I Watched Art Show Bingo (2017, Dir. by Matthew Fine)


Wil Hunter (James Maslow) wanted to be a painter in New York but instead, he ended up working for his Dad’s storage unit business with his brother, aspiring filmmaker Orrie (Jesse Pepe).  When Wil’s ex-girlfriend, Susan (Lillian Solange Beaudoin), arranges for Wil to have a tent at a local art show, it revives Wil’s dreams of making his living as an artist.  While Orrie films a documentary about what’s goes on behind-the-scenes at an art show, Wil gets to know fellow artists like Chief (Robert Wilson Seymone) and Vic (Jason Kypros).  He also falls in love with the owner of tent-next-door, Rachel (Ella Lentini).

Art Show Bingo is a sweet movie, a love story with an edge of authenticity.  I get the feeling that it was made by people who actually have experience with art fairs and “starving artist” shows because all of the little details feel true, like the customers who try to set their own prices, the kids who don’t often understand that are should be looked at but not touched, and the snooty judges who dislike everything they see.  I’ve been to enough amateur art fairs that I immediately recognized a lot of the situations and the characters in Art Show Bingo.  (After seeing this movie, I’m definitely going to be nicer the next time I go to one.)  Personally, I was not really that impressed by Wil’s paintings but art is often in the eye of beholder and his work did get better as the movie went on.  Orrie got on my nerves but I liked both Wil and Rachel and I really wanted to see them get together.

I liked Art Show Bingo a lot more than I thought I would.  It wasn’t perfect but it still left me smiling.

Song Of The Day: Let It Snow! Let It Snow! Let It Snow! by Dean Martin


We woke up to glorious snow this morning.  It’s pretty, even if it’s not quite the blizzard that we were promised by the weather service.  That said, it’s 11 degrees outside and I’m looking forward to spending the next few days cuddled up inside.

In others words, let it snow!

Here’s Dean Martin expressing the thought perfectly in today’s song of the day.

Oh, the weather outside is frightful
But the fire is so delightful
And since we’ve no place to go
Let it snow! Let it snow! Let it snow!

Man it doesn’t show signs of stopping
And I brought me some corn for popping
The lights are turned way down low
Let it snow! Let it snow!

When we finally kiss goodnight
How I’ll hate going out in the storm
But if you’ll really hold me tight
All the way home I’ll be warm

And the fire is slowly dying
And, my dear, we’re still goodbying
But as long as you’d love me so
Let it snow! Let it snow and snow!

When we finally kiss goodnight
How I’ll hate going out in the storm
But if you really grab me tight
All the way home I’ll be warm

Oh, the fire is slowly dying
And, my dear, we’re still goodbying
But as long as you’d love me so
Let it snow, let it snow, let it snow!

Songwriters: Jule Styne / Sammy Cahn

SHANE (The TV Series) – Episode 8: The Other Image (originally aired October 29th, 1966)


Episode 8 begins with Sam Grafton (Sam Gilman) riding up to the Starett cabin as Shane (David Carradine), Tom (Tom Tully). Marian (Jill Ireland), and Joey (Christopher Shea) are chopping and stacking wood. He has a new plow for the family, and he also has a letter that has arrived for Marian from Boston. The letter is from Mr. Warren Eliot (Robert Brown), a handsome former boyfriend who is now a state Senator in Massachusetts. His letter explicitly states the fact, and also reminds Marian, that she was once “the most beautiful girl in Boston.” Tired of working like a mule for little or no appreciation and only discussing things like plow handles and wood for the winter, Marian is excited when Warren’s letter announces that he is coming for a visit. This throws the household, and Shane, into quite a tizzy. And it gets even worse when Warren arrives, for everyone but Marian and Rufe Ryker (Bert Freed) that is. Marian feels like she’s 18 again, and Ryker sees this as an unexpected opportunity to get the Starett’s and Shane out of the valley. Spending their days riding horses and talking about the old times, the new times, and everything in between, Warren eventually asks Marian to marry him and go back to Boston. Marian is unable to say yes or no immediately and asks for a little time to think about it, especially since it would be such a big change for Joey. Of course, all of this puts Shane in a pissy mood, but he still won’t tell Marian exactly how he feels, even though she presses him about it a couple of times. Will Marian agree to marry the dashing Warren Eliot? Will Ryker finally get his hands on the Starett land? Will Joey and his turtle have to travel across the country? Will Shane have to pull up stakes and move on down the trail? I think you probably know the answers, but the fun is always in watching it unfold! 

