It’s one very busy night at a police station. Everyone who is brought in from off the streets has the right to remain silent but no one exercises it. Rookie cop Lea Thompson listens to everyone’s stories. LL Cool J is the documentarian who thought it would be smart to put on Klan robes and a hood and try to infiltrate a demonstration undercover. Patrick Dempsey is the drunk who killed a kid. Carl Reiner comes in and confesses to mercy killing his wife. Christopher Lloyd is homeless. Fisher Stevens is a trans streetwalker. Judge Reinhold, I don’t even know what he was supposed to be. Reinhold actually plays two characters in this film and he’s miscast in both roles. Amanda Plummer is a pizza delivery person who shoots someone in self-defense. No one asks for a lawyer. No one lies about what they did. Instead, they just talk and talk and talk and talk some more. Thompson listens while Robert Loggia, as the chief, growls about donuts.
The Right To Remain Silent is based on a play and that is its downfall. Instead of being a story about a rookie cop and her first night on the job, it’s just a collection of rambling stage monologues. Some of the actors, like Carl Reiner and Christopher Lloyd, do okay. Most of them still seem to be acting for the folks sitting in the back row. It ultimately doesn’t add up too much because the stories are too predictable to make much of an impression. Everyone in this film had the right to remain silent and I wish they had exercised it.
Back in 2019, I took my wife to Dallas, and while we were there, she asked if we could visit the South Fork Ranch. As many of you probably know, this is the setting for the wildly popular TV series DALLAS, that originally ran from 1978 through 1991 producing 356 episodes. She loved the series growing up and especially enjoyed watching it with her “granny” back in West Virginia. When we got back home from the trip, I hopped onto Amazon and purchased the entire original series for her, a set of TV movies, and even the series reboot that ran from 2012 through 2014, producing another 40 episodes. We watched everything over the next 6 months. The rebooted series starred, among others, Jesse Metcalfe as the grown up version of Christopher Ewing. My wife really liked him in the series, so he’s become one of our favorites that we like to watch on Hallmark and many other movies. The other day I watched a romantic comedy Jesse starred in called THE OTHER END OF THE LINE (2007). It’s currently streaming on Prime, so I decided to write up my thoughts on the film.
In THE OTHER END OF THE LINE, Shriya Saran plays Priya Sethi, a young woman working at a CitiBank call center in Mumbai, India. One day she gets a phone call from Granger Woodruff (Jesse Metcalfe), an American advertising executive, when he becomes a victim of identity theft. While working to resolve the situation, sparks being to fly during their conversations, and Priya, quite smitten with the handsome American, decides to travel to San Francisco to meet him in person. Through a variety of rom-com type circumstances, Priya ends up creating a false identity that she uses as she meets and spends time with Granger. As they continue to hit it off, her deception begins to create some serious complications. These issues come to a head when her very traditional dad, who expects her to marry a guy he’s chosen for her back in India, shows up in San Francisco. The blissfully ignorant Granger is suddenly made aware of Priya’s real life, and the two are faced with rather awkward and difficult decisions for how to move forward. Will Priya choose true love over cultural tradition? Will Granger take a chance and pursue her even though she’s been deceiving him? This is a romantic comedy, so you probably have a good idea how it might play out!
I enjoyed THE OTHER END OF THE LINE mainly because I’m an undemanding sucker for rom-coms, and I liked Jesse Metcalfe and Shriya Saran in the lead roles. I don’t think I’ve ever seen Saran on-screen before, but she’s extremely beautiful and charming, and I can definitely see why Metcalfe’s character would fall in love with her. I did! Metcalfe is good as the business obsessed American who has a bit more depth and heart than you might initially suspect. The leads carry what story there is just fine, and I found myself with a smile on my face as the end credits appeared. With that said, the story itself could be a bit of a problem to more demanding viewers. This has all been done many times before, and there isn’t anything unique to differentiate this film from countless others. Cliches abound as you can pretty much guess what’s going to happen from frame to frame. And the supporting characters aren’t much to write home about either. The “best friends” are exactly what you’d expect them to be, and not really in a good way. The supporting character that had the most potential for me was Saran’s dad. Unfortunately, he was set up to be a goofus for most of the film, so when he gets to flex his acting muscles at the end, the character’s more serious scenes don’t really hit home for me. On another positive note, I did enjoy seeing the contrast in the film’s settings in San Francisco and Mumbai, India. One of the funniest moments in the movie involves Metcalfe’s character’s attempt to get across Mumbai as quickly as possible while navigating different forms of the city’s public transportation.
