Retro Television Review: Crime Story 1.8 “Old Friends, Dead Ends”

Posted on June 22, 2026 by Lisa Marie Bowman

Welcome to 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 Crime Story, which ran on NBC from 1986 to 1988. The entire show can be found on Tubi!

This week, Torello discovers some disturbing facts about an old friend.

Episode 1.8 “Old Friends, Dead Ends”

(Dir by Bobby Roth, originally aired on November 4h, 1986)

Luca has bought a controlling interest in a bottling company so that he can borrow from the pension fund and use that money to purchase casinos in Las Vegas. He’s brought a reluctant Bartoli in as his partner. The owner of the company is Ted Kehoe (Mark Hutter), who just happens to be an old friend of Mike Torello’s. When Kehoe’s business partner, Marilyn Stewart (Dana Wheeler-Nicholson), becomes suspicious of Kehoe’s arrangement with Luca, Bartoli starts to wonder if it’s really worth it to keep Marilyn and Ted around.

This is especially the case after Bartoli’s attorney, Dee (a youngish Eric Bogosian), informs Bartoli that U.S. Attorney Harry Brietel (Ray Sharkey) is planning on indicting both him and Luca for money laundering. Looking to end Brietel’s case before it can even get started, Luca murders Marilyn Stewart. Marilyn’s body is later found by two teenagers and–

HEY, IT’S CHRISTIAN SLATER!

This episode does indeed feature an early performance from Christian Slater. He pays a teenager who is trying to convince his girlfriend to “do it” when they happen to spot Marilyn’s body floating in the river. Slater’s girlfriend is played by Kim Walker, who was later co-star with Slater in Heathers.

Torello is not happy. Well, that’s not a surprise. Torello is never happy. But this episode gives him even more reasons than usual to be in a foul mood. Because of his childhood friendship with Ted Kehoe, Brietel suspects that Torello might be corrupt. After Marilyn is murdered, Brietel seems more interested in trying to pin the murder on Torello than going after Luca.

As for Ted Kehoe, he tells Luca that he’s done working for him. Kehoe is going to tell the cops everything! And what is Luca going to do about it? This episode ends with Kehoe getting thrown out the window of his penthouse and falling several stories down to his death….

Piece of advice: If you’re going to turn on the mob, don’t tell them ahead of time.

This was a good episode! Torello’s friendship with Kehoe brought some real stakes the story and, once again, we got to see just how ruthless an adversary Ray Luca truly is. Luca, Bartoli, and the other mobsters can occasionally seem a bit buffoonish. This episode reminded us that, in Luca’s case, it’s always a mistake to underestimate him.

As for now, Kehoe is dead and Torello is under suspicion. I look forward to seeing what happens next week!

Retro Television Review: Crime Story 1.7 “Pursuit of a Wanted Felon”

Posted on June 15, 2026 by Lisa Marie Bowman

This week, the Torello marriage falls apart.

Episode 1.7 “Pursuit of a Wanted Felon”

(Dir by Aaron Lipstadt, originally aired on October 28th, 1986)

Last week, a recently acquitted man named Hector (Ving Rhames) was arrested after murdering his landlord. Torello, Danny, and David Abrams were all upset.

This week, they’ve all moved on. Sorry, Ving Rhames, you were only a one-episode guest star.

David is pursuing his relationship with Suzanne Terry (Pam Grier). At a cocktail party, Detective Walter Clemmons (Paul Butler), the black member of the Crime Squad, approaches Suzanne and warns her that she shouldn’t be pursuing a relationship with “that white boy.” Seriously, this is the first time that Walter’s gotten any real dialogue since the show began and it’s basically to tell Suzanne not to pursue an interracial relationship. “We’re only seven years out from integration,” Clemmons says, an awkward piece of dialogue that is meant to remind viewers that this show takes place in 1963. The show actually deserves some credit for being realistic about how many people would have viewed David and Suzanne’s budding romance in 1963. I just find it interesting that the show’s only regular black character is the one who is shown objecting while all of the white Chicago cops don’t have a problem with it. Who knew the Chicago police force was so progressive in the early 60s?

