Music Video of the Day: Breathless by the Corrs (2000, dir by Nigel Dick)
Even music videos get special director’s cuts nowadays.
Enjoy!
Late Night Retro Television Reviews: Monsters 3.2 “Murray’s Monster”
Welcome to Late Night Retro Television Reviews, a feature where we review some of our favorite and least favorite shows of the past! On Wednesdays, I will be reviewing Monsters, which aired in syndication from 1988 to 1991. The entire series is streaming on YouTube.
This week, Monsters tries to be funny and it actually succeeds for once!
Episode 3.2 “Murray’s Monster”
(Dir by Scott Alexander, originally aired on October 7th, 1990)
Murray’s Monster opens with Sherwin (Joe Flaherty) laying on a psychologist’s couch and talking about how much he hates his overbearing wife while Debbie (Teresa Gaznel) takes notes. Debbie suddenly tells Sherwin that they’re out of time because Sherwin has to see his next patient. Sherwin sits up on the couch and Debbie returns to the reception desk. It’s an obvious joke but one that is well-played by both Joe Flaherty and Teresa Ganzel. That’s another way of saying that it made me laugh, even though I saw it coming.
Sherwin’s new patient is Murray (Marvin Kaplan). Murray is nervous and apologetic. He even apologizes for coming to his appointment, offering to come back next week if it’s too much of a bother for Sherwin to see him that day. Murray explains that people have been kicking him around all of his life and he’s sick of it. Sherwin, after telling Murray that he’s less than a man, puts Murray under hypnosis. Sherwin tells Murray to be more assertive. Murray promptly turns into an angry ape-man (Colin Penman). Ape-Man Murray is angry and destructive but, once he calms down, he turns back into Murray.
Frightened at first, Sherwin soon realizes that he can use Murray to his advantage. He invites Murray to have dinner with his wife, Luann (Miriam Flynn). His plan is that Murray will get angry with Luann, turn into an ape, and kill her. Then Sherwin will be free to pursue Debbie. Sherwin’s plan works in that Murray does get frustrated and he does turn into the ape. But, instead of killing Luann, he instead picks her up and runs off with her.
The next day, Sherwin is shocked when Murray and Luann show up at his office. It turns out that, since Murray was sick of people always telling him what to do, Ape Murray decided to disobey Sherwin’s wishes and has instead fallen in love with Luann. When Sherwin gets upset and starts yelling, Murray turns into the ape again. Uh-oh!
(As Luann puts it, “You’re a bad psychologist, Sherwin, because you never listen to your patients!”)
I have to say that I usually cringe whenever Monsters tries to be deliberately funny but this episode actually made me laugh. Joe Flaherty and Marvin Kaplan both had great comedic timing and, even though I saw the final twist coming, the dialogue was still clever enough and the performances sharp enough to hold my interest. This was a good episode. Good for Murray. Good for Monsters!
With the the holidays approaching, this is my final review of Monsters for 2024. My Monsters reviews will return on January 1st, 2025!
Retro Television Review: The Love Boat 5.10 “Love, Honor and Obey/Gladys and Agnes/Radioactive Isaac”
Welcome to Retro Television Reviews, a feature where we review some of our favorite and least favorite shows of the past! On Wednesdays, I will be reviewing the original Love Boat, which aired on ABC from 1977 to 1986! The series can be streamed on Paramount Plus!
This week, Isaac has a problem! Oh no! Who will man the bar?
Episode 5.10 “Love, Honor and Obey/Gladys and Agnes/Radioactive Isaac”
(Dir by Robert Scheerer, originally aired on November 28th, 1981)
Oh no! Isaac’s radioactive!
Well, no, not in the way that you might be thinking. Before leaving on this week’s cruise, Isaac had some dental work done and his new fillings can pick up radio stations. The only real problem with that is that Isaac likes a passenger named Patty Phelps (Berlinda Tolbert) and Patty likes him, except for when his teeth start playing music. It leads Patty to suspect that Isaac is just pulling a big prank on her and she doesn’t have any patience for that nonsense. Especially when there’s another handsome single man on board (played by Darrow Igus) whose teeth do not pick up radio stations. Is Isaac willing to sacrifice his fillings for love?