Overall, I recommend THE OTHER END OF THE LINE to undemanding viewers who enjoy sweet, cookie cutter romantic comedies. I think there’s plenty to enjoy. However, if you watch the movie with one of those people who likes to make fun of everything, that person will have plenty of material as well!
The frontier town of Denton has become lawless, plagued by murders, robberies, and cattle rustling. The town’s sheriff (Russell Simpson) just cannot seem to bring peace to the streets. That’s because the sheriff is secretly responsible for all the crime. He’s working in cahoots with the town banker (Clarence Wilson) and he’s sets his sights on taking over a ranch owned by Frances Robinson. As was so often the case with B-westerns, it all comes down to stealing someone else’s land.
The federal government sends Marshal Johnny Mack Brown to bring some order to the town. Working undercover, Brown gets hired as Robinson’s ranch and he quickly chases off all of the bad ranchhands, He brings his friend, singing cowboy Bob Baker, onboard to work as the ranch foreman. With Fuzzy Knight providing comic relief, Brown sets out to thwart the next stagecoach robbery and to expose the evildoers of Denton.
This was the first western that Brown made with Universal Pictures. Bob Baker, who had previously been the star of the studio’s B-westerns, was demoted to second lead and, eventually, he quit making films for Universal all together. Unlike Baker, who was angry at being demoted, Fuzzy Knight was always happy to provide sidekick duty and would go on to co-star in all of Brown’s Universal westerns. From the start, Brown and Knight had the chemistry that made them a good B-movie team.
DesperateTrails is a typical B-western but, as always, Brown elevates things with his performance. From the minute that Brown rides into town, he screams authenticity. He’s pretty tough in this film, which includes a scene where he coolly takes care of a gang of outlaws with just one rifle. The best performance here comes from Russell Simpson, who gets angrier and angrier as the film goes on and all of his plans fall apart.
For fans of the B-western genre, DesperateTrails has a lot of entertainment to offer.
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 High, which aired on CBC and PBS from 1989 to 1991! The series can be streamed on YouTube and Tubi
School’s out! What does the future hold for the students of DegrassiHigh?
“School’s Out”
(Dir by Kit Hood, originally aired on January 5th, 1992)
The series finale of Degrassi High left viewers with a few unanswered questions, particularly concerning the future of Joey and Caitlin’s relationship. Indeed, when the series ended, the majority of the characters still had another year left in high school.
School’sOut, a television movie that aired on CBC Television in 1992, was an attempt to bring closure to the Degrassi story. Starting with everyone but the perennially academically challenged Joey Jeremiah graduating, School’sOut deals with the final summer before everyone leaves for college or adulthood. Joey asks Caitlin to marry him and, when she says she’s not sure that she’s ready, he instead cheats on her with Tessa Campanelli. Joey loses his virginity to Tessa. Caitilin eventually loses her virginity to Joey (and, at the time, assumes that she’s his first as well). Snake does not lose his virginity over the summer and spends almost the entire film in a funk about it. Wheels becomes an alcoholic and ends up in prison after he crashes his car and kills a kid. Lucy, who was Wheels’s passenger, ends up blind and crippled. Simon and Alexa finally get married. Snake, meanwhile, drops the first F-bomb ever heard on Canadian television. Caitlin drops the second. “You were fucking Tessa Campanelli!?” As for Tessa, she ends up pregnant, has an abortion, and then apparently hops on a bus and vanishes.
Things got dark!
I’ve already reviewed School’s Out once. It’s not only a classic Degrassi film but it’s a great teen film period. Rewatching it, I truly was struck by just how incredibly dark things got in School’sOut. DegrassiHigh had its share of dark moments but never to the extent as seen in School’s Out. I mean, Wheels’s goes to prison! Watching DegrassiHigh over the past few months, it was easy to see that Wheels was destined to eventually end up in some sort of trouble. He was too angry and too self-centered and not willing to take responsibility for his actions. There was a reason why, even before the events in School’sOut, Snake was distancing himself from his former friend. Still, Wheels is a character who grew up over the course of the show. It’s still strange to think that the quiet “good kid” from DegrassiJuniorHigh eventually grew up, developed a drinking problem, killed a child, and was sentenced to prison. As easy as it is to dislike Wheels, it’s still hard not to mourn who he could have been if a few things had just gone differently in his life.