(I really want to like Stephen Lang’s performance as David but something feels off about it. It’s not a bad performance. I stand by my earlier praise. It’s just that David is such a caricature of an early 60s liberal that it is sometimes hard for me to tell if his character is supposed to be satirical or not. In episodes like this, where David is portrayed as being a cool hipster, Lang can seem a bit stiff and miscast. He’s much better when he’s giving an emotional speech in court.)

Luca continues to prove himself indispensable to Manny Weisbrod. In this episode, he blows up a union leader who doesn’t want to take orders from the mob.

Finally, Mike and Julia Torello split up in this episode. It’s not really a shock. Mike Torello is extremely intense and obsessed with his job. He’s tightly wound, to the point where he seems like he might just randomly shoot someone at any given moment. An attempt to take a relaxing vacation with Julie is a disaster. (The motel is tacky. The service is mediocre. Mike spends the entire time threatening the staff and complaining.) As soon as Torello returns to Chicago, he hops on a plane for Cleveland in an unsuccessful attempt to capture Frank Holman. When Torello returns home, he finds that Julie is preparing to go out with another man.

“You are not going to watch my TV,” Torello says, before grabbing the TV and leaving the apartment with it.

Does that scene sounds familiar? That’s probably because Michael Mann later reused the scene, almost word-for-word, in Heat. It’s a good scene. It’s certainly the most memorable moment in this episode.

Otherwise, this episode felt a bit bland. Torello’s doomed marriage isn’t really that interesting and I actually kind of got annoyed with David and Suzanne going to a cocktail party when they really should have been trying to get Hector out of prison. I laughed at Torello’s irritation at the hotel and his line about the TV. Those were the highlights. The rest of this installment was forgettable.

Retro Television Review: Crime Story 1.6 “Abrams For The Defense”

Posted on June 8, 2026 by Lisa Marie Bowman

This week, David Abrams gets his time in the spotlight.

Episode 1.6 “Abrams For The Defense”

(Dir by Aaron Lipstadt, originally aired on October 14th, 1986)

In the slums of Chicago, Hector Lincoln (Ving Rhames) strikes his landlord, Sturkowski (Frederick Nuemann), after one of Hector’s children is bitten by one of the rats that roams freely through the apartment building. Hector is arrested and facing time in prison. Public defender David Abrams (Stephen Lang) defends Hector in court, claiming that conditions in the slums were so bad that Hector only struck Sturkowski in self-defense. Helping David to make his case about the conditions in Sturkowski’s building is a crusader reporter named Suzanne Terry (Pam Grier).

This episode was all about showing us who David Abrams is. David’s father was a mob lawyer but David has no interest in working with people like Ray Luca and Phil Bartoli. Instead, he wants to defend the poor and the downtrodden. Torello and Krychek happen to stop by the trail and they’re impressed with David’s passion. Krychek is disgusted when Sturkowski says that Hector and his family don’t deserve to live a better life. Who knew that two Chicago cops would be so liberal?

To celebrate Hector’s acquittal, a block party is held. David is the guest of honor and, for reasons that aren’t really clear, he decides to invite Torello and Krychek to come celebrate with him. Everyone at the block party is super excited that two cops are hanging out with them. But then Sturkowski tries to evict the Lincolns and Hector strikes him again. This time, he kills Sturkowski. Torello and Krychek promptly arrest Hector as the episode comes to an end.

(And that is why you don’t invite cops to the block party.)

This episode was well-acted, if a bit heavy-handed. (To a certain extent, it reminded me of those episodes of Miami Vice where Crockett would certainly start talking like an undergrad who had just read about Marx for the first time.) It certainly allowed us to get to know more about David Abrams and Stephen Lang and Pam Grier had a good deal of chemistry as two people who appear to be poised on pursuing a relationship that was not all that common in 1963 Chicago. The block party was where the episode kind of lost me, just because I found it hard to believe that Torello and Krychek would not only show up but be treated as the guests of honor despite the fact that most of the people at the party wouldn’t have the slightest idea who they were. I can understand Abrams being welcomed because Abrams kept Hector out of prison. But Torello and Krychek are just two random, middle-aged, white cops.

