October True Crime: Into Thin Air (dir by Roger Young)

Posted on October 27, 2025 by Lisa Marie Bowman

Originally broadcast in 1985, Into Thin Air is a made-for-TV movie that is based on a true story. It’s film that brings to life the horror of every family’s nightmare. Brian Walker (Tate Donavon) is an intelligent, soft-spoken, and somewhat naive college student in Ottawa. He’s been accepted into a summer writing program in Colorado. As he gets in the van that he will be driving to Colorado, he promises his mother, Joan (Ellen Burstyn), that he’ll call her when he reaches Nebraska and again when he reaches Colorado.

Brian drives away and that’s the last time that Joan ever sees her son. Brian calls from Nebraska and talks to his brother, Stephen (Sam Robards). Joan arrives home just as Stephen is saying goodbye. Brian never calls from Colorado. He has vanished, seemingly into thin air.

Joan, Stephen, and Joan’s ex-husband, Larry (played the great character actor Nicholas Pryor) travel to America to search for him. At one point, Stephen thinks that he’s spotted Brian’s van on the road and chase after it, just to discover that it’s a different van. Joan talks to cops in Nebraska and Colorado and discovers that different jurisdictions don’t work together or share information. As the days pass, Joan keeps hoping that Brian is somehow still alive….

I was about ten minutes into this film when I started sobbing. I pretty much cried through the entire film. Some of that was because I knew that they were never going to see Brian again. Some of that was because of the powerful, heartfelt performances of Ellen Burstyn, Nicholas Pryor, and Sam Robards. Most of it was because this film did such a good job of capturing the feeling of hopelessness and the dread that comes with not knowing what has happened to someone who you love. I found myself crying for Brian’s lost potential. He was a writer and he was engaging in a time-honored writing tradition. He was taking a road trip and he was discovering the world. He deserved better than whatever happened to him. He deserved see his novel sitting in a bookstore. Instead, he ran into the wrong people.

It’s the little details that really got to me. Stephen flies into a rage when he sees his younger brother wearing one of Brain’s sweaters. Joan momentarily gets her hopes up when she discovers that Brian reported some lost traveler’s checks, just to have that hope shot down when she’s told that the bank can’t reveal where Brian called them from unless Brian himself gives permission. When the van eventually turn up in Maine, it’s been totally trashed by whoever took it from Brian.

Eventually, Joan hires a private detective and Robert Prosky is well-cast as Jim Conway, a seemingly cynical ex-cop who dedicates himself to trying to provide closure for the Walkers. The scene where he finally discovers what happened to Brian is one of the strongest in the film and one of the most upsetting. So many people could have saved Brian if they only had the courage to speak up.

Into Thin Air is a powerful film. No one should ever be forgotten.

Late Night Retro Television Review: CHiPs 2.11 “Supercycle”

Posted on September 9, 2024 by Lisa Marie Bowman

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 Freevee!

A daredevil motorcyclist known as the Phantom is making the street dangerous in Los Angeles! Can Ponch and Baker catch him before it’s too late?

Episode 2.11 “Supercycle”

(Dir by Phil Bondelli, originally aired on December 2nd, 1978)

From what I’ve read, Larry Wilcox was apparently often unhappy on the set of CHiPs and, watching this week’s episode, I can see why.

This week’s episode follows only one storyline. A motorcycle-riding daredevil known as the Phantom (George O’Hanlon, Jr.) is driving around Los Angeles and doing stunts. It’s all a part of a promotion that’s being run by the unscrupulous Fred Gesslin (Jason Evers). When Ponch and Baker chase the Phantom and end up losing him, footage ends up on the news and totally humiliates the Highway Patrol. Getraer is even less amused than usual.

Luckily, Harlan has a supercycle in the garage. Ponch and Baker decide to take the Supercycle out so that they can use it to capture the Phantom. Ponch and Baker both get a chance to test the Supercycle on the test track. Ponch is a natural. Baker crashes. So, of course, Ponch is the one who gets to ride the Supercycle….

AND THAT’S THE WAY IT ALWAYS IS ON THIS SHOW!

Seriously, if there’s anything cool to do, Ponch is going to be the one to do it. If there’s an exciting story, it’s going to center around Ponch. Despite the fact that Larry Wilcox looks a hundred times more comfortable on a motorcycle than Erik Estrada, Baker is always going to take a back seat to Ponch. Seriously, that would bother anyone! In this case, it means that Ponch is the one who gets to use the Supercycle. Baker can just stand in the background and force himself to smile. Poor Baker!