That actions have consequences has always been one of the main themes of Degrassi. By lying and cheating on Caitlin, Joey not only loses the love of his life (albeit temporarily) but Tessa herself is left to suffer alone. Lucy, with a brilliant future ahead of her, makes the decision to get into a car being driven by the drunk Wheels and, when we last see her, she’s in a hospital bed and unable to see. School’s out and sadly, the students at Degrassi High can no longer escape the real world consequences of their actions.
School’sOut was meant to bring closure to Degrassi. And it did, for nearly ten years. Of course, all good things come back to life. Degrassi: The Next Generation would premiere in 2001. We’ll start looking at it next week.
After eight years of serving as Governor of California, Arnold Schwarzenegger made his big comeback as an action movie star in director Kim Jee-woon’s THE LAST STAND (2013). Sure, he put in a little work on the first two EXPENDABLES movies, but those were really just glorified cameos. Here, Arnold was front and center for the film’s 107 minute running time. This was an exciting time for me, because like most action movie fans, I loved him and had truly missed seeing him consistently kicking butt and taking names on the big screen. I gladly made my way to the movie theater in January of 2013 for a large tub of ‘corn, a big Mr. Pibb, and the true return of an action megastar!!
In THE LAST STAND, Schwarzenegger plays Ray Owens, a former LAPD narcotics officer who chose to leave the big city and take a job as the sheriff of the quiet, southern border town of Sommerton, Arizona. It won’t be quiet for long after notorious drug kingpin Gabriel Cortez (Eduardo Noriega) makes a daring escape from FBI custody. Cortez immediately heads towards the border in a souped up Corvette where an advanced group of highly trained gunmen, led by Burrell (Peter Stormare), are waiting to help him cross. Cortez and his small army of mercenaries appear to be on a collision course with Sheriff Owens and his ragtag group of deputies, including Mike (Luis Guzman), Jerry (Zach Gilford), and Sarah (Jaimie Alexander). Knowing they’re outgunned and outmanned, Sheriff Owens asks for additional help from ex-military man and current drunk Frank Martinez (Rodrigo Santoro), as well as the crazy local gun nut Lewis Dinkum (Johnny Knoxville). Add to this mixture, FBI agent John Bannister (Forest Whitaker) and his team’s attempts to try to stop Cortez before he gets to Sommerton, and the stage is set for lots of action!
I really liked THE LAST STAND when I saw it at the movie theater in 2013, and I really liked it again when I revisited the film this week. I made it a habit many years ago to not read reviews of a film before I go see it at the theater. I had found that reading potential negative comments could affect my viewing of a film, so I cut that out. As such, after totally enjoying myself with THE LAST STAND, I was surprised that the film wasn’t received very strongly by the audience or critical community, and I was even more surprised that it completely flopped at the box office, only bringing in a total of $12 million in the United States during its run. For me, the film delivered what I was looking for… Arnold Schwarzenegger kicking ass, spouting off some good one-liners, and outsmarting and outmuscling his much younger adversaries! No critic or keyboard warrior can take that away from me, as THE LAST STAND is an entertaining movie with a good cast. Heck, even the great Harry Dean Stanton pops in for a surprise cameo at the beginning of the action.
I also appreciate the fact that THE LAST STAND is the American directorial debut of the great South Korean director Kim Jee-woon, who has directed some of my favorite South Korean films, including A BITTERSWEET LIFE (2005) and I SAW THE DEVIL (2010). His direction brings some Asian flair that results in stronger, more graphic violence, as well a penchant for jarring changes in tone between humorous character interplay and sometimes violent tragedy. In a movie designed primarily as a piece of entertainment, I appreciate those more over-the-top touches that lift it above the norm.
Overall, I easily recommend THE LAST STAND to fans of Arnold Schwarzenegger and old-school action movies. It’s not a Schwarzenegger classic in the same way as movies like PREDATOR (1987), TERMINATOR 2 (1991), and TRUE LIES (1994), but it’s still a fun ride!
