Final Shot: The Hank Gathers Story (1992, directed by Charles Braverman)


Hank Gathers is one of the most intriguing “what if?” stories of modern basketball.  Growing up in the Raymond Rosen Projects of Philadelphia, Hank stayed out of trouble by playing basketball.  An outstanding high school player, he went first to USC before transferring to Loyola Marymount.  Along with his friend Bo Kimble, he was a stand-out player at Loyola.  However, on March 4th, 1990, the 23 year-old Gathers collapsed during a game with Portland and died on the court, the victim of an abnormal heartbeat.  His last recorded words were, “I don’t want to lay down!”  Gathers set records in college.  Would he have done the same in the NBA?  Sadly, we’ll never know but he definitely had the talent and the ability to be one of the best.

Final Shot is a by-the-numbers biopic of Hank Gathers, focusing on his life in the projects and his friendship with Bo Kimble.  Victor Love plays Gathers while Kimble is played by Duane Davis and they both give good performances.  Their friendship feels real and when Hank helps Bo recover from a broken leg and when Bo worries about Hank’s recently diagnosed heart condition, the scenes are sincere in a way that lifts the film above the normal biopic clichés.  Nell Carter and George Kennedy both have good roles as well, Carter as Hank’s mother and Kennedy as Hank’s high school coach and mentor.  This is the type of role that Kennedy could have played in his sleep so I appreciated that he actually gave a believable performance.

Final Shot is a made-for-TV movie so it doesn’t dig too deeply into Gathers’s life outside of basketball, the way that college treat their athletes, or the systems that made playing basketball Hank’s only way of escaping the projects.  For what it is, though, it’s a fitting tribute.

I Watched Last County (2024, Dir. by Barret Mulholland)


Abby (Kaelen Ohm) has been through a lot.  A recovering alcoholic, Abby is struggling with the guilt of having caused a car accident while her young daughter was in the backseat.  Her daughter’s okay but her husband cannot forgive Abby for putting their child in harm’s way.  Needing to clear her head, Abby heads to the farmhouse where she grew up.  She hopes that her husband and her daughter will eventually join her there.  Instead, she finds herself trapped in the middle of a battle between two drug mules and a corrupt sheriff (Nicholas Campbell).

I liked Last County more than I thought it would.  It’s a straightforward thriller that doesn’t waste any time getting to the action.  Kaelen Ohm was great as Abby and I really found myself getting caught up in her story.  I wasn’t just worried about whether or not she would survive the siege led by the sheriff.  I was also really worried about what would happen with her as far as her family was concerned.  Would her marriage be saved or would she fall in love with the more sensitive of the two drug mules?  Along with good performance and direction, Last County also really captured the feel of being isolated out in the middle of the country.

Far better than I thought it would, Last County took me by surprise.  It’s on Tubi.

Sweetheart of the Navy (1937, directed by Duncan Mansfield)


I watched this movie by accident.

I was looking for Sweetheart of Sigma Chi, an obscure Buster Crabbe film that is nearly impossible to find.  I was happy to see that someone had uploaded it to YouTube but then I watched and discovered that, even though the video was entitled Sweetheart of Sigma Chi, they had actually uploaded a movie called Sweetheart of the Navy.  I was disappointed but I went ahead and watched because the movie was only 61 minutes long and I needed something to post for today’s review.

In other words, I’ve got no one to blame but myself.

Cecilia Parker plays Joan Whitney, who co-owns a cafe on the harbor.  When her business partner runs off, he takes all the money and leaves her with all the bills.  Joan has to raise the money to keep her bar open.  Her friends, Andy (Cully Richards) and Pete (Don Barclay), decide to stage a fight against the boxing champion of the Navy, Bumper (Jason Robards, Sr., father of the  more famous Jason Robards).  They recruit the overmatched Eddie Harris (Eric Linden) to fight Bumper and then get all of their friends in the Navy to bet on the fight.  Commander Lodge (Roger Imhof) views Eddie has being his protege and tries to change his mind about fighting.  Joan tries to convince Eddie to get in the ring.

