1983’s Star 80 features one of Eric Roberts’s best and most disturbing performances. On the one hand, it’s the film that proved Roberts’s talent. On the other hand, it’s a film in which he does such a good job bringing the repellent Paul Snider to life that he reportedly struggled to convince casting agents that he could characters who weren’t shady and/or mentally unstable.
In this scene, Roberts-as-Snider gets his look down. Snider, a man who has no real identity beyond his desire to be somebody, tries to disguise his emptiness through the right haircut and the right clothes.
I’ve been a fan of James Woods going back to the last half of the 1980’s. As a person who practically lived at the video store in the late 80’s, that period of time was a particularly strong time in Woods’ career and he had emerged as one of those actors whose body of work I wanted to see. With classics already to his name, such as ONCE UPON A TIME IN AMERICA, and having just received his first Oscar nomination for Oliver Stone’s SALVADOR, Woods was doing excellent work in both films and TV.
In 1986, the same year of his Oscar nomination, James Woods won the Primetime Emmy for outstanding lead in a miniseries for his role as a schizophrenic in the film THE PROMISE, which also starred James Garner. Interestingly, he would win the same award 3 years later when he played the founder of Alcoholics Anonymous in MY NAME IS BILL W, again costarring James Garner. James Woods has always spoken so highly of Garner and their work together. That time also found Woods bringing his incredible on-screen intensity to films like BEST SELLER, COP, and TRUE BELIEVER. Each of these films showcase Woods at his very best. These were the kinds of films I was looking for at that time in my life, and that great work turned me into a lifelong fan.
The 90’s saw Woods transition from lead actor in films like THE HARD WAY and DIGGSTOWN (two personal favorites) to supporting roles in films like THE GETAWAY, THE SPECIALIST (co-starring Lisa’s hero Eric Roberts) and CASINO. He was still consistently incredible in these roles, no matter the size of the role or the quality of the film. He received his 2nd Oscar nomination for playing the horrific racist Byron De La Beckwith in Rob Reiner’s GHOSTS OF MISSISSIPPI. His performance is pure evil personified on screen. A couple of years later, Woods would play Hades in the Disney film HERCULES, an experience he treasured personally. Some of his best work in the 90’s was again on TV, with the film INDICTMENT: THE MCMARTIN TRIAL being a real standout. Woods was great at portraying lawyers on screen and this is some of his best work!
One of the coolest things about James Woods to me is the kindness he has shown me on social media in recent years. I have asked him questions about his movies and what it was like working with certain co-stars, and he has taken the time to answer them directly. He has commented on my film reviews of his work, even sharing them out with his millions of followers on multiple occasions. In my wildest dreams, 15 year old Brad could not have imagined an actor of the quality and success of James Woods taking time out to show me appreciation for simply enjoying his incredible work.
Happy Birthday Mr. Woods! Thanks for sharing your talents with all of us and showing that you actually appreciate your fans!
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!
Happy birthday, Eric Roberts!
4 Shots From 4 Eric Roberts Films
Star 80 (1983, dir by Bob Fosse, DP: Sven Nyvkist)
The Pope of Greenwich Village (1984, dir by Stuart Rosenberg, DP: John Bailey)
Runaway Train (1985, dir by Andrei Konchalovsky, DP: Alan Hume)
The Dark Knight (2008, dir by Christopher Nolan, DP: Wally Pfister)
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, for #ScarySocial, I will be hosting 1989’s Cutting Class!
If you want to join us on Saturday night, just hop onto twitter, start the film at 9 pm et, and use the #ScarySocial hashtag! The film is available on Prime and Tubi! I’ll be there co-hosting 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!
This music video is one of Sammy Hagar’s best. It shows how big deal MTV was in 1987 that Mark Goodman appeared as himself to introduce the video. The message of the video seems to be that happy couples watch Sammy Hagar together.
Director Gill Bettman was primarily a television director but he also directed a few videos from Hagar and Chicago.
Eddie Van Halen plays bass in this song. In fact, Eddie played bass for the entire album, I Never Said Goodbye.
Welcome to Late Night Retro Television Reviews, a feature where we review some of our favorite and least favorite shows of the past! On Fridays, I will be reviewing Freddy’s Nightmares, a horror anthology show which ran in syndication from 1988 to 1990. The entire series can be found on Tubi!
This week, Freddy has a message!
Episode 2.9 “Monkey Dreams”
(Dir by Robert Englund, originally aired on December 3rd, 1989)
At a college science lab, Joe (Joseph Cali) tries to communicate with aliens. Next door, Jeannie (Sharon Mahoney) tries to teach her monkey to speak. When Joe starts getting strange messages on his computer, he thinks that it’s an alien code. Then it turns out that it’s actually just the monkey trying to type out its name on its own computer. Joe is then murdered by his bookie.