Meanwhile, Jerry Stiller and Anne Meara play …. well, they might as well just be playing Jerry Stiller and Anne Meara. I’ve seen Jerry and Anne on a few of these shows and they always play the same two characters regardless of what their characters may be named. In this case, Jerry and Anne want to renew their wedding vows on the Love Boat. Captain Stubing is happy to oblige but Anne decides that she doesn’t want to vow to “obey’ her husband. Jerry and Anne get into a fight and it looks like the marriage might be over! However, things work out in the end. They renew their vows and then Anne starts bossing Jerry around. It was a pretty simple story but Jerry Stiller and Anne Meara were so likable together that it didnt matter. I was happy they stayed together.
Finally, Agnes (Audra Lindley) and Gladys (Marion Ross) are two sisters who are taking a cruise together. Agnes meets and falls for Henry Whitewood (Bernard Fox), who is a genuine English earl! Gladys doesn’t want to lose Agnes and tells Henry that Agnes doesn’t have much money. It turns out that Henry doesn’t have a lot of money either. But he’s willing to sell what little land he does have so that he can refurbish the manor and invite Agnes to be his wife. Awwww! And don’t worry about Gladys. She realizes that the most important thing is that her sister’s happy.
This cruise was a bit on the forgettable side. After last week’s two-hour extravaganza, this week’s episode was rather low-key and almost mild-mannered. It was pleasant without being particularly memorable. I think we’ve all had vacations like that!
Speaking of vacations, the holidays are approaching so this is going to be final Love Boat review of 2024. My reviews will resume on January 1st!
THE LONG KISS GOODNIGHT (1996) – the $4 Million script!

Shane Black wrote a couple of my favorite action movies during my teenage years, LETHAL WEAPON and THE LAST BOY SCOUT. His scripts are characterized by strong violence balanced out by a healthy amount of comedic banter. That lethal (pun intended) combination made Shane Black a star in his own right, with his work being very much in demand. In 1994 he sold his script for THE LONG KISS GOODNIGHT for the unheard price of $4 Million. After hitting this payday, Black would go dark for the next decade and not release another screenplay until 2005’s KISS KISS BANG BANG, which was also his directorial debut.
THE LONG KISS GOODNIGHT opens with Samantha Caine playing Mrs. Claus in her small town’s Christmas parade. She has a nice boyfriend, an 8 year old daughter, and she’s a member of the PTA. This is pretty good for a lady that doesn’t remember a damn thing about her life prior to 8 years ago. After celebrating her friends at a Christmas party, she’s driving a soused old man (Alan North) home when she hits a deer and flies right through the window and lands on a snowbank. This wakes up some of her memories and she starts having a few quick flashbacks and some odd dreams from her past, including the name Charly Baltimore. She also learns that she can easily break a buck deer’s neck and handle knives like a champ! Around this same time, low-rent private detective Mitch Hennessy (Samuel L. Jackson) who has been paid a retainer by Ms. Caine to be on the lookout for any clues related to her past, gets lucky and finds a letter from Caine to a supposed former lover. He heads her way to give her the update. When a local news program shows the beautiful Ms. Caine in the parade, some enemies from her past see the story and head to town to try to kill her. Surviving the attempt on her life, and now with Hennessy by her side, Samantha leaves to find out who she really is and unravel the secrets of her past. Is she a chef? Is she a school teacher? Is she a badass hit woman named Charly Baltimore? The fun is in finding out!
Geena Davis is so good in her role as Samantha Caine / Charly Baltimore. She’s simultaneously beautiful, funny, sexy, cute as a button, and badass. She was married to the director, Renny Harlin, when the film was made and they both went all out to create a strong, female action hero. I think they succeeded admirably. Samuel L. Jackson is just so good in this type of role. He’s sarcastic and funny, a little sleazy, and very much a reluctant hero who does the right thing when he has to. In 2019, Jackson would go so far as to tell late night host Jimmy Fallon that Mitch Hennessy is his personal favorite role. The remainder of the cast is fine, with Brian Cox particularly standing out. His declarative statement about the ultimate results of a small lapdog continually licking his asshole really hit home for me and is reason enough alone to watch this film.
Ultimately, even though I personally went to see it during its theatrical run, THE LONG KISS GOODNIGHT underwhelmed at the box office in 1996. It grossed around $90 million worldwide on a budget of around $65 million. But that’s fine to me, I enjoyed it in 1996, and I enjoyed it again when I watched it today!
Artwork of the Day: Flirt (by Peter Driben)
Music Video of the Day: Perfect Too by Blood Lemon (2024, dir by Grant Osman)
Enjoy!
Late Night Retro Television Review: Baywatch Nights 2.22 “A Thousand Words”
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 Baywatch Nights, a detective show that ran in Syndication from 1995 to 1997. The entire show is currently streaming on YouTube!
