Lisa Marie’s Week In Television: 5/31/26 — 6/6/26


Election Coverage

Several states voted on Tuesday.  Everyone was able to quickly count their votes …. except for California.  Poor Spencer Pratt.  I would have voted for him but it doesn’t look like he’s going to be the next mayor of Los Angeles.  With each new update, he’s falling behind and it looks like the whiny commie no one took seriously will be in the run-off instead.  It’s funny how this always happens in the state that takes over a month to count the votes.  That said, it could also be argued that the results coming out of Los Angeles are a reminder that getting attention online doesn’t necessarily translate into votes on the ground.  There’s a lesson there for us all.

The Facts of Life (Tubi)

I was having a panic attack on Wednesday night so I calmed myself down by watching random episodes of this slightly cringey 80s comedy.  I ended up getting the theme song stuck in my head.  If you hear them from your brother, better clear them with your mother….

The Hillside Strangler (HBOMax)

Yet another serial killer documentary.  Cousins Kenneth Bianchi and Angelo Buono killed a still undetermined number of women in Los Angeles in the 1970s.  Bianchi claimed that he had a second personality that was responsible for the murders.  Fortunately, the jury did not believe him and he is currently serving a life sentence.  Buono died in prison.  Good riddance.

Impact x Nightline (Hulu)

This week, I watched an episode about the heart-breaking Kristen Smart case.  Though Paul Flores has (after 20+ years) finally been convinced of murdering Smart, her body has yet to be recovered.  I cannot imagine the pain that Smart’s family has been put through.  This is actually a case that I’ve been following for a while, even before it became the subject of podcasts.  It’s not just that Paul Flores murdered Kristen.  It’s that he was so damn cocky about it.  He really thought he would get away with it.

Susan Smith: Sex Behind Bars (Reelz)

This short documentary about Susan Smith, a young mother who drowned her children and then tried to blame it on an imaginary black carjacker, and the sexual affairs that she had with two correctional officers in prison was exploitive and icky.  And yet, I watched it.  So, shame on me.

Trainwreck: Woodstock ’99 (Netflix)

I reviewed this documentary here!

Cinemax Memories: Mortal Passions (1990, directed by Andrew Lane)


Todd (Zach Galligan) is married to Emily (Krista Errickson), who was previously involved with Todd’s brother, Berke (Michael Bowen).  When Berke comes by for a visit, he discovers that Emily is cheating on Todd with Darcy (Luca Bercovici).  A confrontation between Emily, Berke, and Darcy ends with Darcy dead.  While covering up the murder, Emily is also plotting to take all of Todd’s money for herself.  David Warner appears as the therapist who struggles to keep straight who is double-crossing who.

In the 90s, where could you see the lead of Gremlins being betrayed by both his sexy wife and his no-good brother?  Where, in the 90s, could you see the star of Hello Larry try to reboot her career as a Kathleen Turner film fatale?  Where, in the 90s, could you see the man who would one day play Buck in Kill Bill playing Zach Galligan’s long-haired brother?  Only on Cinemax!

Mortal Passions was an attempt to do a modern noir and it has all of the expected tropes, from the clueless husband to the morally gray relative to the wife who is planning on betraying everyone.  Krista Errickson is sexy and dangerous as Emily, ruthlessly plotting Todd’s downfall while walking around in lingerie.  Errickson’s femme fatale is never as clever as she thinks she is but fortunately, for her, all the men around her are idiots.  Galligan and Bowen are both believable as two of the most easily manipulated people that you’ll ever meet.  And then there’s David Warner, phoning it in and getting away with it because he’s David Warner.

Mortal Passions is Late Night Cinemax at its trashiest best!

Scenes That I Love: The Opening of Top Gun


On this date, 40 years ago, Top Gun was released and the movie changed forever.

From the opening shot, Top Gun captured the attention of audiences who understood that, though the film’s script may have been full of cliches and though the movie was basically just a remake of the old service moves of the late 30s and 40s, it didn’t matter because jets are freaking cool.

And that opening scene is today’s scene that I love!

Happy Top Gun Day!

In A Class Of His Own (1999, directed by Robert Munic)


At an Oregon high school, Rich Donato (Lou Diamond Phillips) is the most popular adult on campus.  He defies the school’s no music rule by dancing in the cafeteria.  He keeps discipline in the hallways and he counsels the school’s most troubled students.  He’s the adult that all the students come to for advice.  He’s the adult who everyone looks to as being a life coach.  However, Rich is not a teacher or a guidance counselor.  Instead, he’s just a custodian and handyman.  Rich is smart but he never graduated high school.  He doesn’t even have a G.E.D.