Volker (Gary Daniels) and his gang break into an English manor, hoping to rob the place. Since their last home invasion led to a pregnant woman getting shot in the head (though the actress continued to visibly breathe onscreen even after her character expired), Volker has planned this robbery down to the least little detail. However, it turns out that the family that was supposed to be on a trip is actually home for the holidays! Also, their Hungarian gardener, Peter (Robert Bronzi), is a former soldier who returns to his former ways to protect the family. Armed with his gardening tools, Peter takes out the bad guys, one at a time.
Robert Bronzi is an actor whose career centers around him bearing a passable resemblance to Charles Bronson. He also appeared in Death Kiss and, earlier this week, Brad reviewed him in Escape From Death Block 13. In this movie, he’s not really a gardener just like Charles Bronson wasn’t really a mechanic in the film of the same name. Get it? This is one of the Bronzi films I’ve seen in which he wasn’t dubbed. Peter is from Eastern Europe, just like Bronzi, so Bronzi gets to speak with his own voice. He still doesn’t say much, though. Bronzi actually looks less and less like Charles Bronson every time that I see him. If he ever lost the mustache, his career would end. Even more importantly, Bronzi doesn’t have Bronson’s screen presence. Bronson could accomplish a lot just by narrowing his eyes. Brozni always seems like he’s not sure where the camera is. The movie plods along without much suspense or humor, as if we’re supposed to take a low-budget film with a Charles Bronson imitator seriously.
TheGardener is a film with a plot so thin that I don’t think the real Charles Bronson would have wasted his time with it.
Well, I finally did it. I finally made it all the way through a movie starring Robert Bronzi, the Hungarian Charles Bronson lookalike who started making movies a few years ago with titles like DEATH KISS (2018), ONCE UPON A TIME IN DEADWOOD (2019) and 12 TO MIDNIGHT (2024). Any person who’s read any of my work on here knows that Charles Bronson is my all-time favorite actor, and that I’ve been obsessed with him for over 40 years. I’ve known about Bronzi since he first popped up in 2017, but I haven’t had much interest in him because his only similarity to Bronson is his very basic look. I watched enough of DEATH KISS back in the day to know that he doesn’t have any of Bronson’s charisma, grace or acting ability. I turned it off or fell asleep and never finished it. Well, this past week, I was on the set of a movie that’s being filmed here in Central Arkansas that’s using my brother’s convenience store as one of its filming locations. I was talking to a producer of the film (David Wade), and of course, as the conversation went on I eventually told him that I’m obsessed with Charles Bronson. If you hang around me long enough, that information is sure to be shared at some point! Once David knew this, he told me that he acted in a film with Robert Bronzi in 2021 called ESCAPE FROM DEATH BLOCK 13 that was filmed at the Mansfield Reformatory in Ohio, the location made famous as the prison used in the classic THE SHAWSHANK REDEMPTION (1994). He was impressed that I was fully aware of Bronzi and his resemblance to Bronson. I promised him that I’d watch the film since he’s in it, so here we are!
The plot of ESCAPE FROM DEATH BLOCK 13 is simple. After his brother’s death, Hungarian construction worker Mick Kovacs (Robert Bronzi) travels to America seeking justice. Visiting a recycling factory owned by the shady Renda (Nicholas Turturro), Mick demands compensation owed to his brother’s family. When Renda’s goons attack him, Mick is framed for extortion and attempted murder, and finds himself in the Pleasant Hill Penitentiary, where he faces sadistic guards, violent inmates, and the corrupt Warden Jack (Debbie Scaletta). Before going to prison, Kovacs is offered a deal by Detective Borelli (Lyindaa Russell) and FBI Agent Langley (Lawrence Hilton-Jacobs) to uncover a drug ring. Once inside, he discovers that Renda and the Warden are responsible for his brother’s death. Driven by a desire for vengeance, Mick sparks a violent riot in hopes of bringing justice to all those who have done his family wrong!