Meanwhile, Dr. Lynch (Sherman Howard) is using the monkey for some experiments to see how much pain a living creature can take. Dr. Lynch seems to change his mind when he hears the monkey speak. But it turns out that we were just seeing the monkey’s dream.
“Think about it!” Freddy tells us.
Freddy Krueger, animal rights activist? I guess it makes sense when you consider that Robert Englund directed this episode. The episode’s message was heartfelt but it seemed a bit out-of-place on a show about a undead child molester. Whatever message you want to deliver, Freddy Krueger probably isn’t the best one to do it.
Tioga City has a problem. A masked outlaw known as El Azote keeps holding up James Kerrigan’s (Jack Holt) bank. Because El Azote carries a bullwhip, the case is assigned to Marshal Lash LaRue (Humphrey Bogart lookalike Lash La Rue) and his loyal sidekick, Fuzzy Q. Jones (Al St. John). Lash also always carries a bullwhip and because no one in town knows that Lash is actually a marshal, they all assume that he must be El Azote. Shady bar owner Benson (Tom Neal) offers to make a deal with Lash and Fuzzy but then he betrays them the first chance that he gets.
This is one of Lash La Rue’s better movies, which may sound like faint praise when you consider the quality of the typical La Rue film but this is actually a fairly engrossing production. Running under an hour, this Poverty Row western tells its story quickly and it ends with a genuinely exciting bullwhip battle. La Rue may not have been the best actor amongst the B-western stars of the era but he knew how to whip it and to whip it good.
The main attraction here is Tom Neal, playing another shady character. Tom Neal was a tough character both off-screen and on and he brings an authentic edginess to his character, one that was missing from most Poverty Row westerns. Tom Neal is best-known for starring in Detour. A former amateur boxer who hung out with gangsters and dated their girlfriends, Neal was an up-and-coming star until one day in 1951, when he beat up actor Franchot Tone so severely that Tone spent weeks in the hospital with a concussion. Neal’s career never recovered from the notoriety and he quit acting to become a landscaper. In 1965, he was back in the headlines after he was charged with murdering his wife. Convicted of involuntary manslaughter, he served six years in prison and died shortly after he was paroled. He was 58 years old.
Finally, King of the Bullwhip was directed by Ron Ormond, who will always be best known for films such as Mesa Of Lost Women and the infamous If Footmen Tire You, What Will Horses Do? It takes all types to make a B-western.
Welcome to Retro Television Reviews, a feature where we review some of our favorite and least favorite shows of the past! On Fridays, I will be reviewing St. Elsewhere, a medical show which ran on NBC from 1982 to 1988. The show can be found on Daily Motion.
This week, things continue to be awkward in Boston.
Episode 3.16 “Saving Face”
(Dir by Charles Braverman, originally aired on January 16th, 1985)
This episode of St. Elsewhere was even busier than usual.
Tough-as-nails Dr. Mary Woodley (Karen Austin) has been hired to oversee the ER. Dr. Fiscus isn’t happy about it. He’s going to have to work for a woman? Agck!
Dr. Cavanero is also not happy. Of course, the last time that St. Eligius hired a new female doctor, Cavanero told everyone at the hospital that she was a lesbian and, for some reason, this led to the doctor having to leave town. (It was the 80s.) Maybe, just maybe, there are reasons to have doubts about Cavanero’s professionalism.
Dr. Westphall shows Dr. Woodley around the hospital and, as usual, comes across as being the saddest man on the planet.
Dr. Westphall informs Jack that he will be allowed to continue on as a resident. However, Westphall also rather glumly states that he will be watching Jack from now on. Jack better not screw up or Westphall will “come down” on him. Personally, I think Westphall is too depressed to really do much of anything.
Feeling guilty about Murray’s death, Elliott brings Mrs. Hufnagle a ham. Mrs. Hufnagle has an allergic reaction and ends up back in the hospital. “She thinks I tried to kill her!” Elliott says.
A teenager (Tim Van Patten) brings in his pregnant girlfriend, who has OD’d. Dr. Woodley says she is required to call family services. Myself, I started shouting, “I am da futah!” as soon as Tim “Stegman” Van Patten showed up on the screen.
Dr. Caldwell performs extensive plastic surgery on a disfigured young woman. When Dr. Ehrlich says that the patient looks like she got hit with the “ugly stick,” Caldwell kicks Ehrlich off his team.
Nobody wants to work with Ehrlich! Dr. Craig declines to invite Ehrlich to his 34 year anniversary party. Cavanero agrees to take Ehrlich as her date. “What are you doing here!?” Craig snaps as soon as he sees Ehrlich in his living room.
Dr. Craig’s younger brother, William (Lou Richards), also shows up. He was invited at Ellen’s insistence, despite the fact that William and Mark haven’t spoken in over four years. Mark feels that William has wasted his life and his potential. But when William proves to be the life of the party, it becomes apparent that Mark is actually jealous of how likable his younger brother is.