That becomes a problem when the school board announces that all employees of the district are now required to have, at the very least, a GED.  If Rich can’t take and pass the GED test in 30 days, Rich will lose his job.  Rich fails the test the first time he takes it but wife and the students at the school come together to try to help him pass.  Along the way, the special education teacher (Joan Chen) diagnoses Rich as having both ADD and dyslexia, helping to explain why Rich always had trouble in school.  Even though their parents say that Rich is just a janitor and not worth the trouble, the school’s students never stop believing in him.

Made for television, In A Class Of His Own is based on a true story.  It takes a typical “inspiring” approach to the material, which means there’s nothing surprising about this movie.  Everyone likes Rich, even the principal (Tom McBeath) who wishes that Rich would stop dancing in the cafeteria.  Luckily, Lou Diamond Phillips is likable as Rich and his performance suggests that he truly cared about the film’s message.  And it’s a good message!  If you have a dream, don’t give up.  And don’t be afraid to ask for help.

 

Brad recommends THE COPS ARE ROBBERS (1990)!


If you’re looking for a good “dirty cops” movie to pass the time, I ran across an entertaining one today called THE COPS ARE ROBBERS (AKA – GOOD COPS, BAD COPS). It’s currently playing on Amazon Prime and Tubi. The film is a 1990 TV movie based on the real life robbery of the Boston Depositors Trust bank over Memorial Day weekend in 1980 by a group of corrupt cops. I first became aware of the film when I took part in an interview with Robert F. Lyons about his career on the This Week in Charles Bronson podcast. Lyons specifically mentioned this film as containing a role that he really enjoyed.

THE COPS ARE ROBBERS features an incredible cast, and this is what ultimately sets the movie apart for me. The movie opens as top cop Kirkland, played by George Kennedy, assigns Jake Quinn (Ed Asner), to lead a notoriously corrupt law enforcement agency in Massachusetts. No sooner does Quinn take over, when the Boston Depositors Trust is hit over Memorial Day weekend with over $25 million in cash and jewels taken. The crew of criminals includes current cops Jerry Clemente (Ray Sharkey) and Jimmy Donnelly (Steve Railsback), ex-cop Frank Moran (James Keach), and safe expert Benny Brown (Lyons). Over the next 5 years, with the assistance of officers Brill (James Morrison) and Kellogg (Franc Luz), Jake Quinn does every thing he can to bring Clemente and his crew down! 

Ed Asner, Ray Sharkey and Robert F. Lyons are the real standouts of the film. Asner brings a toughness and honesty to his role honed by decades of playing such roles. In other words, the part fits him like a glove. Sharkey plays his part as a man who’s so arrogant and corrupt that he doesn’t seem to realize that using his position of trust in the community for his own selfish gain is a problem. He seems to think he deserves whatever he can steal, and it’s fun to see the pressure squeeze in on him as the film moves along. After watching the film, I can see why Lyons enjoyed playing this part, as he is excellent in his role as the safe expert. He is one of the most important parts of the robbery, he doesn’t trust cops, and he eventually gets the opportunity to give them a reason not to trust him. It’s a nice showcase for his talents. 

At the end of the day, if you like the cast, enjoy movies based on true stories, or appreciate TV movies from the late 80’s and early 90’s, I definitely think you’ll enjoy THE COPS ARE ROBBERS. Veteran Director Paul Wendkos (CANNON FOR CORDOBA, THE BAD SEED) brings a professional touch to the proceedings, and for me, watching his film was a fun way to spend an evening. 

The taxman cometh…


Today I finished my 26th tax season as a certified public accountant who specializes in tax preparation services. For the last 3 months, my life has been all taxes, all the time. That ends today and now my love of my family and movies can once again take center stage! Tonight I’m watching YOJIMBO simply because seeing Toshiro Mifune makes me feel good. Happy Tax Day my friends!

Rated X (2000, directed by Emilio Estevez)


In Rated X, two real-life brothers play another set of real-life brothers.