This episode established David Abrams as being a man caught between two different worlds, the law and lawless. I can’t wait to see what the show does with him.

Retro Television Review: Crime Story 1.5 “The War”

Posted on May 25, 2026 by Lisa Marie Bowman

This week, Luca has to prove himself.

Episode 1.5 “The War”

(Dir by Leon Ichaso, originally aired on October 7th, 1986)

Luca is in trouble.

Last week’s episode ended with Max Goldman on the receiving end of a beating from Noah Ganz’s goons. Goldman survives and returns with a message. Ganz is not happy that Luca tried to steal his book. Bartoli, Weisbord, and Fosse all inform Luca will have to resolve the Ganz situation on his own.

Luca tries to get public defender David Abrams (Stephen Lang) to act as a negotiator for him but David doesn’t want to get involved in the mobster lifestyle that made his father rich. David just wants to defend the poor and play sax in a jazz club. When Luca is attacked while driving in Chicago, he realizes that negotiating with Ganz is a dead end.

Instead, he just kills Ganz. In a bravura sequence, Luca shows up at a hotel and, with the help of sniper, takes down Ganz’s bodyguards. Then he uses a bomb to take out Ganz while the latter is holding court in an elevator. A plume of white smoke puffs out of the hotel’s exhaust vent.

Having taken care of the issue, Luca is welcomed back into the family. Weisbord says, “Call me Mac.” Fosse (played by Michael Madsen) nods and slowly smokes a cigarette.

Meanwhile, Torello’s wife miscarries. This is the episode that features the clip of Torello walking down a lonely Chicago street on a rainy night. (The clip is prominently featured during the show’s opening credits.) In fact, both Torello and Luca end up spending a good deal of time walking around at night while David Abrams plays his saxophone. It’s a scene that is so overstylized that it shouldn’t work but somehow, it does. If nothing else, it reminds us that Crime Story of two dangerously obsessed men on a collision course.

This was a good episode, if just because it showed that Luca can be a clever criminal when he needs to be. Before this episode, Luca seemed to be clearly outmatched by Torello. With this episode, Luca proved himself to be Torello’s equal.

Retro Television Review: Crime Story 1.4 “St. Louis Book of Blues”

Posted on May 18, 2026 by Lisa Marie Bowman

This week, everyone’s going to Missouri. Can you blame them?

Episode 1,4 “St. Louis Book of Blues”

(Dir by Leon Ichaso, originally aired on September 30th, 1986)

After Ray Luca discovers that his henchman, Frank Holman (Ted Levine), has been compromised by Torello, he decides to deal with the situation by sending Holman down to St. Louis. A gangster named Ganz (Raymond Serra) has a home in St. Louis and, according to Ganz’s associate Johnny Fosse (Michael Madsen, doing his slow-talking, cigarette-smoking Madsen thing), there is a book in Ganz’s shelf that contains the name of every bookie, coach, and sports-fixer in America. Ray, who is hoping to start up his own nationwide gambling syndicate, wants that book.

Far be it for me to question Ray Luca’s strategy but it does seem strange that his response to one of his people screwing up is to give that person an even more important job to do. I get that Ray is trying to be a manager now and, as a result, he no longer personally robs anyone but Frank really does seem like the last person he should trust to pull this off.

And, to no one’s surprise, Frank doesn’t pull it off. Torello and his men follow him all the way to St. Louis. They not only arrest him but they also get their hands on Ganz’s book. They do this despite the operation nearly being ruined by an ambitious and publicity-hungry sheriff named Hartman (Allen Swfit).

