much for any of the replacement buyers who have shown up on the show over the years. I like the old crew — Barry, Hester, Darryl, and Bradi & Jarrod. Oh well. The past is the past.

Unsolved Mysteries (Netflix)

On Wednesday, Case, Leonard, and I watched an episode about a group of people from the same Massachusetts town who all say that they were abducted by aliens in 1969. As a passionate skeptic when it come to all things paranormal, my theory is that hippies spiked the town’s drinking water with LSD.

Upstart Crow (Sunday Night, PBS)

While traveling back to Stratford, Shakespeare and his friends run into three witches who provide him with three cryptic prophecies. Later, Shakespeare fears that he may have accidentally killed his neighbor, a Scotsman named MacBuff. Haunted by guilt and what he mistakenly believes is a ghost, Shakespeare is relieved to eventually to discover that MacBuff did not die. Shakespeare resolves to write a comedy about the whole thing. This was another brilliantly funny episode.

The Voice (Monday Night, NBC)

On Monday night, the show took a look back at the “road to lives.” I didn’t pay that much attention but still, I wish everyone the best of luck. (Come to think of it, I also didn’t pay much attention to 9-1-1 and 9-1-1: Lone Star when I watched them on Monday. What was going on at the start of the week that had me so distracted? Hopefully, whatever it was, I resolved it.)

Yes, Minister (Monday Morning, PBS)

This week’s episode was brilliant. After finding out that a defense contract had been rewarded as a result of bribery, Jim was determined to reveal the truth regardless of the consequences. Then, he discovered that his wife had accepted a very expensive present from the same contractor and he quickly changed his mind. Last week featured Jim getting the better of Humphrey. This week, things got back to normal as Humphrey and Bernard got the better of Jim (even though it was kind of Bernard’s fault that Jim’s wife received the potentially problematic present in the first place). Paul Eddington’s performance in this week’s episode, alternating between self-righteous pomposity and desperate sputtering, was a work of comedic genius. Despite the fact that this show is older than I am, Yes, Minister is definitely my favorite of the shows that I currently watch on a regular basis.

Film Review: Short Eyes (dir by Robert M. Young)


Last night, fully intent on just viewing one movie before going to bed, I decided to watch the 1977 film, Short Eyes.

Why I thought that was a good idea, I’m not sure. Even though I didn’t know much about the film, I did know that it was a gritty prison drama that was written by an ex-con, filmed in an actual New York prison, and that a few prisoners appeared in small roles in the film. So, I really can’t claim that I didn’t realize that I was about to watch something that probably wasn’t going to be deal with particularly pleasant subject matter. I think my main reason for watching it, to be honest, was just that it had been sitting there on my Prime watchlist for nearly a year. My main motivation can be summed up as “If not now, when?” Of course, if I had know that “Short Eyes’ was apparently prison slang for someone who is a pedophile, I might have thought twice about watching.

The Short Eyes of the title is Clark Davis (Bruce Davison), a young man from a vaguely wealthy background who is being held on charges of raping a young girl. Clark is one of only three white men being housed in his cell block. As Clark soon discovers, everything in prison is determined by your race and what you’re accused of doing. As a white man, he’s already in the minority and, because he’s a “short eyes,” he soon discovers that not even the other whites are willing to watch his back. The only person who is vaguely sympathetic to Clark is Juan (Jose Perez), a longtime prisoner who is determined to not allow prison to turn him into an animal. Juan tells Clark that he needs to get a transfer to protective custody but it soon becomes apparent that’s not going to happen. The prison guards feel no obligation to protect Clark and Clark himself almost seems to have a death wish.

As Clark explains to Juan, he’s not sure whether he’s guilty or not. He says that he blacks out and sometimes, he’s not sure what he did. Clark thinks he’s innocent but, at the same time, he also confessed to Juan that he has molested other girls. Juan knows that Clark’s a dead man if he doesn’t get out of prison but he also know that, even if Clark is innocent this time, he won’t be in the future. When the other prisoners decide to kill Clark, Juan has to decide whether to let it happen or to risk his safety by trying to stop it.

