The Lone Rider Rides On (1941, directed by Sam Newfield)


In the days of the wild west, Tom Cameron (George Houston) rides the range alone, seeking vengeance for the murder of his family.  They were killed when their wagon train was ambushed by the same outlaws who has previously sold them a plot of land.  Tom was a child at the time and he only remembers that the leader of the outlaws had a distinctive facial scar.  Tom Cameron is The Lone Rider.

No, not the Long Ranger.  The Lone Rider!  George Houston was an opera star who made for a surprisingly convincing gunslinger and the movie opens with him singing I Am The Lone Rider, just to make sure that it was understood that his vengeance-driven vigilante was a completely different character from that other vengeance-driven vigilante.  The Lone Rider is looking to avenge his family and, with the help of store keeper “Fuzzy” Jones (professional sidekick Al St. John), the Lone Rider does just that.  Though this is a standard B-western, the plot is a little more serious than most other B-movies.  This was the first of several Lone Rider movies and, despite the obviously low budget, there’s some emotional heft to its story.  Tom discovers that his brother (Lee Powell), who he thought had died in the attack, actually survived and joined up with the gang.  The story is about both Tom’s vengeance and his brother’s redemption.  Fans of the genre will enjoy the film’s classic western story and George Houston’s convincing performance as a gunslinger on a mission.

The Lone Rider would ride on for 16 more movies, the last one being released in 1944.  In 1942, George Houston was replaced in the lead role by Robert Livingston.  Houston went from starring in westerns to becoming one of Hollywood’s most respected vocal coaches.  (Howard Keel was one of his students.)  Shortly after the Lone Rider road for the last time, George Houston died while planning his musical comeback.  He had a heart attack and the police, thinking he was just intoxicated, tossed him in the drunk tank where he subsequently died.  He was only 48 years old.

4 Shots From 4 Films: Special 1985 Edition


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

Today, let us take a look back at a classic cinematic year.  It’s time for….

4 Shots From 4 1985 Films

Insignificance (1985, directed by Nicolas Roeg, DP: Peter Hannan)

The Breakfast Club (1985, dir by John Hughes, DP: Thomas Del Ruth)

Rambo: First Blood Part II (1985, dir by George Pan Cosmatos, DP: Jack Cardiff)

Brazil (1985, dir by Terry Gilliam, DP: Roger Pratt)

Goddess of Love (1988, directed by Jim Drake)


On Mount Olympus, “ages ago” according to a title card, Zeus (John Rhys Davies) is displeased with his daughter Aphrodite (Wheel of Fortune letter turner Vanna White).  Aphrodite, who insists on being called Venus, has refused to marry every man or God that Zeus has found for her and she even started the Trojan War.  Zeus says that Venus must learn what love means before she can rejoin the Gods.  He then turns her into a statue (!) and sends her down to Earth.

How is she going to learn what love means as a statue?  It’s obviously a pertinent question because, thousands of years later, she’s still set in marble and standing in a museum.  Two thieves wheel her out to a courtyard and leave her there so they can pick her up later.  Before the thieves return, Ted Beckman (David Naughton) and his womanizing friend, Jimmy (David Leisure), wander by.  For some reason, Ted slides an engagement ring on Venus’s finger.  Venus comes to life.  She and Ted must now fall in love for real in order for Venus to return to Mount Olympus.  The only problem is that Ted is a hairdresser and he’s already engaged to marry Cathy (Amanda Bearse).

A made-for-TV movie that unsuccessfully tried to revive the acting career that Vanna White abandoned for Wheel of Fortune, Goddess of Love is a spectacularly stupid movie that attempts to disguises its threadbare plot by being extremely busy.  Not only do Ted and Venus have to overcome a lack of romantic chemistry and fall in love but the two thieves are also still looking for Venus and even Little Richard shows up as one of Ted’s employees.  Venus not only accidentally burns down Ted’s business but also maxes out his credit cards.  Philip Baker Hall plays the detective investigating the theft of the statue and gives a performance reminiscent of his classic Bookman turn from Seinfeld.  It’s dumb but Vanna herself gives a far more engaging performance than the material requires or deserves.  Some of her line deliveries are a little wooden but she still radiates the natural likability that made her an unlikely celebrity in the 80s.  Goddess of Love should have cast Pat Sajak as Ted.  Then it would have been a classic.

Dead Man’s Gold (1948, directed by Ray Taylor)


Jim Thornton (Britt Wood) has discovered a gold mine so he writes to his old friends, Lash LaRue (Lash La Rue) and Fuzzy (Al St. John), asking them to come help him guard it.  When Lash and Fuzzy arrive, Jim is nowhere to be found.  With the help of Jim’s niece (Peggy Stewart), they discover that Jim’s been murdered.  It doesn’t take a genius to realize that the murder was carried out by Conway (Jason Cason) and his men and that’s a good thing because a genius is something you will never find in a Lash La Rue western.  However, Lash suspects that Conway was following someone else’s orders.  He and Fuzzy set up a trap to reveal the true identity of the mastermind.