In the kitchen, Mark and William have a long conversation. William admits that he’s struggling to pay the bills. Mark writes him a check. For a few minutes, the brothers actually reconcile.
However, Mark later hears William joking about how much money surgeon’s make and he loses his temper. In front of the entire party, he calls out William and reveals that he doesn’t have a dime to his name.
That night, after everyone else has left and William has gone to the guest room, Ellen tells Mark that he should apologize. Mark agrees and says he’ll do it in the morning.
Later, during the night, Mark steps out of his bedroom and discovers that William has gone home. He left behind the check, which he ripped in half. Mark stares at the check and starts to cry.
This was another episode that did a good job balancing the serious and the humorous. Dr. Ehrlich’s inability to say the right thing will never not be funny. For that matter, the same can be said of Dr. Craig’s general irritation with everything. And yet, seeing Dr. Craig break down and cry was truly heartbreaking. Dr. Craig and Dr. Ehrlich share an inability to socialize and a habit of screwing up even the kindest of gestures. Even when they try to do the right thing, they somehow always manage to screw it up.
Rage Against the Machine’s “Know Your Enemy” from their self-titled debut album is basically the band’s mission statement turned into a grenade. From the opening riffs, it’s all tension and rebellion — Zack de la Rocha warning you that conformity isn’t accidental. The way the track builds is pure RATM: pounding drums from Brad Wilk, Tim Commerford’s bass grinding underneath, and Tom Morello teasing distortion like he’s revving an engine that’s about to explode. If “Bulls on Parade” was about militarism meeting consumerism, “Know Your Enemy” feels like its philosophical origin — the moment the band first decided to flip the system the finger.
There’s something timeless about how direct Zack’s lyrics are. He’s not dressing it up or hiding behind metaphor. Instead, he’s confronting the listener with raw contradictions — America’s promise versus its reality. It’s one of those songs that sounds angrier the more you listen to it, especially when you start catching the subtler digs at political hypocrisy. And when Maynard James Keenan from Tool shows up for a brief vocal cameo in the bridge section, it turns into a call-and-response of defiance — like a friend lending backup in a street fight. Much like how Neil Young’s “Southern Man” has found renewed resonance in today’s social and political atmosphere, Rage Against the Machine has never really lost its relevancy since its release — if anything, time has only magnified what they were shouting about.
Then comes the real highlight: Tom Morello’s solo at around 3:52. It’s one of those moments that remind you why guitarists worldwide still study every flick of his wrist. He doesn’t just shred — he makes the guitar squeal, squeak, and snarl, using those killswitch stutters and wah pedal manipulations that became his signature. It’s funky but chaotic, calculated but wild — exactly what the song’s message is about: controlled rebellion. You can hear him bending sound itself to match Zack’s rage, turning pure technique into expression.
As a companion to “Bulls on Parade,”“Know Your Enemy” is Rage in its rawest form — the blueprint before the refinement. It’s less groove-driven and more ideological, but the fire’s the same. If “Bulls on Parade” is the anthem you blast while staring down the machine, “Know Your Enemy” is what you play while figuring out how it works — and how to dismantle it. Listen to them back-to-back and you’ll hear the evolution of rebellion itself, one riff at a time.
Know Your Enemy
Huh Yeah, we’re comin’ back in with another bombtrack Think ya know it’s all of that, huh Ayo, so check this out, yeah
Know your enemy Come on
Born with insight and a raised fist A witness to the slit wrist As we move into ’92 Still in a room without a view Ya got to know, ya got to know That when I say go, go, go Amp up and amplify, defy I’m a brother with a furious mind Action must be taken We don’t need the key, we’ll break in Something must be done About vengeance, a badge and a gun ‘Cause I’ll rip the mic, rip the stage, rip the system I was born to rage against ’em Fist in ya face in the place and I’ll drop the style clearly Know your enemy
Know your enemy Yeah Ayo, get with this, ugh
Word is born Fight the war, fuck the norm Now I got no patience So sick of complacence With the D, the E, the F, the I, the A, the N, the C, the E Mind of a revolutionary, so clear the lane The finger to the land of the chains What? The “land of the free”? Whoever told you that is your enemy Now something must be done About vengeance, a badge, and a gun ‘Cause I’ll rip the mic, rip the stage, rip the system I was born to rage against ’em Now action must be taken We don’t need the key, we’ll break in
I’ve got no patience now So sick of complacence now I’ve got no patience now So sick of complacence now Sick of, sick of, sick of, sick of you Time has come to pay
Know your enemy
(guitar solo @3:52)
Come on Yes, I know my enemies They’re the teachers who taught me to fight me Compromise, conformity Assimilation, submission Ignorance, hypocrisy Brutality, the elite All of which are American dreams All of which are American dreams All of which are American dreams All of which are American dreams All of which are American dreams All of which are American dreams All of which are American dreams All of which are American dreams