Short Eyes is one of the most thoroughly unpleasant films that I’ve ever watched but that obviously was the point. This is a film about the reality of prison, that it’s a dirty, brutal, and inhumane place where the weak are targeted and anyone who goes against the system — whether it’s the system enforced by the guards or the even more important system created by the prisoners — will be punished. It’s not at all fun to watch but, if anyone wants to know why incarceration tends to just create hardened criminals as opposed to rehabilitating them, they should find some answers in the film’s portrait of prison life.

The film is based on a play and, in many scenes, it’s a bit too theatrical for its own good. Clark delivers a lengthy monologue about his previous actions and, while it’s well-delivered by Davison, it also goes on and on and you never quite understand why he’s opening up to Juan in the first place. (Juan, himself, angrily responds that he never asked to be Clark’s father confessor.) The scenes of the prisoners just hanging out and talking are also well-acted but again, they tend to drag on for a bit too long. Musicians Curtis Mayfield and Freddy Fender both appear as anonymous prisoners and both sing songs, which brings the film’s already uneven narrative momentum to a complete halt. Just as the inmates will never be able to escape prison, the film never escapes its theatrical origins. While the decision to film Short Eyes in an actual operating prison brings a good deal of authenticity to the production, the production’s staginess ultimately works against it.

At its best, this is a well-acted portrait of people trapped in a man-made Hell. Jose Perez gives an excellent performance and Bruce Davison will make your skin crawl as Clark, a character about whom most viewers will have very mixed feelings. Nathan George and Joseph Carberry are both properly intimidating as the heads of, respectively, the black prisoners and the whites.

This is definitely not a film to watch late at night, unless you’re actively trying to generate nightmares. (Of course, if that’s your goal, have it!) As for me, I stayed up an extra two and a half hours just so I could watch another movie after Short Eyes. As a result, I spent all of Saturday tired but I still think I made the right decision.

Here’s The Final Trailer For A Quiet Place Part II!


After countless pandemic-related delays, A Quiet Place II will finally be released on May 28th. Here’s the final trailer, which was released yesterday. As you can tell, it appears that John Krasinski will at least briefly appear in the film, despite the death of his character at the end of the previous film. (It appears that Krasinski’s scene is a flashback to the beginning of the alien invasion.) Krasinski, of course, will also be returning to direct. Also returning to star in the film is my personal role model, Emily Blunt!

Here’s the trailer:

Music Video of the Day: Undisclosed Desires by Muse (2009, dir by Jonas & François)


When I watch this video, I get the feeling that Muse has been abducted by aliens and they’re being forced to perform in a sort of space casino. That’s the feeling I get from the production design and just the general look of the band. And really, when you think about it, it makes sense. If I was an alien looking for entertainment, I would definitely beam up Muse.

Enjoy!

A Blast From The Past: The Mercury Theatre Presents Heart of Darkness


Before he revolutionized cinema, Orson Welles revolutionized both theater and radio. As the host and mastermind behind the Mercury Theatre On The Air, Welles was heard on a weekly basis as the show broadcast adaptations of literary classics into American homes. In 1938, both Welles and Mercury Theatre On The Air achieved a certain immortality with their broadcast of War of the Worlds. What is often forgotten is that, one week after terrifying America, the Mercury Theatre presented an adaptation of Joseph Conrad’s Heart of Darkness, one which featured Welles in the role of Kurtz and his future Citizen Kane co-star, Ray Collins, as Marlow.