Unfortunately, when Frank offers to inform on the entire “St. Louis mob,” Hartman releases him from jail. Frank promptly flees town. When he calls Ray, Ray orders him to stay out of Chicago and instead to go to Cleveland. Frank replies that if he has to choose between Hell or Cleveland …. he’ll go to Cleveland. Good thinking, Frank!

(Actually, I’ve never been to Cleveland so I don’t know if it’s really good thinking. Wasn’t Dennis Kucinich from Cleveland?)

As this episode ends, Ganz is ready to declare war on Luca and it appears that Max Goldman might be the first victim. The funny thing about Max is that he’s played by a young Andrew Dice Clay and, in every scene in which he appears, Clay’s facial expressions are totally and completely over-the-top, as if Clay was determined to make sure that no one forgot he was in the scene. I hope that Max survives, just for the sake of entertainment,

This episode returned to the idea of Torelllo being dangerously and tightly wound. Before he followed Frank to St. Louis, he nearly firebombed a furniture store because the owner hadn’t delivered the table that he had ordered. Torello was talked out of doing so by his fellow cops but the store owner still got the message. The table arrived at Torello’s apartment. Of course, it was the wrong table. That made me laugh. People have no idea how close Torello is to snapping and killing everyone around him.

This was a good episode. It was interesting to see a young Ted Levine, not to mention a young Michael Madsen as well. The corrupt and incompetent sheriff was identified as being a Democrat. I appreciated that. I’m looking forward to seeing where this show is going.

Retro Television Review: Crime Story 1.3 “Shadow Dancer”

Posted on May 11, 2026 by Lisa Marie Bowman

This week, Torello’s war on Luca continues!

Episode 1.3 “Shadow Dancer”

(Dir by Leon Ichaso, originally aired on September 26th, 1986)

With the frequency killer now dead, Torello and his men are once again free to focus on trying to bust Ray Luca. The sooner they do it, the better. For one thing, Torello is becoming so obsessed that, even though his wife is pregnant, Torello’s dreams are still dominated by Luca taunting him. Also, Luca’s latest robbery has resulted in a death. Vincent Noonan (Michael Kemmerling), a former cellmate of Frank Holman’s (Ted Levine,) lost it during their latest home invasion and beat to death Mrs. Novak (Nancy Sheeber).

(Noonan, it turns out, has a history of losing control. It probably wasn’t a good idea to hire him in the first place but, with Luca no refusing to personally take part in robberies, the crew had to find a third man and quickly. Holman recommended Noonan because of how loyal Noonan was to him in prison)

Eager to solve the case and take down Luca, the Major Case Unit starts to put pressure on Luca’s boss, Phil Bartoli (Jon Polito). After his weekly craps game is broken up by Danny Krychek, Bartoli tells Luca that he has to do something to get the police to back off. Bartoli orders him to turn Noonan over to the police. Luca, who no longer handles dirty work himself, tells Holman to take care of it. Holman sends Noonan on a job and then tips off Torello. Despite Danny telling him that Noonan would die before turning into a rat, Torello is convinced that, if he takes Noonan alive, he’ll be able to get Noonan to give up Luca. (What Torello doesn’t realize is that Noonan has never actually met Luca. To quote Willy Cicci, “The family had lots of buffers.”)

It’s all for naught, though. Torello and the cops chase Noonan all over the streets of Chicago and, in the end, Noonan dies while trying to escape. Much like Homicide’s Luther Mahoney, Luca appears to be untouchable …. for now.

This episode worked best as a character study. After last week’s somewhat over-the-top villain, this episode reminded us that Luca and Torello are two tightly-wound men who struggle with emotion. Beyond his own self-absorption, Luca lacks the emotions necessary to truly understand his fellow humans. Torello, meanwhile, gets too emotional. Whether he’s pursuing Ray Luca or snapping at a condescending salesman, Torello is a self-styled crusader who appears to be going slowly but surely insane. This wasn’t a particularly complex episode but it felt important. It was a reminder of what this show is all about.