Near the end of my review of episode 7, I made the following comment, “I don’t think they (Shane and Marian) look at each other longingly a single time, which did make me a little sad. Here’s hoping they’ll double that up in Episode 8!” All I can say is be careful what you wish for. In this episode, Marian and her old boyfriend, now Senator Eliot, take center stage. And Shane is off to the side sulking most of the time while Marian is basking in all the compliments and attention. I was kind of hoping that Warren would turn out not to be quite as perfect as he first appears, you know, one of those deals where he has duplicitous motives or something. But no, he really is just about perfect. And Shane, poor Shane… you would think that he might finally tell Marian how he really feels about her. But not our Shane. When she point blank asks him what he thinks she should do, with a little hope in her voice that he might try to talk her out of it, his response is “you’d be crazy not to say yes.” And then he goes off to sulk some more. At the end of the day, I can’t help but wonder if Shane doesn’t have a hell of a point! But the heart wants what the heart wants, and it doesn’t always make sense. 

As for the moments where Shane and Marian look longingly at each other, this episode does indeed double up with a couple of doozies. The first time is when Shane tells her that he introduced himself to Warren earlier that day at Grafton’s as her “hired man.”  She tells Shane that “you know you’re family. You know that don’t you Shane? Don’t you?” As Shane is hitching up his horse to leave, she runs out the door and stares at him, then he stares at her and then does a double take, and then she stares at him some more. Even I started to get a little uncomfortable! And there was another scene late in the episode where they chop wood together late in the evening that has be serving as a metaphor for making love or something. They are working that wood together and looking at each other and sweating. The scene ends with her saying “it’s good to be needed,” to which he replies, “yeah” while somewhat out of breath. From that point forward, we know poor Warren doesn’t stand a chance. I’ve never watched any of these episodes before starting this series of reviews, so I had no idea this was coming when I finished up last week’s review. Needless to say, Episode 8 fulfilled my quota of sexual tension between the two for at least the next few episodes combined! 

Overall, while I did enjoy episode 8, I must admit that it’s not one of my favorite episodes so far, especially with Shane coming off more like lovelorn teenager than a tough gunslinger for most of the episode. The resolution is a little silly as well, with Shane and Warren actually teaming up in a bar fight with Ryker’s men. But with that said, the writers must be credited for providing me exactly what I asked for in my last review, in spades. So, thank you Jack Schaefer and Ellen Violett! As we’re reaching the midway point of the complete series, I’m looking forward to what episode 9 has to offer. 

Scenes That I Love: Angie Dickinson Hits Lee Marvin In Point Blank


Point Blank (1967, directed by John Boorman)

Today is the anniversary of the birth of one of the greatest of the screen tough guys, Mr. Lee Marvin!  Today’s scene that I love comes from the 1967 film, Point Blank.  In this short but emotionally exhausting scene, Angie Dickinson hits Lee Marvin’s career criminal, over and over again.  Marvin, for his part, barely reacts.  This scene is the epitome of Lee Marvin’s mystique.  He played men who only showed emotion when it was necessary.  Dickinson hits Marvin to try to make him feel something but Marvin’s career criminal in beyond such concerns.

From Point Blank, here is today’s scene that I love:

4 Shots From 4 Films: Special John Frankenheimer 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!

John Frankenheimer was born 95 years ago today, in New York City.  He got his start working in live television and went on to become one of the best directors of thrillers around.  After getting off to a strong start in the 60s, directing several classic films (many of which had a political subtext), Frankenheimer struggled in the 70s (though even that decade saw him directing the classic Black Sunday) before making a comeback in the 90s.  (1998’s Ronin is regularly cited as having one of the best car chases ever captured on film.)  He was also one of the first film directors to make the transition to regularly working for cable channels like TNT and HBO.  Indeed, the films that he made for HBO played no small part in establishing HBO’s reputation as being a “prestige” network.

It’s time for….

4 Shots From 4 John Frankenheimer Films

The Manchurian Candidate (1962, dir by John Frankenheimer, DP: Lionel Lindon)

Seven Days In May (1964, dir by John Frankenheimer, DP: Ellsworth Fredericks)

Seconds (1966, dir by John Frankenheimer, DP: James Wong Howe)

Black Sunday (1977, dir by John Frankenheimer, DP: John A. Alonzo)

Music Video of the Day: Down by Victoria Justice (2024, dir by Luis De Pena)


Today, we wish a happy birthday to the one and only Victoria Justice!  I’m currently up at our lakehouse so I can relate to this video in spirit, even though it’s currently 18 degrees up here.  It’s the thought that counts.