This broadcast was significant in that, when Welles first went to Hollywood, it was with an eye towards turning Heart of Darkness into a film. Welles planned to shoot the film strictly from the point-of-view of Marlow, with the camera serving as Marlow’s eyes. Welles not only planned to play Kurtz in the film but he also intended to provide the voice of Marlow. Unfortunately, the film was never made. With the outbreak of war in Europe, it was felt that the audience most likely to embrace Welles’s experiment would no longer be going to the movies. Welles would instead make his cinematic debut with Citizen Kane, a film that fully embodies Welles’s artistic vision regardless of what Mank tried to sell everyone last year. As for Heart of Darkness, it would later be adapted for television, appearing in greatly altered form as an episode of Playhouse 90 in 1958. Boris Karloff played Kurtz and Roddy McDowall played Marlow and someone decided that it would be a good idea to add a subplot in which Kurtz is revealed to by Marlow’s long lost father. There would be many attempts to turn Conrad’s novella into a feature film but it was not until 1979, with Francis Ford Coppola’s Apocalypse Now, that Conrad’s story would appear on the big screen, albeit in massively altered form. Nicolas Roeg would later direct his own version of Heart of Darkness, one that featured Tim Roth as Marlow and John Malkovich as Kurtz. (I haven’t seen it but that just sounds like perfect casting.)

Today, in honor of the 106th anniversary of the birth of Orson Welles, here is the Mercury Theatre On The Air’s production of Heart of Darkness. This broadcast also features an adaptation of the play, Life With Father. The casts are as follows:

Heart of Darkness: Orson Welles (Author, Ernest Kurtz), Ray Collins (Marlow), Alfred Shirley (Accountant), George Coulouris (Assistant Manager), Edgar Barrier (Second Manager), William Alland (Agent), Virginia Welles (Kurtz’s Intended Bride), Frank Readick (Tchiatosov)

(For those keeping track, Welles, Collins, Coulouris, and Alland would all have key roles in Citizen Kane. Alland played the reporter who is assigned to discover the meaning of Rosebud. Ray Collins played Boss Jim Gettys, the political boss who prevents Kane from being elected governor. Coulouris played Kane’s guardian, Walter Parkes Thatcher. And Welles, of course, was Charles Foster Kane, American. )

Life With Father: Orson Welles (Father), Mildred Natwick (Mother), Mary Wickes (Employment Office Manager), Alice Frost (Margaret), Arthur Anderson (young Clarence Day).

This program was originally aired on November 6th, 1938. Welles was 22 years old at the time of this broadcast. So, sit back and enjoy Orson Welles and the Mercury Theatre.

4 Shots From 4 Films: Special Orson Welles 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.

As I mentioned previously, the great Orson Welles was born 106 years ago today. And that means that it’s time for….

4 Shots From 4 Orson Welles Films

Citizen Kane (1941, dir by Orson Welles, DP: Gregg Toland)
The Stranger (1946, dir by Orson Welles, DP: Russell Metty)
Touch of Evil (1958, dir by Orson Welles, DP: Russell Metty)
The Trial (1962, dir by Orson Welles, DP: Edmond Richard)

Scenes That I Love: Falstaff at Price Hal’s Coronation from Chimes At Midnight


The great Orson Welles was born 106 years ago today, in Kenosha, Wisconsin. Orson Welles was one of the greatest directors of all time, a showman and an artist who changed the way that people watched and thought about films. He was the visionary who helped to usher in the era of modern filmmaking and who proved that movies could be art and Hollywood never forgave him for it. Merely seven years after the release of Citizen Kane, Orson Welles found himself as such a pariah in the American film industry that he relocated to Europe. There, he made some of his best films though few of them would be fully appreciated when first released.

(Indeed, there still seems to be the strange need among some to try to diminish Orson Welles’s talents and achievements. Just last year, Mank tried to deny him the credit that he most certainly deserved for Citizen Kane. Interestingly enough, David Fincher claimed that his father’s original script portrayed Welles even more negatively than Welles came across in the finished film. One has to wonder about the motives of anyone who would slander Orson Welles while deifying Upton Sinclair.)