Lash dresses in all black and often uses a whip instead of a gun but this is still a standard B-western.  Historically, it’s important because it was the first movie that La Rue made with producer Ron Ormond.  Ormond later went from producing Lash La Rue films to directing them and Lash’s career never really recovered.  (Ormond, whose non-Lash LaRue films included Mesa of Lost Women and If Footmen Tire You, What Will Horses Do?, was never much of a director.)  Fortunately, Dead Man’s Gold was directed by the dependable Ray Taylor, who keeps the action moving and crafts an adequate if not exactly memorable western.

There is one cool scene in Dead Man’s Gold, in which Lash uses his whip to knock a shot glass out of a bad guy’s hand.  Let’s see The Lone Ranger do that!

The Super (1991, directed by Ron Daniel)


You’ve just won a Best Supporting Actor Oscar for playing a psychotic gangster and you’re worried that it’s going to lead to you getting typecast as a villain.  What do you do?

If you’re Joe Pesci, you follow-up playing Tommy DeVito in Goodfellas by agreeing to play Louie Kritski, Jr. in The Super.  Louie is the son of a slumlord (Vincent Gardenia) and he’s eager to follow his old man into the family business.  But when Louie is arrested for failing to keep his buildings up to code, he’s sentenced to actually live in one of them.  Louie has to stay in a rat-infested apartment.  He has to repair the rest of the building and will not be allowed to do any work on his apartment until everyone else’s apartment is up to code.  Louie thinks that his father will use his influence to get his son out of this mess.  It turns out that Big Lou just wants to set the building on fire and be done with it.  Louie isn’t down with that.  He may be a loud-mouthed slumlord but he has his standards.

Louie becomes a better person as a result of living in a slum.  All of the tenants, from Marlon (Ruben Blades) to Tito (Kenny Blank), come to respect him.  He even plays basketball with them.  Louie finds a new girlfriend (Madolyn Smith) in the court officer who is sent to check on his progress.  Louie is still Joe Pesci, though.  He’s still a loud mouth who is quick to lose his temper and there’s always a feeling that Louie is about to snap and blow the entire building away.  Joe Pesci was always a good actor and skilled at comedy but The Super doesn’t make good use of his talents in the way that My Cousin Vinny did.  My Cousin Vinny worked because it put Joe Pesci in a place where you wouldn’t expect to find Joe Pesci, the genteel South.  The Super is a New York movie and Pesci’s wiseguy intensity means that his sudden redemption doesn’t feel true.

The Super was a box office flop and briefly derailed Pesci’s attempts to show his range.  Luckily, My Cousin Vinny was right around the corner.

Live Tweet Alert: Join #ScarySocial for Pitch Black!


As some of our regular readers undoubtedly know, I am involved in a few weekly live tweets on twitter.  I host #FridayNightFlix every Friday, I co-host #ScarySocial on Saturday, and 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 9 pm et, Tim Buntley will be hosting #ScarySocial!  The movie?  Pitch Black!

If you want to join us this Friday, just hop onto twitter, start the movie at 9 pm et, and use the #ScarySocial hashtag!  I’ll be there tweeting and I imagine some other members of the TSL Crew will be there as well.  It’s a friendly group and welcoming of newcomers so don’t be shy.

Pitch Black is available on Prime!

See you there!

4 Shots From 4 Films: Special 1967 Edition


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

Today, we take a look at a classic cinematic year.  It’s time for….

4 Shots From 4 1967 Films

Something Weird (1967, dir by Herschell Gordon Lewis, DP: Andy Romanoff)

Bonnie and Clyde (1967, dir by Arthur Penn, DP: Burnett Guffey)

Who’s That Knocking On My Door (1967, dir by Martin Scorsese, DP: Michael Wadley and Richard Coll)

Point Blank (1967, dir by John Boorman, DP: Philip H. Lathrop)

Live Tweet Alert: Join #FridayNightFlix For Assault on Precinct 13!


As some of our regular readers undoubtedly know, I am involved in a few weekly live tweets on Twitter and Mastodon.  I host #FridayNightFlix every Friday, I co-host #ScarySocial on Saturday, and 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, #FridayNightFlix presents the original 1976 Assault on Precinct 13, from director John Carpenter!

If you want to join us this Friday, just hop onto twitter, start the movie at 10 pm et, and use the #FridayNightFlix hashtag!  It’s a friendly group and welcoming of newcomers so don’t be shy.

Assault on Precinct 13 is available on Prime and Tubi!  See you there!

4 Shots From 4 Films: Special Hal Needham Edition


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

Today, we take a moment to remember the great director and stuntman, Hal Needham.  It’s time for….

4 Shots From 4 Hal Needham Films

Smokey and the Bandit (1977, dir by Hal Needham, DP: Bobby Byrne)

Hooper (1978, dir by Hal Needham, DP: Bobby Byrne)

The Cannonball Run (1981, dir by Hal Needham, DP: Michael Butler)

Rad (1986, dir by Hal Needham, DP: Richard Leiterman)