I’m not going to spend much time reviewing ESCAPE FROM DEATH BLOCK 13. If you’re a movie viewer who thinks the idea of watching an ultra low budget prison movie, filmed at Shawshank prison, with terrible acting, terrible special effects, and a lead actor who looks kind of like Charles Bronson sounds fun, then this could be the movie for you. This movie is not even close to the quality of Bronson’s 80’s Cannon films. Those films had good directors who delivered entertaining low budget action films, and Bronson was always worth the price of admission. Bronson’s Cannon movies were extremely profitable, especially in the golden age of VHS rentals. In the case of ESCAPE FROM DEATH BLOCK 13, director Gary Jones has delivered a terrible movie that is fun if you like bad movies. This movie knows it’s a bad movie, leans into its turkeydom, and hopes you will like it because Bronzi looks like Bronson, and there is action. In other words, it’s complete schlock that’s looking for an audience that digs the cheesiest of cheese. There’s not a thing wrong with liking cheesefests. I just want to make sure you know that’s what you’re getting into!
I did find it interesting that ESCAPE FROM DEATH BLOCK 13 is full of references to Charles Bronson’s TV and movie filmography. In this film, Robert Bronzi plays a character named Mick Kovacs. From 1958-1960, Bronson starred in the TV series MAN WITH A CAMERA playing a character named Mike Kovac. Nicolas Turturro plays a bad guy named Renda in this film. Al Lettieri played a bad guy named Frank Renda in Bronson’s excellent 1974 action film MR. MAJESTYK. And finally, in this film, Kenny Hendrix plays a bare knuckle prison boxer named Chaney. In my personal favorite Charles Bronson film, HARD TIMES (1975), Bronson plays a bare knuckle boxer named Chaney. I will admit these references were fun to spot as they came up throughout the film’s 105 minute runtime, which is probably a good 30 minutes longer than it needs to be.
As I mentioned earlier, I watched ESCAPE FROM CELL BLOCK 13 because David Wade, who plays a prison guard in the film, asked me to. David does a fine job as guard Schaffner, with his performance fitting in perfectly with the vibe of the film. His friendly manner on the movie set at my brother’s store gave me a rooting interest in the film, and from that standpoint, I thoroughly enjoyed it!
After his hippie parents are murdered by a drug dealer named Cutter (Robert Davi!), a young boy is taken in and raised by a homeless woman (Betty Buckley). The boy eventually grows up to be Wild Thing (Robert Knepper), an urban Tarzan who jumps from rooftop to rooftop at night and who protects the neighborhood for evil doers (like Cutter). A social worker (Kathleen Quinlan) hears the legend of Wild Thing and eventually finds him. She continues his education, explaining to him why people do the “body bump.” Carrying a bow and arrow and accompanied by a surprisingly loyal cat, Wild Thing fights the bad guys and seeks revenge for his parents.
WildThing is one of those movies that should be incredibly bad but somehow it isn’t. John Sayles was one of three writers to work on the script (Sayles was the only one to get credit) and the film has a self-aware sense of humor similar to the scripts that Sayles wrote for films like Alligator, Battle Beyond The Stars, and Piranha. A young Robert Knepper is probably about as convincing as anyone could be as an urban Tarzan who speaks broken English and who carries a bow and arrow as he makes his way across the rooftops of his neighborhood. As always, Robert Davi is a good villain. Davi knows that he’s appearing in a live action comic book and he gives an appropriate performance.
WildThing is a surprisingly enjoyable movie and yes, the song WildThing is heard in the movie but not as much as you might think. There’s a few scenes where the song starts to play and is then cut off, as if the movie is teasing our expectations. I just wish Sam Kinison had been invited to perform his version.
Atlanta Homicide detective Caroline Brentwood (Olivia Williams) and her partner, Darius Jackson (Harold Perrineau), are the primaries on the murder of a former DEA agent. Their investigation leads them to an elite special operations team led by “Breacher” Wharton (Arnold Schwarzenegger). Wharton and his crew were previously suspended for six months while the FBI investigates their last raid and why there was a $10 million dollar discrepancy between the amount of money the team reporter and the amount of money the FBI was expecting to be recovered. Someone is murdering the members of Breacher’s team one-by-one. Breacher and Brentwood investigate the murder and what happened to the money but they both discover that they can’t trust anyone.