Now, Baker does get a small measure of revenge. He’s the one who gets a date with Sheila Martin (Karen Carlson). Sheila owns the advertising company that Fred is working with to promote the Phantom. Since Sheila knew about the Phantom and didn’t immediately share that information with Ponch and Baker, it really seems like she should have gotten in as much trouble as Fred. But Baker needs a date so Sheila’s off the hook. Oddly enough, the Phantom is let off the hook too. It turns out that he’s just an innocent guy from the country who was led astray by Fred. Never mind the Phantom could have killed multiple people with his reckless driving.

No matter, though! The stunts are spectacular in this episode and who doesn’t like the idea of owning a supercycle? That’s really the only thing that matters as far as this episode is concerned. Ponch may have gotten to ride it but, ultimately, the Supercycle has a place in everyone’s heart.

Retro Television Reviews: The Master 1.7 “Juggernaut”

Posted on June 23, 2023 by Lisa Marie Bowman

Welcome to Retro Television Reviews, a new feature where we review some of our favorite and least favorite shows of the past! On Fridays, I will be reviewing The Master, which ran on NBC from January to August of 1984. The show can be found on Tubi!

This week, Lee Van Cleef gets a chance to show off what he can do!

Episode 1.7 “Juggernaut”

(Dir by Gordon Hessler, originally aired on March 16th, 1984)

This week’s episode of The Master opens with Max’s totally groovy van driving across what appears to be farmland. Judging from the mountains in the background, it appears that they are back in California. (If they did mention their specific location during this episode, I missed it.) Last week, as you may remember, Max and McAllister were looking for McAllister’s daughter in Louisiana. Now, they’re apparently just hanging out in California again. It’s odd that McAllister left behind his life in Japan so that he could come to America to find his daughter but, now that he’s actually in America, there doesn’t really seem to be any sense of urgency when it comes to actually tracking her down.

Inside the van, McAllister informs Max that he’s concerned about the way that Max is always losing his temper and starting fights. Max promises that there will be no more unprovoked fights on his part. When they stop in front of a local bar, Max says he’s going to get a beer but he also promises McAllister that he will not be getting tossed through the bar’s window.

Five minutes later:

Now, in all fairness, it isn’t totally Max’s fault that he got thrown through that window. Max went in the bar and saw Alan Kane (veteran TV and movie bad guy William Smith) harassing Cat Sinclair (Tara Buckman). When Max told Alan to back off, Alan challenged Max to a fight. Max was forced to explain that he’s not allowed to fight. Cat rolled her eyes and then Alan tossed Max through the window. Seeing that his protegee is in trouble, McAllister enters the bar, beats up Alan, and saves Max and Cat.

Even though Cat is not impressed with Max’s refusal to fight, she still gets in his van and allows him to give her a ride home. It turns out that Cat and her mother, Maggie (Diana Muldaur), are farmers but an evil land baron named Hellman (Stuart Whitman) is trying to intimidate them off their land. Alan works for Hellman and, because of him and his thugs, none of the farmers have been able to get their crops to market.

Both Cat and Maggie refuse to accept any help from Max and McAllister so our heroes get back in their totally happening van and try to leave town. However, when one of Hellman’s truckers runs the love van off the road, the engine is damaged and the local mechanic informs Max that it will take 48 hours to fix it. Stranded in town, Max searches for proof that Hellman’s trucker was the one who ran them off the road. Meanwhile, McAllister returns to the farm and, turning on some of that Lee Van Cleef charm, proceeds to fall in love with Maggie.

If any of this sounds familiar, it’s because, with the exception of McAllister falling in love, it’s pretty much the same thing that happened in not only the first episode but also the third episode. Max and McAllister have an uncanny talent for randomly wandering into towns that are controlled by evil businessmen. Just as the first and third episodes featured Max giving impassioned speeches about the rights of the workers, this episode features McAllister giving a speech at a meeting in a barn.

While McAllister is giving his speech, Max is getting arrested for snooping around Hellman’s property. Fortunately, McAllister puts on a fake beard and breaks him out of jail. McAllister then directs the farmers to form a convoy and to work together to get their crops to market. Though Alan attempts to set off a bunch of explosives on the way, McAllister uses a cropduster to fool Alan into setting off the explosions early. Then, Lee Van Cleef’s stunt double beats up Hellman. McAllister and Max congratulate each other on a job well done.