Enjoy!

Late Night Retro Television Review: Pacific Blue 1.7 “Heatwave”


Welcome to Late Night Retro Television Reviews, a feature where we review some of our favorite and least favorite shows of the past! On Tuesdays, I will be reviewing Pacific Blue, a cop show that aired from 1996 to 2000 on the USA Network!  It’s currently streaming everywhere, though I’m watching it on Tubi.

This week, there’s a heatwave on the beach!

Episode 1.7 “Heatwave”

(Dir by Lyndon Chubbuck, originally aired on April 13th, 1996)

A heatwave has hit Santa Monica!  Everyone is sweltering and the cameras of Pacific Blue are there to record every drop of sweat.  The AC at Chris’s apartment is not working so, while she waits for it to get repaired, she moves in with TC.  What will TC’s girlfriend think of that?  Actually, she won’t think anything about that because her character disappeared after the pilot.

As I watched this episode, it occurred to me that the show’s writers really seemed to have no idea who the characters actually were.  Instead of coming across like actual human beings, every character has one personality trait that the writers insist on hammering into every scene.  Chris is always complaining about something.  Even after TC offers to let her stay at his apartment, Chris complains.  Chris complains so much that it actually becomes a bit whiny on her part.  But it’s not really Chris’s fault.  It’s the fault of the writers who obviously assumed that writing a “strong woman” meant making her act like a bitch no matter what the situation.  TC’s character trait is that he has a permanent chip on his shoulder even though every episode so far has essentially been a TC love fest.  He’s second-in-command of the bike cops.  He’s never held responsible for his mistakes.  He comes from a rich family.  Lt. Palermo praises him nonstop.  And yet TC always seems like he’s bitter about something.  And, as with Chris’s permanent bad mood, it’s just because the show’s writers didn’t bother to give him a personality beyond always acting like he has something to prove.  The episodes hints at an attraction between Chris and TC but they would really be a terrible couple.

This episode finds a radio sex therapist (Maura Peters) being stalked by Jordan Crane (Denis Forest, playing the same type of creepy psycho that he played on multiple episodes of Friday the 13th), a listener who is obsessed with her and who murders anyone who he thinks is getting too close to her.  TC has a crush on the sex therapist.  Chris dislikes the sex therapist and thinks TC is dumb because of course she does.  Chris and TC run afoul the homicide detective, Bart Browning (Barry Lynch), who is investigating the case.  Browning doesn’t have much respect for cops who ride bicycles.  Palermo, Chris, and TC go out of their way to change his mind.

So, yes, this is yet another episode where Pacific Blue tries to convince us that cops on bikes aren’t as dorky and useless as they look.  Every time Browning makes fun of them, we get a shot of the bike cops chasing a thief or investigating a lead.  The problem is that Browning does have a point.  The cops do look really silly on their bikes.  The fact that they often have to pick up and carry their bikes doesn’t help.  And listen, this is not an anti-bicycle thing.  I have a bike,  I occasionally ride it in the park.  (What I don’t do is ride it in the middle of the street.)  When you’ve got asthma like me, cycling is a good way to keep your lungs healthy.  But if I need the police, I want to see a squad car and I don’t want to have to deal with anyone wearing shorts.

While this is going on, Victor and Cory investigate a thief who hires strippers to perform in stores and bars.  While everyone is distracted, the thief robs the place.  This storyline actually did make me laugh a little.  All of the male witnesses could perfectly describe the strippers but none of them even saw the man sneaking behind the counter with a gun.  In the end, the thief is captured in an elaborate undercover sting.  Cory and Chris pretend to be the dancers while Palermo pretends to be the bartender and the thief soon discovers everyone else in the bar is a cop as well.  At least in this storyline, Chris’s bad mood had to do with being annoyed with the objectification of women as opposed to being mad because someone offered her a place to stay so she wouldn’t die of heatstroke.

Finally, Elvis discovers a lot of holes on the beach and thinks that the aliens are coming.  It turns out that a local golf course was just stealing the sand for their sand traps.  I’m glad that worked out!

As much as I’ve complained, this episode of Pacific Blue was a slight improvement over the previous few episodes, if just because the the subplots were vaguely interesting and/or amusing.  Chris and TC continue to be the weakest part of the show.  Hopefully, they’ll get some new personality traits soon.