Retro Television Review: Crime Story 1.2 “Final Transmission”

Posted on May 4, 2026 by Lisa Marie Bowman

This week, Torello and company search Chicago for a serial killer.

Episode 1.2 “Final Transmission”

(Dir by Leon Ichaso, originally aired on September 19th, 1986)

Mike Torello and the members of the MCU would really like to go after Luca and his crew but, unfortunately, there’s a serial killer on the loose in Chicago. Realizing that the MCU is going to be tied up trying to track down Ray Pernell (John Snyder) before he kills again, Luca orders his crew to commit even more robberies. Luca explains to a crestfallen Paulie that Luca will no longer be taking part in the robberies. Luca is the boss and the boss doesn’t get his hands dirty. Instead, Luca spends most of this episode meeting with Murray Weisbord’s man in Chicago, Max Goldman (Andrew Dice Clay).

This was an odd episode. On the one hand, the show went out of its way to recreate Chicago in the early 60s. The soundtrack was early rock and roll. The cars all had tailfins. The suits, the cigarettes, Luca’s haircut, all of the details screamed 1960s. But then the episode revolved around a serial killer who thought his mother was addressing him through the television and who looked and dressed like a late 70s punk rocker. I assume that Ray Pernell was based on Richard Speck, the notorious Chicago serial killer who, in 1966, murdered 8 student nurses. Like Speck, Pernell had an identifying tattoo and both men were traced through the National Maritime Union. That said, Pernell just seemed so out-of-place, with his sleeveless shirt and his punkish haircut that he just didn’t seem to belong in the world of Crime Story.

That said, I will give this episode some credit. In the pilot, Luca often seemed like a clueless punk. In this episode, he quickly realized that the MCU would be too busy hunting for Pernell to devote much time to him and he took advantage of that fact. Luca’s not quite as dumb as he sometimes seems. This episode also showed that he was capable of thinking ahead. When he suspects that someone is listening in on his conversation with Goldman, he resists the temptation to burst into the room next door with his gun drawn. (If he had, he would have run straight into Torello and Danny.) This episode shows that Luca is learning and growing. He not the buffoonish hothead that Torello originally assumed him to be. In fact, he’s even more dangerous.

This episode ends with Pernell somehow (it’s not really clear how) taking an entire television news broadcast hostage. Torello takes him down as the cameras roll and the entire city of Chicago watches. It’s not a bad ending but it just doesn’t feel right for the show. It’s a Miami Vice ending. This is Crime Story!

Retro Television Review: Crime Story 1.1 “Pilot”

Posted on April 27, 2026 by Lisa Marie Bowman

In 1986, riding high on the success of Miami Vice, Michael Mann signed on as executive producer of Crime Story, a cop show that Mann imagined would run for five seasons and which would follow a group of cops and gangsters from 1960s Chicago to 1980s Las Vegas. The show was co-created by former Chicago cop Chuck Adamson and it starred another former Chicago cop, Dennis Farina.

Though generally well-received by critics, Crime Story struggled in the ratings. The show’s highly serialized-nature made it difficult for audiences to follow. (This was in the pre-streaming age, when viewers couldn’t just get online and catch up with what they may have missed.) Crime Story only lasted for two seasons but it has since developed a strong cult following and is now regularly listed as one of the best cop shows ever made.

I’m going to find out if that’s true over the next few months. Two weeks ago, I finished up Miami Vice. Now, it’s time for Crime Story.

Episode 1.1 “Pilot”

(Dir by Abel Ferrara, originally aired on September 18th, 1986)

In Chicago, on a rainy night in the early 1960s, a group of masked robbers hold up a fancy restaurant and then try to escape with a group of terrified hostages. On the scene is the Major Crimes Unit, led by the grim Lt. Torello (Dennis Farina, a former real-life cop). The end result is that all of the robbers end up dead, the hostages end up traumatized, and one of Torello’s men, the obviously doomed Wes Connelly (William Russ), appears to be losing his mind over the violence that he has to deal with every day.