Having saved the farmers and beaten up the bad guys, it’s time for Max and McAllister to once again continue their journey across America. McAllister may love Maggie but he still needs to (eventually) find his daughter so he gets in the Chevy van and waves goodbye.

As I said before, this episode felt very familiar. It’s probably not a good sign that, after just seven episodes, The Master was pretty much repeating itself. That said, the episode did feature the great William Smith playing yet another rural bully and Stuart Whitman always made for a convincing villain. With Max sidelined by McAllister’s demand that he stop fighting, Lee Van Cleef got his moment to shine in this episode. He was obviously frail, making it all the more obvious that his fight scenes involved a stunt man, but Van Cleef still got a chance to show off some of his old school movie star charisma.

Next week: The Master steals the Crown Jewels of the United Kingdom! …. sure, why not?

Horror Film Review: Butcher, Baker, Nightmare Maker (by William Asher)

Posted on October 13, 2019 by Lisa Marie Bowman

http://www.youtube.com/watch?v=jO8Djh7gk7I

This is an unexpectedly odd psychological thriller from 1981.

Okay, well, actually, I guess the technical term for this film would be “slasher” because it does feature a dark secret from the past and a series of gruesome murders and some 20-something teenagers getting naked. That said, calling this movie a slasher brings to mind thoughts of Friday the 13th and Halloween and, as much as I’ve defended those films in the past, it’s hard to compare them to a film like Butcher, Baker, Nightmare Maker. Nor is the film comparable to more giallo-influenced slashers that came out in the late 70s and the early 80s. The identity of the murderer is revealed too early for that.

The murderer is Cheryl Roberts (Susan Tyrrell), who may seem like a perfectly normal suburban widow but who has some bad habits. For instance, when she’s sexually rejected by television repairman Phil Brody (Caskey Swaim), she reacts by grabbing a knife and stabbing him to death in the kitchen. When the police arrive, she says that he attempted to rape her. When it’s later revealed to her that Phil was gay and in a committed relationship with the local high school basketball coach, she snaps that “Homosexuals are very sick people!” Cheryl goes on to murder several more people, all because she views them as a threat to her relationship with her nephew, Billy (Jimmy McNichol).

Billy is a senior in high school. His parents died in a mysterious car crash when he was an infant and he’s been raised by his aunt Cheryl. Billy has an opportunity to go away to college on a basketball scholarship but Cheryl isn’t happy about that. Cheryl never wants Billy to leave and she’s not above drugging his milk to make sure that he has a bad game while the college scouts are watching. Cheryl is also not happy that Billy has a girlfriend, Julia (Julia Duffy). When she finds out that Billy and Julie are sexually active, Cheryl’s response is to trap Julia in the basement.

Aunt Cheryl is not Billy’s only problem. There’s also Detective Joe Carlson (Bo Svenson). Carlson has been assigned to investigate the murder of Phil and he quickly becomes fixated on the fact that Phil was gay and that he was in a relationship with Billy’s coach, Tom Landers (Steve Eastin). Despite all of the evidence that Cheryl’s killing people left and right, Carlson becomes obsessed with proving that Billy’s gay and that he murdered Phil as the result of a love triangle. It quickly becomes clear that Carlson, who brags about his own military service, is incapable of going for more than five minutes without accusing someone of being gay. (Of course, Carlson never says “gay.” Instead, he uses a slur that begins with the letter F and he uses it a lot.)

What sets this film apart from other horror films of the era is that the rampant homophobia is not played for laughs or for shock value. Traditionally, being gay in a 1980s horror film meant that the character was either going to be held up as an object of ridicule or, in many cases, turn out to be the murderer. Instead, in Butcher, Baker, Nightmare Maker, the gay characters are literally the only fully sympathetic people in the entire film. Instead, the film’s villains are homophobes like Carlson, Cheryl, and Eddie (Bill Paxton!), a bully who gives Billy a hard time over his friendship with the coach. As many people as Cheryl kills over the course of the film, the bigger monster is Carlson, who is so determined to indulge his prejudices that he’s blind to everything that’s happening in front of him.

It makes for an unexpectedly thoughtful slasher film. Butcher, Baker, Nightmare Maker has its flaws, to be sure. I wish, for instance, that Julia and Billy weren’t such bland characters. (They’re well-acted but neither is written with much depth.) There’s some pacing issues as well. But overall, this is an unexpectedly good thriller which features two horrifyingly plausible performances from Susan Tyrrell and Bo Svenson.