Happy 71st Birthday, John Travolta!!


I couldn’t let today go by without recognizing John Travolta. I’ve enjoyed so many of his films over the years, especially movies like GREASE, BLOW OUT, PULP FICTION, and GET SHORTY. But the movie I probably love the most is FACE/OFF. I remember watching it at the movie theater back in 1997 and thinking it was the best movie ever. It came out at a perfect time when I was obsessed with John Woo, and I was still enjoying Travolta’s mid-90’s comeback. I still watch FACE/OFF at least once every year.

Enjoy this excellent scene from John Woo’s FACE/OFF!

14 Days of Paranoia #4: Conspiracy (dir by Adam Marcus)


2008’s Conspiracy opens in Iraq.

A group of American soldiers are searching for militants.  Amongst them is the grim-faced William “Spooky” MacPherson (Val Kilmer).  When an adorable little girl with a teddy bear approaches the soldiers, MacPherson barely notices.  His mind is on adult threats.  But when the girl reveals that she has a bomb in her backpack, the majority of the soldiers are blown up with her. MacPherson survives, though he loses a leg and ends up with such severe PTSD that he can no longer carry a gun or even make a fist.  Helping him recover from his wounds is his best friend and fellow soldier, Miguel (Greg Serano).

A year or so later, MacPherson is back home.  He lives in a run-down apartment in New York and spends most of his time with a naked woman who speaks Russian.  (Whether she was meant to be his girlfriend or just someone he hired is unclear.)  Miguel continually calls him up and asks him to come down to New Mexico and work on his ranch.  MacPherson refuses at first.  He wants to remain isolated from the world.  But when his flashbacks of the explosion become too intense, MacPherson finally decides to accept Miguel’s offer.  MacPherson pawns a gun so that he’ll have enough money to get a bus ticket.  And then, he heads for New Mexico.

The only problem is that, once MacPherson arrives in New Mexico, Miguel is nowhere to be seen.  Walking through a town that appears to have recently been constructed, MacPherson meets a lot of people who insist that they’ve never heard of Miguel and that there is no ranch at the address that Miguel gave MacPherson.  The police carefully watch MacPherson as he makes his way from business to business, searching for his friend.  No one in town is friendly.  No one seems to want MacPherson around.  Eventually, MacPherson is approached by Rhodes (Gary Cole), the businessman who is building the town and who apparently controls everything that happens within the town limits.  Rhodes is friendly.  Rhodes says that MacPherson, with his white skin and blonde hair, is exactly the type of person that he likes to see in his town.  Can you tell where this is going?

You probably already guessed that Rhodes is an evil businessman who is involved in human trafficking and who smuggles Mexicans across the border to work for his company before then sending back to their home country with next to no money.  You’ve also probably figured out that Miguel was killed by the corrupt police force.  If you haven’t figured that out, you’ve never seen a movie before.  MacPherson teams up with the only kind person in town, Joanna (Jennifer Esposito), and they try to stop Rhodes’s operation.  The entire movie seems to be building up to a scene where MacPherson and Joanna take on the whole town but instead, somewhat anticlimactically, everyone just stands around and watches Rhodes battle MacPherson.  Conspiracy promises a lot but it doesn’t really deliver.

This was one of Val Kilmer’s first straight-to-video roles and he gives a rather detached performance, which is a shame because an actor of Kilmer’s talent could have really done something with this role if he had been in the mood to do so.  But I don’t blame Kilmer for not seeming to be that invested in Conspiracy.  It’s not a very interesting film.  Even the usually dependable Gary Cole just seems to be going through the motions.  The film’s attempt to comment on the pressing political issues of 2008 — illegal immigration, the war in Iraq, the burst of the housing bubble, the recession — only serve to reinforce how shallow and heavy-handed the film actually is.  Watching Conspiracy in 2025, the most interesting about it is that the issues it deals with are the issues that, 17 years later, Americans are still dealing with.

With its portrayal of an isolated town and a scarred war veteran looking for a missing friend, Conspiracy has a lot in common with the classic 1955 film, Bad Day At Black Rock.  Now, that’s a film that is definitely worth seeing!

Previous entries in 2025’s 14 Days Of Paranoia:

  1. The Fourth Wall (1969)
  2. Extreme Justice (1993)
  3. The Lincoln Conspiracy (1977)