Retro Television Review: Fantasy Island 6.19 “Edward/Extraordinary Miss Jones”


Welcome to 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 the original Fantasy Island, which ran on ABC from 1977 to 1984.  Unfortunately, the show has been removed from most streaming sites.  Fortunately, I’ve got nearly every episode on my DVR …. nearly being the word to remember.

This week, Sammy Davis Jr. comes to Fantasy Island.

That’s be cool, right?

Episode 6.19 “Edward/Extraordinary Miss Jones”

(Dir by Don Ingalls, originally aired on April 9th, 1983)

Or, it would have been cool if my DVR had actually recorded this episode!

Sorry, it’s the curse of the DVR.  This is one of the episodes that my DVR did not record.  I’m not sure if it’s a case of the episode not being aired or perhaps the cable itself was out when it should have been recording but, for whatever reason, I do not have this episode and I also don’t remember having watched it in the past.

For now, I can’t review it.  But I’m going to leave this here as a placeholder, in case the show ever starts streaming again.

Again, I regret not being able to review this episode at this time.  But, as Mr. Roarke always says, “Smiles, everyone, smiles!”

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.

Song of the Day: Main Theme From Zombi 2 by Fabio Frizzi


Zombi 2 (1979, dir. Lucio Fulci, DP: Sergio Salvati)

For today’s song of the day, we celebrate the birthday of Lucio Fulci with Fabio Frizzi’s main theme from 1979’s Zombi 2.  If you’ve ever seen the film, it’s impossible to hear this piece of music without imagining hundreds of zombies walking across the Brooklyn Bridge.

Scenes That I Love: Liza Meets Emily in Lucio Fulci’s The Beyond


Today’s scene that I love comes from Lucio Fulci’s 1981 masterpiece, The Beyond.

Liza (Catriona MacColl) meets the mysterious Emily (Cinzia Monreale) on one of Louisiana’s famous bridges to nowhere.  This scene is Fulci at his most dream-like.

6 Shots From 6 Films: Special Lucio Fulci Edition


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

98 years ago today, Lucio Fulci — the maestro of Italian genre filmmaking — was born in Rome.  Fulci would go on to direct some of the most visually stunning (and, occasionally, most narratively incoherent) films ever made.  Fulci worked in all genres but he’ll probably always be best remembered for launching the Italian zombie boom with Zombi 2.  His subsequent Beyond trilogy continues to fascinate and delight lovers of both horror and grindhouse filmmaking.

Lucio Fulci, needless to say, is a pretty popular figure here at the TSL.  In honor of the date of his birth, it’s time for….

6 Shots From 6 Lucio Fulci Films

A Lizard In A Woman’s Skin (1971, dir by Lucio Fulci, DP: Luigi Kuveiller)

Don’t Torture A Duckling (1972, dir by Lucio Fulci, DP: Sergio D’Offizi)

Zombi 2 (1979, dir by Lucio Fulci, DP: Sergio Salvati)

The Beyond (1981, dir by Lucio Fulci, DP: Sergio Salvati)

The House By The Cemetery (1981, dir by Lucio Fulci, DP: Sergio Salvati)

Murder Rock (1984, dir by Lucio Fulci, DP: Giuseppe Pinori)

Music Video of the Day: Coming Of Age by Cassandra Coleman (2025, Dir. by Miles Murphy)


At first, I didn’t think I was going to like this video because, at first, the song sounded like every other song that’s been released nowadays.  Sometimes, I feel like every up-and-coming female singer works with same committee of songwriters and every song ends up sounding the same as a result.  Luckily, around the two-minute mark, the song finally got interesting and it won me over.

The video was filmed in the country and it’s pretty to look at.  These are the type of locations that I love to visit with my camera to see if maybe I can capture some of that rural beauty before it goes away.  Going for a nice walk is something that I suggest to anyone who finds themselves away from the city.  Sometimes, you really do find some strikingly beautiful locations if you’re willing to look for them.  Here’s one of my favorite pictures, which I took at a country cemetery in Arkansas.  I was lucky enough to turn around just in time to see a deer making a visit.

by Erin Nicole

Enjoy!

 

Late Night Retro Television Review: CHiPs 3.23 “Nightengale”


Welcome to Late Night Retro Television Reviews, a feature where we review some of our favorite and least favorite shows of the past!  On Mondays, I will be reviewing CHiPs, which ran on NBC from 1977 to 1983.  The entire show is currently streaming on Prime!

This week, someone is performing emergency surgery on the street!

Episode 3.23 “Nightengale”

(Dir by Don Weis, originally aired on March 23rd, 1980)

Something strange is happening in Los Angeles.  Every time there’s a serious accident, a middle-aged woman (Louise Latham) appears and provides medical help to the injured.  At the start of the episode, she even performs an emergency tracheotomy on the side of the freeway.  Whenever the highway patrol officer on the scene asks her for her name, she avoids the question.  And, whenever an ambulance shows up, she always manages to slip away.  As Jon and Ponch discover, the woman is named Lucy Kenton and, even though she’s a medical expert, she’s not a doctor.  With the help of the always-understanding Sgt. Getraer, Jon and Ponch help her to get her medical license so that she can legally perform surgery on the street.  Good for them!

This was a bit of an odd episode.  It seemed strange that the woman somehow always seemed to be around whenever there was an accident.  A car would crash and suddenly, Lucy would come running up, almost as if she had been patiently waiting.  The show acted as if it was just a coincidence but what are the chances that the same woman would be present at the sites of multiple accidents over the course of just a few days?  And what are the chances that Ponch would just happen to be the responding officer at two of those accidents?

To be honest, that’s one of the things that always struck me as being strange about CHiPs.  Somehow, the same people keep running into Ponch and Jon over and over again.  I mean, Los Angeles is a big city and it’s home to a lot of people.  But if you run into Ponch and Jon once, it seems you’re destined to keep seeing them for at least a week.  Once they get that first speeding ticket or stern warning, people literally can’t step outside of their house without Ponch and Jon just happening to be somewhere nearby.  That’s the sort of thing that would make me paranoid.

The B-plot of this episode featured a teenage couple whose van kept breaking down whenever they tried to run away from home.  There wasn’t much to this story but it did feature “special guest star” Dana Plato as the younger sister of the female half of the couple.  Plato delivered all her lines as if she was auditioning for a school play.  Oddly enough, Dana Plato appeared at the start of this season as herself.  She was one of the many celebrities to show up for the roller disco episode.

There really wasn’t much to this episode.  It wasn’t terrible but it did feel somewhat insubstantial.  We’re coming up on the end of the season and, from the last few episodes, I get the feeling the show’s writers just wanted to wrap things up and start their vacations.  I don’t blame them!

Next week, the third season concludes!

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.