The plot of the pilot is actually pretty simple. A gang of thieves is holding up restaurants, banks, and stores in Chicago. Torello believes that an ambitious gangster named Ray Luca (Tony Denison) is behind the robberies and Torello is correct. The cool and sociopathic Ray is working with Johnny O’Donnel (David Caruso). O’Donnel may be a childhood friend of Luca’s but his parents are friends with Torello. When gangster Phil Bartoli (Jon Polito) orders Luca to kill O’Donnel after the latter robs one of Bartoli’s jewelry stores, it’s personal all-around.

Plot-wise, it’s pure Michael Mann. The cops and the gangsters are both obsessive. Luca will kill anyone to get ahead in the underworld. Oddly, his only real loyalty seems to be to his dumbest henchman, Pauli Taglia (John Santucci, a real-life former jewel thief who was once arrested by Dennis Farina). Torello may be fighting on the side of the law but he’s often just as quick to resort to violence as Luca. Director Abel Ferrara’s style can be seen in a scene where Torello is visited by the ghost of the recently murdered Wes Connelly. Torello is burned out and paranoid, flying into a rage when he sees his wife, Julie (Darlanne Fluegel), dancing with another man at a wedding. (The man in question turns out to be Torello’s cousin, whom Torello didn’t even recognize because he apparently doesn’t have much of a connection to anyone outside of the police force.) Towards the end of the episode, there’s a shoot-out in a department store and it’s hard not to notice that neither the crooks nor the cops seem to be all that concerned with the innocent bystanders trying to not get caught in the crossfire.

The pilot is dark, gritty, and, in its way, as stylized as any episode of Miami Vice. It never seems to stop raining and, even during the day, the skies are permanently gray and dark. The early 60s are recreated like a fever dream of pop culture, with rock and roll on the soundtrack, cars with tail fins screeching down the street, and Bartoli living in a house that looks more like a tacky diner then a true home. Torello and his men wear their dark suits and trenchcoats the way that soldiers wear their uniforms.

It’s an effective pilot, though we don’t really get to know much about the men working with Torello at the Major Crimes Unit. Bill Smitrovich, in the role Detective Danny Krycheck, establishes himself as being Torello’s second-in-command but that’s about it. Stephen Lang appears in a handful of scenes as David Abrams, a liberal public defender who is the son of a prominent gangster. Both Luca and Torello seem to want to make David into an alley and the episode hints that he will eventually have to make a choice. The episode ends with Luca in sunny Florida, meeting with veteran gangster Manny Weisbord (Joseph Wiseman). Torello, meanwhile, remains in dark Chicago.

The Crime Story pilot was deemed good enough to be released as a feature film in Europe. It also led to a series on NBC, which I will be reviewing here, every Monday! On the basis of the pilot, I’m looking forward to it.

Jennifer Lopez has had ENOUGH (2002)!

Posted on January 13, 2025 by Bradley Crain

This morning I got up to make coffee for me and my wife. When I came back to our room, she had started the movie ENOUGH (2002) with Jennifer Lopez on the new projector that she bought me for Christmas. I’m not that big of a fan of Lopez, but I decided I’d go ahead and sit down to sip on my coffee prior to starting my day. I ended up watching the whole movie!

Jennifer Lopez plays Slim, a waitress in a diner in L.A., who meets a rich guy named Mitch Hiller (Billy Campbell) who impresses her when he gets rid of this rude jerk (Noah Wyle) trying to hit on her. Mitch and Slim get along famously, eventually getting married and having a cute little girl named Gracie. Everything seems perfect in their little world. Unfortunately, things aren’t what they seem, and one night Slim checks her husband’s pager. She calls the number and discovers Mitch has been cheating on her. When she confronts him about the affair, his entire countenance changes, and he begins beating the crap out of her. After the altercation, and before heading out to continue his affair, Mitch warns Slim not to leave because he refuses to live without her. With the help of her friend Ginny (Juliette Lewis) and a couple of others, Slim takes Gracie and they escape from Mitch. With all his money and connections, Mitch is able to track her down no matter where she goes. Feeling like she has no other options, Slim turns to her wealthy, estranged father, Jupiter (Fred Ward). He provides her the funds she needs to set up a new life and identity. Unfortunately, that damn Mitch tracks her down again. Narrowly escaping, Slim decides that she’s done running. She sends Gracie away with Ginny and begins training rigorously in self defense techniques. This time she’s taking the fight to Mitch with plans to end this shit once and for all.