Automotive Stardom: The California Kid (1974, directed by Richard T. Heffron)

Posted on June 12, 2019 by Jedadiah Leland

In 1973, a customized 1934 Ford three-window coup appeared on the cover of the November issue of Custom Rod. The car had been created by legendary customizer Pete Chapouris and it was called The California Kid. The cover caught the attention of television producer Howie Horowitz, who thought that maybe the car could become a star.

A year later, the car starred in it’s own made-for-TV movie. Naturally, that movie was called The California Kid.

The California Kid takes place in 1958 in the small town of Clarksberg. Clarksberg is known for being a town that does not tolerate speeders. Sheriff Roy Childress (Vic Morrow) lost his wife and daughter to a speeder and, ever since, he’s become a fanatic about making sure that people respect the speed limits. He’ll give a ticket to anyone who he sees going too fast. He’ll even impound your car. And if you don’t learn your lesson or if you try to outrun him, he’ll get behind your car, give it a push, and send both you and your vehicle plunging over the side of a mountain.

That’s what happens to Don McCord (Joe Estevez), a Marine who was just trying to get back to back to his base on time. After Don and his car go over the side of a cliff, the official ruling is that it was an accident. However, Don’s brother, Michael (Martin Sheen, real-life brother of Joe Estevez), doesn’t buy that. Determined to prove that his brother was murdered, Micheal rolls into town, behind the wheel of the California Kid.

The California Kid is a typical 70s car chase movie. There’s not much going on other than the sheriff chasing the Michael and the California Kid. Martin Sheen coasts through the movie, doing the James Dean impersonation that he perfected in the previous year’s Badlands and Vic Morrow plays his thousandth sadistic authority figure. The supporting cast is full of familiar names who don’t get to do much. Michelle Phillips plays the waitress who falls in love with Martin Sheen. (It’s always a waitress.) Stuart Margolin is Morrow’s deputy and keep an eye out for Nick Nolte, playing a mechanic. Interestingly, The California Kid was written by Richard Compton who, a year later, would direct Notle in his first starring role in the 1975 car chase film, Return to Macon County. Of course, the real star of the movie is the car and the California Kid earns its star billing. The movie might not be anything special but there’s no way you can watch it and not want to drive that car.

This is a made-for-TV movie so you won’t hear any profanity and the characters are all as simple can be. However, there are enough shots of cars going over cliffs to keep chase enthusiasts entertained.

Horror on TV: Tales From The Crypt 1.4 “Only Sin Deep” (dir by Howard Deutch)

Posted on October 1, 2016 by Lisa Marie Bowman

You may remember, from previous horrorthons, that I like to end each day in October by sharing a classic example of televised horror. Over the previous two years, I shared several episodes of The Twilight Zone and everyone seemed to enjoy them. I know I certainly did.

Unfortunately, I can’t do that anymore.

All of the episodes of the Twilight Zone that were on YouTube have been taken down. Copyright infringement, they say. And, unfortunately, Hulu is no longer allowing people to watch The Twilight Zone for free. I can still embed Hulu videos on this site but unless you’re a subscriber, you wouldn’t be able to watch them.

Which sucks, by the way! Seriously, I was soooooo mad when I discovered what had happened…

However, fear not! While I may not be able to share any Twilight Zone episodes this October, it turns out that every episode of HBO’s Tales From The Crypt has been uploaded to YouTube! And what could be more appropriate for Halloween than a little trip to the crypt?

So, with all that in mind, here’s the fourth episode of Tales From The Crypt. It’s called Only Sin Deep and it originally aired on June 14th, 1989. It tells the story of a prostitute named Sylvia Vane (played by Lea Thompson) who agrees to sell her beauty for $10,000 and the chance to marry a rich man. Sylvia doesn’t take the deal seriously. You won’t be surprised to learn that was a mistake. Only Sin Deep is an entertaining little morality tale. Don’t mess with karma.

(As well, I’m going to assume that the name Sylvia Vane is meant to be an homage to the name of Angela Lansbury’s character in The Picture of Dorian Gray.)

Only Sin Deep was directed by Howard Deutch, who also directed Lea Thompson in Some Kind of Wonderful. (And, of course, he also married her.) It was written by Fred Dekker, who directed the classic Night of the Creeps.

And yes, the story is introduced by the infamous Cryptkeeper.

Enjoy!