This week, we wrap up Baywatch Nights.
Episode 2.22 “A Thousand Words”
(Dir by Tracy Lynch Britton, originally aired on May 16th, 1997)
After two seasons of gangsters and monsters, Baywatch Nights ends with yet another haunted house story.
Well, technically, it’s actually a haunted restaurant. Diamont drags Ryan and Mitch to an abandoned restaurant that is said to be haunted. Accompanying them is a researcher into the paranormal, Sarah (Kathy Tragesar). Sarah explains that the restaurant has a long history of strange occurrences. Diamont explains that, recently, two women have been killed and a man left in a coma after entering the restaurant. Diamont thinks that it’s a poltergeist. Mitch, as usual, is skeptical.
*sigh*
Seriously, why is Mitch still a skeptic? I’ve gone into this before but it continues to bother me. After everything that Mitch had seen and experienced over this season, why does he still refuse to believe in the supernatural? Even Agent Scully eventually admitted that Mulder had a point.
Anyway, Ryan vanishes and finds herself in another dimension where she’s menaced by the knife-wielding murderer (John Snyder). The murderer is driven by his relationship with his mother, whose portrait hang around the restaurant and whose painted facial expression changes depending on how determined her son is to kill. (That was actually a nice touch.) Mitch puts a call into his old friend (and season one co-star), Garner Ellerbee. Garner shows up with psychic named Kira (Jazmin Lewis) and soon, Kira is in the other dimension as well….
Long story short, the poltergeist is eventually defeated. Kira and Ryan come back to our world. Mitch says that he loves Ryan. He and Ryan share an embrace and start in on some really passionate kissing. (Woo hoo!) The show ends.
The main problem with this episode is that Mitch and Ryan didn’t really get to do that much. For the most part, Kira did all the work and the episode so focused on her that I wouldn’t be surprised if it was meant to be a sort of backdoor pilot for a proposed series about Kira. As well, the killer poltergeist is scary when he first appears but he becomes progressively less scary as the episode goes on. By the end of the episode, he’s just kind of whiny. As a series finale, this was definitely a bit underwhelming.
That said — hey, Mitch and Ryan kissed! Seriously, I’ve been waiting for that moment ever since I first started reviewing this show. No matter what else one might say about Baywatch Nights, David Hasselhoff and Angie Harmon had great chemistry together. I won’t necessarily miss reviewing this show but I will miss seeing the two of them together.
In the end, Baywatch Nights was a pretty uneven show but it was definitely fun. I think it had potential but I’m going to guess it was doomed by being a part of the Baywatch franchise. People who didn’t like Baywatch weren’t going to watch a version of the show that took place at night. People who did like Baywatch were undoubtedly disappointed by the lack of red swimsuits. The ratings went down. Judging from the final few episodes, the production budget got seriously cut. The Hoff and Harmon were fun to watch but their chemistry couldn’t save the show.
Well, that completes Baywatch Nights! Retro Television Reviews is going on a holiday break but, on January 7th, I will start reviewing a new show in this timeslot! Until then, happy holidays to all the lifeguards out there.
Here’s Al Capone With The 2024 Nominations of the Chicago Film Critics Association!
The Chicago Film Critics Association has announced their nominations for the best of 2024! The winners will be announced on December 12 …. hey, that’s right around the corner.