1965’s Chimes At Midnight is one of Welles’s best. Filmed in Spain, Chimes at Midnight is combination of five of Shakespeare’s plays, primarily Henry IV, Part 1 and Henry IV, Part 2, but also Richard II, Henry V, and The Merry Wives of Windsor. Welles cast himself in the role of Falstaff, enjoying life while educating the young Prince Hal in the ways of the world. When Prince Hal becomes Henry V, Falstaff attends his coronation, just to be rejected. The new king has new place in his court for someone like Falstaff. Was Prince Hal perhaps a stand-in for the many filmmakers who claimed to have been inspired by Welles’s work but who still refused to help Welles when he later came to them for help? Perhaps.

In the scene below, Falstaff is rejected by the new king. It’s a heart-breaking moment and one that features some of Welles’s best work as both an actor and a director.

Music Video of the Day: Funhouse by Mothica ft. Kailee Morgue (2021, dir by Bradley Wong)


I’m not going to say much about this video, beyond that fact that it reminds me — in a good way — of Jakalope. If Degrassi were still on the air (RIP), Mothica would definitely be playing during all of the big scenes.

Enjoy!

Film Review: Night Terror (dir by E.W. Swackhamer)


“There’s a killer on the road.

His brain is squirming like a toad.”

So sang Jim Morrison in the song Riders on the Storm. Now, whatever you may think of Jim Morrison and the Doors (personally, I think the music was good, Jim was pretentious as Hell, and I look cute in my Doors t-shirt), this is a perfect description of the character who is at the center of the 1977 film, Night Terror. He’s played by Richard Romanus and, in the credits, he’s simply called The Killer. The Killer spends his times driving up and down the highway, killing people seemingly at random. We never learn why exactly the Killer does what he does, though the film does offer up a few hints. For one thing, he has no voice. He carries an electrolarynx with him and holds it up to his throat whenever he wants to speak. Of course, he only does this two times in the film and, both times, it’s to basically howl with rage. In another scene, he can clearly be seen to be wearing military-style dog tags. Given when this film was made and the unfortunate popularity of the “deranged Vietnam vet” trope in the 70s and 80s, it’s easy to pick up on what exactly the film is implying.

Night Terror follows one night in the life of both The Killer and Carol Turner (Valerie Harper). Carol is just trying to get to Denver, where her son is in the hospital. When she sees a police officer pulling over a sports car for speeding, Carol decides to ask the cop for directions. Unfortunately, the sports car belong to The Killer and, as soon as the cop turns his back on him, out comes the shotgun. Carol slams down on the accelerator and speeds off, with the Killer pursuing her in own his vehicle. Unfortunately, Carol’s station wagon (which comes with wood paneling because, again, this is a movie from 1977) is nearly out of gas. What follows is a fairly tense game of cat-and-mouse, as Carol tries to hide from the Killer while the Killer stalks the highway, relentlessly searching for her. Along the way, a few familiar character actors pop up. John Quade is a homeless man living in a gas station. The great Nicholas Pryor is another motorist, one who proves to be not much help. Making things all the more dangerous for Carol is that the Killer knows what she looks like but she has no idea what the Killer looks like.

Night Terror owes an obvious debt to Steven Spielberg’s Duel and a host of other 70s car chase films. While Night Terror really can’t compare to the Duel, it does do a good job of creating and maintaining suspense. Fortunately, the film never makes the mistake of tying to turn Carol into some sort of badass action girl. She’s just an average person who has found herself in a terrifying situation and, as played by Valerie Harper, she’s never less than relatable. Richard Romanus, meanwhile, makes for a terrifying killer. The fact that he occasionally flashes a rather child-like smile only serves to make his single-minded pursuit of Carol all the more frightening. We never learn much about what’s led The Killer to becoming what he is but Romanus gives such an intense performance that we don’t need to understand him in order to be scared of him. He’s a nightmare come to life.

Night Terror ends on a somewhat awkward note, as if the filmmakers suddenly remembered that they were making a made-for-TV movie as opposed to a feature film. But, that said, Night Terror is an effectively scary and suspenseful road film. It can currently be viewed on YouTube.