I may be biased because I was already annoyed that Buster Crabbe wasn’t in this movie but Sweetheart of the Navy was instantly forgettable, creaky, and corny.  Forgettable songs, stagey directing, and boxing action that won’t exactly put Rocky to shame, Sweetheart of the Navy took 61 minutes of my life under false pretenses.

And again, I have no one to blame but myself.

Brad reviews DONATO AND DAUGHTER (1993), starring Charles Bronson & Dana Delany!


DONATO AND DAUGHTER tells the story of Los Angeles Police detectives, Mike Donato (Charles Bronson), and his daughter Dena Donato (Dana Delany). The two have a strained relationship mainly due to the mysterious death of Dena’s brother, Tommy, and Mike’s unwillingness to discuss the circumstances surrounding his death with her. When a serial killer (Xander Berkeley) begins targeting nuns, brutally raping and murdering them, Dena is asked to lead a task force to catch the killer. Her supervisor not-so-subtly requires that she include her father, a tough-as-nails and experienced cop, as part of the team. The remainder of the story focuses on two elements: 1) The investigation as it closes in on the extremely dangerous serial killer and 2) The family drama as Mike and Dena deal with their relationship issues. The two worlds eventually collide when the killer goes after Dena! 

While he did work on a couple of theatrical films in the 1990’s, like Sean Penn’s THE INDIAN RUNNER (1991) and DEATH WISH 5: THE FACE OF DEATH (1994), Charles Bronson spent most of the decade making made-for-TV movies. Of course, as his biggest fan, I would always watch the movies on the night they premiered on TV, with THE SEA WOLF (1993) being the only exception as we didn’t have cable TV in Toad Suck. That means on September 21st, 1993, I was glued to my television set as the latest Charles Bronson film, DONATO AND DAUGHTER, premiered to a national TV audience on CBS. I specifically remember the network running warnings due to the disturbing and violent content of the movie. I also remember enjoying that first viewing, and I still enjoy the film to this day. 

Even though he was in his early 70’s at the time, Charles Bronson still looked great in DONATO AND DAUGHTER. He gives a strong performance as both the cop trying to catch the killer and as the dad who doesn’t know how to open up to his successful, adult daughter who needs him more than he can comprehend. Dana Delany is an excellent actress, and she is able to balance her character’s determination to be the best cop possible to “show her dad,” with the vulnerability of a daughter who just needs to know he loves her. Their relationship has to work for the movie to work, and I think they both do a great job. The other standout performance in the film belongs to Xander Berkeley. His portrayal of a husband and businessman, who also happens to be a vicious serial killer, is truly creepy and gives the movie a disturbing edge. On a side note, Berkeley’s “wife” in the film is played by actress Kim Weeks. She and Charles Bronson would get married in 1998, and they would be together until his death in 2003.

Overall, I think DONATO AND DAUGHTER is well worth watching as both a cop thriller and a family drama, although I do think the thriller elements work the best. It’s not the most groundbreaking or original story you’ll ever see, but the film is elevated greatly by the iconic presence of Charles Bronson and the strong performances by Dana Delany and Xander Berkeley. I give it a solid recommendation! The trailer is included below:

Review: By Dawn’s Early Light (dir. by Jack Sholder)


1990’s By Dawn’s Early Light is a film adaptation by HBO of William Prochnau’s novel Trinity’s Child. The film, when it first aired on HBO, seemed dated since the Soviet Union was ultimately going through its death throes as the military build-up initiated during the Reagan Administration crippled the USSR economically (they too tried to match the build-up in conventional and nuclear forces). Yet, despite the ending of the Cold War, recent events domestically and around the world has shown that the world never truly left behind the shadow of nuclear war.