Sabotage has got a cast that is full of talent and familiar faces, including Sam Worthington, Mireille Enos, Terrence Howard, Joe Manganiello, Martin Donavon, and Josh Holloway. It also has one truly great action scene, a violent chase down a busy Atlanta street that comes to sudden and very bloody conclusion. The film’s final scene takes Sabotage into western territory, with Schwarzenegger dominating the screen like a larger-than-life Sergio Leone hero. It’s just too bad that the rest of the movie isn’t as a good as its final shot or that one chase scene. Unfortunately, most of the film feels repetitive and half-baked, with way too much time being wasted on supporting characters who tend to blend together.
Arnold Schwarzenegger gives one of his better performances. When he made Sabotage, he was no longer a governor and he was also no longer an automatic box office draw and there’s a tired weariness to his performance. Unfortunately, the rest of the cast is either miscast (Olivia Williams) or stuck playing one-dimensional characters (everyone else). There’s enough good action sequences to keep Sabotage watchable and Schwarzenegger shows that he can actually be a very good actor but it’s also easy to see why this film didn’t reignite his his career.
Detective Sam Spade (Ricardo Cortez) may be an immoral lech but when his partner, Miles Archer, is murdered, Sam sets out to not only figure out who did it but to also eliminate himself as a suspect. Sam was having an affair with Miles’s wife, Ivy (Thelma Todd). Sam’s investigation leads to him falling for the mysterious Miss Wonderly (Bebe Daniels) and getting involved with a trio of flamboyant criminals who are searching for a famous relic, the Maltese Falcon. Dudley Digges plays Casper Gutman. Otto Matieson plays Dr. Joel Cairo. Dwight Frye plays the gunsel, Wilmer, who Gutman says he “loves … like a son.”
The first film adaptation of Dashiell Hammett’s classic detective novel is overshadowed by the version that John Huston would direct ten years later. That’s not surprising. There’s a lot of good things about the first version but it’s never as lively than John Huston’s version and neither Dudley Digges nor Otto Matieson can compare to Sydney Greenstreet and Peter Lorre. Of the supporting cast, Dwight Frye makes the best impression as the twitchy Wilmer and Bebe Daniels and Thelma Todd are both sexy as the story’s femme fatales. That doesn’t mean that they’re better than their counterparts in John Huston’s film. It just means they all bring a different energy to their roles and it’s interesting to see how the same story can be changed by just taking a slightly different approach. Elisha Cook, Jr. was perfect for Huston’s version of the story. Dwight Frye is similarly perfect for Roy Del Ruth’s version.
Needless to say, Ricardo Cortez can’t really compare to Humphrey Bogart. But, if you can somehow block the memory of Bogart in the role from your mind, Cortez actually does give a good performance as Spade. Because this was a pre-code film, Cortez can lean more into Spade’s sleaziness than Bogart could. Also, because this was a pre-code film, the first MalteseFalcon doesn’t have to be as circumspect about the story’s subtext. Spade obviously tries to sleep with every woman he meets and is first seen letting a woman out of his office. (The woman stops to straighten her stockings.) Gutman and Cairo’s relationship with Wilmer becomes much more obvious as well. What’s strange is that, even though this MalteseFalcon is pre-code, it still ends with the type of ending that you would expect the production code to force onto a film like this.
If you’re going to watch TheMalteseFalcon, the Huston version is the one to go with. But the first version isn’t bad and it’s worth watching for comparison.
It’s one very busy night at a police station. Everyone who is brought in from off the streets has the right to remain silent but no one exercises it. Rookie cop Lea Thompson listens to everyone’s stories. LL Cool J is the documentarian who thought it would be smart to put on Klan robes and a hood and try to infiltrate a demonstration undercover. Patrick Dempsey is the drunk who killed a kid. Carl Reiner comes in and confesses to mercy killing his wife. Christopher Lloyd is homeless. Fisher Stevens is a trans streetwalker. Judge Reinhold, I don’t even know what he was supposed to be. Reinhold actually plays two characters in this film and he’s miscast in both roles. Amanda Plummer is a pizza delivery person who shoots someone in self-defense. No one asks for a lawyer. No one lies about what they did. Instead, they just talk and talk and talk and talk some more. Thompson listens while Robert Loggia, as the chief, growls about donuts.
Through the Shattered Lens