If you’re looking for a realistic drama about the effects of spousal abuse on the family unit and then across the larger society, ENOUGH is not the movie for you. This movie is more for the Charles Bronson crowd, where the bad guys are truly evil and the audience is in complete agreement with their need to perish. This is a formula that continues to work even if you have to completely suspend your disbelief. For example:

-Is it realistic that Mitch would be able to conceal what a complete and total asshole he is for many years from Slim, but then one night turn out to practically be the sidekick of Satan?

-Is it realistic that Mitch would be able track Slim and Gracie down time and time again, no matter where she goes across the country, even after she uses her Dad’s resources to change her identity?

-Is it realistic that Slim would be able to get enough self defense training in a short period of time to be able to confront the extremely fit Mitch at the end and kick his ass?

While the setup is probably not the most realistic, we have to see images of Mitch beating up Slim on multiple occasions, even trying to kill her at one point. We also see him knock little Gracie to the ground and hurt her. We see him terrorizing her and anyone who tries to help her. This audience member just wanted to see Mitch pay.

I don’t really have any close connections to the main actors in ENOUGH, but they all do their jobs well enough to keep me involved. I have always been a fan of its director, Michael Apted. He’s made a few movies that I really like in CLASS ACTION (1991) with Gene Hackman, THUNDERHEART (1992) with Val Kilmer, and BLINK (1993) with Madeleine Stowe. He’s a more than competent director who knows how to get a reaction from his audience. This certainly may not reflect his best work, but he still handles the material in a professional manner.

My final word on ENOUGH… I enjoyed the film in the same way I like the 3 piece combo at KFC, which I really do enjoy. I know it’s probably not the best stuff out there, but the classic formula still works, and I’m satisfied when it’s all gone!

See the trailer for ENOUGH below:

A Movie A Day #83: Shattered: If Your Kid’s On Drugs (1986, directed by Burr Smidt)

Posted on March 31, 2017 by Jedadiah Leland

Shattered: If Your Kid’s On Drugs is a typical anti-drug video from the 1980s. The story is familiar after school special material. Kim (Megan Follows) and Rick (Rick Segall) are upper middle class kids who live in the suburbs. Rick is a track star. Kim is at the top of her class. That all changes when they start hanging out with the local drug dealer (Dermot Mulroney), who gets Rick hooked on marijuana and Kim hooked on cocaine. Kim gets an F on her report card. Rick can no longer jump the hurdles. Eventually, their parents stop drinking and taking valium long enough to force them into rehab. The message is that tough love is the only solution.

The only thing that makes Shattered: If Your Kid’s On Drugs noteworthy is the strange and unexpected presence of Burt Reynolds and Judd Nelson, playing themselves and commenting on the action. The first scene in the video is Burt and Judd driving their pickup truck through the suburbs, talking about how nice it is. “Lot of nice restaurants,” Burt says. “Are you going to buy me lunch?” Judd asks. “Lot of nice restaurants,” Burt replies. “This town is the American Dream,” Judd says. “Or the American nightmare,” Burt adds. When Kim and Rick are getting high in Dermot Mulroney’s chartreuse microbus, Burt and Judd sit on a picket fence and shoot the crap. Burt can’t understand why teens would use drugs and Judd reminds him that it has been a while since he was a teenager. Rumor has it that both Burt and Judd appeared in this video to fulfill court-ordered community service.

Everything works out in the end. If you have any doubt, just look at Burt giving us a thumbs up before the final credits roll.