The film is simplicity in the way the plot unfolds. A failed coup by dissident Soviet military commanders fails, but it’s after-effects of creating a “hot war” between the US and the USSR succeeds as both US President and Soviet Premiere make mistakes in their decisions. Decisions heavily influenced by their military commanders who see only black and white in how their respective nations should respond militarily. By Dawn’s Early Light shares some similarities to the classic 60’s Cold War films like Dr. Strangelove and Fail-Safe. Both films deal with the human frailties and flaws helping influence events that could lead to nuclear Armageddon for the whole planet. By Dawn’s Early Light concentrates on several storylines to highlight the stress and difficulties individuals must face to either follow their orders to their inevitable conclusion or allow their conscience to help make the moral decisions in trying to stop the madness spiraling out of control. Though some people’s decisions are left wanting, the film ends with a glimmer of hope that may just bring the world from the brink of annihilation.

The acting by the cast of Rebecca DeMornay, Powers Boothe, James Earl Jones, Darrin McGavin, Martin Landau and Rip Torn are well done. Rebecca DeMornay and Powers Boothe anchor one of the subplots as romantically involved B-52 crew pilots whose conflict comes from their own intimate closeness affecting command decisions and from the stress of families lost by the rest of the bomber crew. Darrin McGavin, Rip Torn and Martin Landau anchor the other subplot of competing Presidents. One a physically incapacitated US leader trying to avert escalating the conflict to the point of no return with another recently sworn in who fears of losing a nuclear war and thus wanting to strike back full and hard. In between these two leaders is the diabolical performance by Rip Torn as a warmongering Army colonel who sees only winning the war as the only objective. At times, the performances do become hampered by the simplicity of the script, but the cast power through to the end.

In the end, the film might look a bit dated in its production design (this was 1990 and many years before HBO became known for premiere television production) but the story itself is very current and relevant.  What might have been a nice Cold War relic fairy tale when it first aired in 1990 on HBO has taken on more of a cautionary tale as more nations begin to acquire nuclear weapons with some of these nations not just enemies of the US and the world in general, but also led by men whose hold on sanity seem tenuous at best. By Dawn’s Early Light is a great piece political “what if” that hopefully remains just that and not a prediction of reality to come.

I Watched Fatal Exposure (2025, Dir. by Sam Coyle)


Red flags, girls!  You need to know how and when to spot them!

Photographer Ariel (Sofia Masson) is the victim of a violent home invasion and her sex buddy Derek (Stephen Huszar) just happens to show up a minute later?  Red flag!

The only photograph from Ariel’s exhibit that sells is an erotic selife called “No Daddy Issues” and then Derek suddenly wants to be called “daddy” while in the bedroom?  Guess what?  That’s a red flag!

Derek invites Ariel to his estate for the summer without telling her that he’s a widower and that he has a stepdaughter named Chloe (Jasmine Vaga)?  You better believe that’s a red flag!

Chloe is the same age as Ariel and physically resembles Ariel and calls her stepfather “daddy?”  Red flag, red flag, red flag!

I watched this movie because it was about a photographer and there really aren’t that many non-documentaries about photographers.  I didn’t think that the selfie that Ariel sold was that impressive but some of her other photographs showed a hint of talent.  But a photographer has to be aware of the world around her and she has to be able to see the things that other people miss.  That’s what distinguishes a photographer from someone who just has a camera.  How could any photographer miss all the red flags and all the strange atmosphere inside of Derek’s estate?

(I did like that Ariel had somehow developed a system to allow her to develop film and make prints within seconds.  I’d love to know how she did that.)

Fatal Exposure requires a big suspension of disbelief.  If you can do it, then the film itself is enjoyably trashy.  Derek’s gothic mansion is a great location and the acting wasn’t bad at all.  But you just have to be willing to accept that someone could miss all of those red flags.  Derek was too obviously evil from the start but he did give Ariel a nice studio to work in.  Maybe he wasn’t all bad.