BEST PICTURE
Anora
The Brutalist
Furiosa: A Mad Max Saga
I Saw the TV Glow
Nickel Boys
The Substance
BEST DIRECTOR
Sean Baker – Anora
Brady Corbet – The Brutalist
Coralie Fargeat – The Substance
RaMell Ross – Nickel Boys
Jane Schoenbrun – I Saw the TV Glow
BEST ACTOR
Adrien Brody – The Brutalist
Timothée Chalamet – A Complete Unknown
Colman Domingo – Sing Sing
Ralph Fiennes – Conclave
Keith Kupferer – Ghostlight
BEST ACTRESS
Cynthia Erivo – Wicked
Marianne Jean-Baptiste – Hard Truths
Mikey Madison – Anora
Demi Moore – The Substance
Léa Seydoux – The Beast
BEST SUPPORTING ACTOR
Yura Borisov – Anora
Kieran Culkin – A Real Pain
Clarence Maclin – Sing Sing
Guy Pearce – The Brutalist
Adam Pearson – A Different Man
BEST SUPPORTING ACTRESS
Danielle Deadwyler – The Piano Lesson
Ariana Grande-Butera – Wicked
Natasha Lyonne – His Three Daughters
Margaret Qualley – The Substance
Zoe Saldaña – Emilia Pérez
BEST ORIGINAL SCREENPLAY
Anora by Sean Baker
The Brutalist by Brady Corbet & Mona Fastvold
Challengers by Justin Kurtizkes
A Real Pain by Jesse Eisenberg
The Substance by Coralie Fargeat
BEST ADAPTED SCREENPLAY
The Beast by Bertrand Bonello, Guillaume Bréaud, & Benjamin Charbit
Conclave by Peter Straughan
Nickel Boys by RaMell Ross & Joslyn Barnes
Nosferatu by Robert Eggers
Sing Sing by Clint Bentley & Greg Kwedar
BEST ANIMATED FEATURE
Flow
Inside Out 2
Memoir of a Snail
Wallace & Gromit: Vengeance Most Fowl
The Wild Robot
BEST DOCUMENTARY
Dahomey
Daughters
No Other Land
Soundtrack to a Coup d’Etat
Sugarcane
BEST FOREIGN LANGUAGE FILM
All We Imagine as Light
Emilia Pérez
Evil Does Not Exist
Red Rooms
The Seed of the Sacred Fig
BEST ART DIRECTION/PRODUCTION DESIGN
The Brutalist
Dune: Part Two
Nosferatu
The Substance
Wicked
BEST CINEMATOGRAPHY
The Brutalist – Lol Crawley
Challengers – Sayombhu Mukdeeprom
Dune: Part Two – Greig Fraser
Nickel Boys – Jomo Fray
Nosferatu – Jarin Blaschke
BEST COSTUME DESIGN
Dune: Part Two – Jacqueline West
Furiosa: A Mad Max Saga – Jenny Beavan
Maria – Massimo Cantini Parrini
Nosferatu – Linda Muir
Wicked – Paul Tazewell
BEST EDITING
Anora – Sean Baker
The Brutalist – Dávid Jancsó
Challengers – Marco Costa
Furiosa: A Mad Max Saga – Eliot Knapman & Margaret Sixel
Nickel Boys – Nicolas Monsour
BEST ORIGINAL SCORE
The Brutalist – Daniel Blumberg
Challengers – Trent Reznor & Atticus Ross
Dune: Part Two – Hans Zimmer
Nosferatu – Robin Carolan
Wicked – John Powell & Stephen Schwartz
The Wild Robot – Kris Bowers
BEST USE OF VISUAL EFFECTS
Dune: Part Two
Furiosa: A Mad Max Saga
Hundreds of Beavers
The Substance
Wicked
MILOS STEHLIK AWARD FOR BREAKTHROUGH FILMMAKER
Mike Cheslik – Hundreds of Beavers
Vera Drew – The People’s Joker
Payal Kapadia – All We Imagine as Light
Greg Kwedar – Sing Sing
RaMell Ross – Nickel Boys
MOST PROMISING PERFORMER
Lily Collias – Good One
Karla Sofía Gascón – Emilia Pérez
Brigette Lundy-Paine – I Saw the TV Glow
Clarence Maclin – Sing Sing
Adam Pearson – A Different Man
PAPA (2024) Film Trailer – Sean Lau stars in a movie based on a shocking Hong Kong true-crime case from 2010.
I’m a huge fan of Hong Kong actor Sean Lau (Lau Ching-wan). In my personal opinion, he’s one of the great actors in world cinema, and he can perform well in any genre. Some of his best films are true Hong Kong cinema classics, including C’EST LA VIE MON CHERI, FULL ALERT, THE LONGEST NITE, EXPECT THE UNEXPECTED, A HERO NEVER DIES, RUNNING OUT OF TIME, MY NAME IS FAME, MAD DETECTIVE, OVERHEARD, and THE WHITE STORM. I highly recommend each of these films.
A three-time winner of the Hong Kong Film Award for Best Actor, Lau’s new film PAPA looks like it just may contain his best performance yet. PAPA is based on a gruesome murder that took place in the Hong Kong city of Tsuen Wan in 2010. The real-life incident consisted of a 15-year-old boy killing both his mother and his sister. In the film version, Sean Lau plays the grieving husband and father who has to somehow come to terms with his son’s actions and try to find a way to move on in his life. It’s an unimaginable scenario, and the trailer looks heartbreaking. Check it out.