Emilio Estevez and Charlie Sheen play, respectively, brothers Jim and Artie Mitchell.  Two pot-smoking entrepreneurs who found fame and fortune during the so-called Golden Age of Pornography (Behind the Green Door was their most famous film), Jim and Artie owned the O’Farrell Theater in San Francisco and became famous for their numerous legal troubles and their advocacy for freedom of speech.  While Jim became a semi-respectable figure who hobnobbed with the city’s elite, Artie became known for his consumption of cocaine.  In 1991, Jim drove over to Artie’s house and shot him twice.  Jim, who claimed Artie had threatened to kill him, was convicted of manslaughter and sentenced to six years in prison.  Jim was released after serving three years.  (He died in 2007, long after this film aired on Showtime.)

Rated X tells the story of the Mitchell Brothers in a flat and perfunctory manner.  Emilio Estevez not only plays Jim but he also directs.  He doesn’t bring much visual style or storytelling style to the film, despite a few scenes that appear to have been cribbed from Boogie Nights.  Estevez doesn’t seem to be sure what he wants to say about the Mitchell Brothers and they come across as being the most boring pornographers in history.  What’s really strange is that Estevez and Sheen are not believable as brothers, despite both wearing matching bald caps.  There’s nothing about their performances that would lead you to believe that they grew up with each other.  Casting Sheen as an out-of-control drug addict seems like a no-brainer but he’s not even believable when he’s snorting coke and handing out cheerleader uniforms.  In fact, the film probably would have worked better if Sheen and Estevez had switched roles.  Estevez was always better at showing emotion than Charlie.  In Rated X, Jim is always intense while Artie always has the wide-eyed stare that Oliver Stone made such good use of in Platoon.

I can understand the casting, though.  Jim and Artie were brothers so it makes sense to cast brothers to play them.  Because Charlie has always been best-known for his flamboyant life off-screen, it probably seemed to the obvious decision to cast him as the wild brother while Estevez, who has always come across as being a stable guy offscreen, seemed right for Jim.  But onscreen, Estevez is always better as an unpredictable outlaw and Charlie is always better as someone who tries to keep his real emotions bottled up.  This film was cast based on Estevez and Sheen’s off-camera personas and they’re both miscast as a result.

There’s an interesting movie to be made about the Mitchells.  Their rise and fall mirrored the rise and fall of the 6os counterculture.  (A year before he killed his brother, Jim even tried to launch a Ramparts-style magazine for the 90s.)  Unfortunately, the Showtime-produced Rated X is not it.

Body and Soul (2000, directed by Sam Henry Kass)


Small town boxer Charlie Davis (Ray Mancini) travels to Reno with his best friend and manager, Tiny O’Toole (Michael Chiklis).  Charlie wants to become a professional and he has the support of Tiny and Gina (Jennifer Beals), a saintly hitchhiker that they pick up on the way to Nevada.  Charlie managers to impress a legendary trainer (Rod Steiger) but, as Charlie moves up the ranks, he comes under the influence of a corrupt promoter (Joe Mantegna).  Seduced by a bad girl (Tahnee Welch) and allowing his success to go to his head, Charlie alienates Tiny just when he needs him the most.  A chance to become the champion is coming up and the promoter expects Charlie to throw the fight.

There’s not a boxing cliche that goes unused in this movie.   Simple-minded by talented boxer?  Check.  Loyal best friend?  Check.  Overwrought narration?  Double check because merely calling this film’s narration overwrought doesn’t begin to do it justice.  Saintly good girl?  Check.  Dangerous bad girl?  Check.  Gruff trainer?  Check.  Corrupt promoter?  Another double check.  It’s not that the cliches are necessarily unwelcome.  Most boxing movies follow the same basic plot.  Instead, the problem here is that the film neither has the direction or the performances to make the cliches compelling.

You would think that casting Ray Mancini as a boxer would give this film some authenticity but Mancini looks as uncomfortable in the ring as he does when he’s having to actually act.  As bad as Mancini is, his performance is nowhere near as desultory as Michael Chiklis’s.  Chiklis not only plays Tiny but he also narrates the movie and watching and listening to him, you would be hard pressed to believe that he would someday star in The Shield.  Meanwhile, Rod Steiger and Jennifer Beals are wasted in underwritten roles.

If there is one thing that redeems the film, it’s Joe Mantegna as the crooked promoter.  Using his Fat Tony voice, Mantegna at least seems to have a sense of humor about the film.

I always appreciate a good boxing movie but this ain’t it.