 

Come On Get Happy: The Partridge Family Story (1999, directed by David Burton Morris)


In 1969, a group of television network executives get together and decide the world needs a sitcom that will mix music with family comedy.  The result is The Partridge Family.  While Shirley Jones (Eve Gordon) tries to keep her television family safe from the networks and, in some cases, their own dysfunctional families, David Cassidy (Rodney Scott) struggles with being a teen idol and Danny Bonaduce (Shawn Pyfrom) deals with living with an abusive father (William Russ).  Danny finds a new father figure in the form of co-star Dave Madden (Michael Cheiffo) while Danny dates his tv sister, Susan Dey (Kathy Wagner).

This was one of the many made-for-TV movies that took advantage of boomer nostalgia at the turn of the 20th Century.  Like most of those movies, Come On Get Happy is on the shallow side, providing the details that everyone had already heard without digging too far underneath the surface.  The main thing that sets this film apart from so many other behind-the-scenes movies is that the cast, for the most part, actually resemble the real-life people that they’re playing.  That’s especially true in the case of Shawn Pyfrom.  If you’re a fan of the show or Cassidy’s music, this movie might appeal to you.  I Think I Love You is still a banger.

It’s well-made but it’s still hard not to feel that it would have been more entertaining just to watch a 2-hour interview with the real-life Danny Bonaduce.

Lifetime Film Review: Kidnapped By A Killer: The Heather Robinson Story (dir by Lee Gabiana)


John Robinson has been described as being the Internet’s first serial killer.

I don’t know if that’s an accurate description but it is true that Robinson, who most of his neighbors and family knew as just being a somewhat eccentric businessman who always seemed to be in trouble with the IRS, did make contact with several of his victims in online chatrooms.  No one is quite sure how many women Robinson killed in the 80s and the 90s.  Robinson himself has given contradictory numbers.  What is know is that Robinson started out by luring women to his home by claiming that he had a job for them.  Many of the women who accepted his job offer were either never seen again or their bodies were eventually found on his properties in Kansas and Missouri.  Eventually, after serving time on fraud conviction, Robinson started to use internet chatrooms to find his victims.  He used the screenname Slavemaster, something that would have undoubtedly stunned all of his neighbors.

In Kidnapped By A Killer, Steve Guttenberg plays John Robinson.  Now, it should be noted that Guttenberg doesn’t get much screentime and he’s also nearly unrecognizable under a ton of old age makeup.  Guttenberg plays Robinson as being a creepy old man who uses the fact that he walks with a cane to put people at ease.  The film doesn’t spend much time with Robinson and it doesn’t show any of his murders.  Instead, the focus is on the police who investigated Robinson and also on Heather Robinson, a young woman who was Robinson’s adoptive niece but who was also the daughter of one of Robinson’s victims.  After killing her mother, Robinson “gave” Heather to his brother and sister-in-law, telling them that her mother had been a drug addict who abandoned her baby.

The majority of the film focuses on Heather (Rachel Stubington), who is a teenager when John is arrested for the murders that he committed.  Heather struggles to come to terms with the knowledge that her uncle — who seemed kindly, if a bit corny — murdered her mother and that she was essentially kidnapped and given away.  What seemed like an act of kindness — Uncle John not wanting a drug addict’s daughter to get lost in the system — was actually John Robinson’s attempt to cover up his crimes.  Much like the criminal who starts a business to launder money, Heather’s adoption was John’s attempt to launder evidence.  Stubington does a good job as Heather, capturing her struggle to come to terms with her identity.  The scenes of her dealing with her feelings towards John and the scenes of hardened detectives recoiling in shock as they discover the remains of John’s victims all serve as a reminder that murder is not an isolated crime.  It’s something that effects communities and families long after the act itself has been completed.

Kidnapped By A Killer deserves credit for focusing on a victim instead of on John Robinson, himself.  Too often, when it comes to true crime movies, the victims are forgotten while the serial killer gets all the best lines and the big moments.  Kidnapped By A Killer presents John Robinson as being a rather pathetic old man and that’s perhaps the best thing about it.

The Films of 2025: Emmanuelle (dir by Audrey Diwan)


This film is taking itself way too seriously….

I had that thought 16 minutes into Emmanuelle.  A remake of the wonderfully trashy 70s film that made a star (of sorts) out of Sylvia Kristel, this version of Emmanuelle takes itself way too seriously.  It should be noted that no one is under the impression that the original Emmanuelle films or any of the unofficial spin-offs were high art.  The first film may have pretended to be about something but, ultimately, it was a trashy sex romp that was made because some folks wanted to make a lot of money.  That’s one reason why the original film and Kristel’s version of the character continue to be popular.  Both were totally shameless and unapologetic.

The remake, though, is boring.  Emmanuelle (played by Noemie Merlant) even has a boring job.  She works in quality control for a large chain of luxury hotels.  That’s right, quality control.  This film reimagines Emmanuelle as being the female version of Creed from The Office  Emmanuelle has been sent to Hong Kong so that she can evaluate a hotel that is being managed by Margot (Naomi Watts).  The company has tasked Emmanuelle with finding an excuse to fire Margot and Emmanuelle is feeling conflicted about it.  Let me tell you, there’s nothing sexier than quality control.

Emmanuelle has several sexual experiences while staying at the hotel.  The sensuality of Hong Kong gets to her.  While wearing a towel, she flirts with a nervous room steward.  She touches herself in front of an escort who hangs out at the hotel’s pool and she gets upset when Margot sends the escort and her friends away.  Emmanuelle wanders through the film with a blank expression on her face, staring at things that are often happening off-camera.  Hong Kong is presented as being a world where everything is for sale and no desires are forbidden.  If this was one of Joe D’Amato’s Black Emanuelle films, the decadence would probably be strange and entertaining.  However, since this is an Emmanuelle film that takes itself seriously, it’s kind of boring.

In fact, this film really does get caught up in the whole “Will Emmanuelle get Margot fired?” plot.  That is probably the least interesting part of the movie but the filmmakers really do want us to understand that Emmanuelle could lose her job if she doesn’t give Margot a bad report.  But honestly, who cares?  This film makes the mistake of assuming that “quality control” is a lot more exciting than it actually is.

Emmanuelle does fall in love over the course of the film.  Kei (Will Sharpe) is an enigmatic guest who hasn’t had sex in “two or three years” because he lost his desire.  He’s suffering from ennui!  Emmanuelle yells at Kei for smoking in the hotel but she’s attracted to him as well.  At least, that’s what the film wants us to believe.  Merchant and Sharpe have so little chemistry — romantic or sexual — that it’s hard to really care.  They have some philosophical discussions, the type of stuff that even Zalman King would have dismissed as being rather pretentious.

The main problem, as I said before, is that this film just isn’t fun.  It gets bogged down with its plot and Merlant, Watts, and Sharpe all sleepwalk through their roles.  This film should have been glorious trash.  Instead, it’s just dull.

#MondayMuggers present THE MECHANIC (1972) starring Charles Bronson & Jan-Michael Vincent!


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 June 16th, we are showing THE MECHANIC (1972) starring Charles Bronson, Jan-Michael Vincent, Keenan Wynn, Jill Ireland, and Frank DeKova.

In THE MECHANIC, Charles Bronson plays a hitman who takes on a young apprentice (Jan-Michael Vincent) and trains him to be a professional assassin. But in their world, you never know when you’ll go from being the killer… to becoming the next target!

I reviewed THE MECHANIC for The Shattered Lens back on New Year’s Day!

Join us tonight for #MondayMuggers and watch THE MECHANIC! It’s on Amazon Prime. The trailer is included below: