Horror On TV: The Hitchhiker 5.24 “My Enemy” (dir by René Bonnière)


On tonight’s episode of The Hitchhiker, Joan Severance stars as both a film star and a woman who is stuck in a go-nowhere marriage.  Neither one is happy with her life and looking for an escape.  Murder turns out to be a convenient solution.  This episode has a bit of a strange ending, one that really doesn’t make a lot of sense if you think about it too much.  But, fortunately, The Hitchhiker is there to impart a lesson.

(It’s a bit unfortunate that they apparently never did an episode that explored the Hitchhiker’s origins.  I mean, the guy just pops up everywhere.)

This episode originally aired on November 25th, 1989.

Last Night Retro Television Reviews: Nightmare Cafe 1.1 “Nightmare Cafe”


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 Nightmare Cafe, which ran on NBC from January to April of 1992.  The entire show is currently streaming on YouTube!

Created by Wes Craven and Thomas Baum, Nightmare Café was an anthology show about a mysterious café and the people who worked there.  The proprietor was played by Robert Englund.  The series only aired for six episodes and apparently, NBC didn’t really give the show much of a chance to find an audience.  Myself, I just recently came across it on YouTube and I’m looking forward to reviewing it over the course of October!

Episode 1.1 “Nightmare Café”

(Dir by Phillip Noyce, originally aired on January 29th, 1992) 

“See those two folks up there?” Robert Englund, playing a sharply-dressed man named Blackie, asks while staring straight at the camera.  “They’re about to get a second chance.  And you know what?  I bet they blow it.”

The two people to whom Blackie is referring are Frank Nolan (Jack Coleman) and Fay Pernovic (Lindsay Frost).  On a foggy night, Fay stops her car on the side of the bridge and jumps into the water below.  Fortunately, Jack already happens to be in the water so he grabs her and pulls her to dry land.  Standing on the deserted road and soaking wet, Fay refuses to say thank you and Frank refuses to mention why he was there to begin with.  However, when they see an all-night café in the distance, they decide to get a cup of coffee.  As they head to the café, Blackie watches them from the shadows.  As they enter the café, the neon sign changes from saying “Night Café” to “Nightmare Café.”

The café appears to be deserted, though in working order.  Jack goes behind the counter finds a chef’s outfit.  Fay finds a waitress outfit.  When she heads into the restroom to change clothes, she briefly hears the sound of a woman crying but, upon entering, she finds no one.  Meanwhile, Jack notices that a TV screen at the front of the café has come to life and …. uh-oh!  He’s suddenly watching what appears to be security footage of Fay removing her wet clothes.  Jack does the right thing and turns the TV off but seriously, what’s happening with this place!?

In the restroom, Fay marvels at how well the waitress uniform fits, almost as if it was made for her.  Suddenly, she hears more crying.  She touches the bathroom mirror and she sees herself sobbing and pulling pills out of a medicine cabinet.

Fay steps back into the main part of the café.  Frank confesses about watching her change on the television.  Fay demands to know what color underwear she was wearing.  “White …. with red hearts on back,” is Frank’s reply.  (For the record, as I sit here typing this, I am wearing black underwear with red hearts on the back.)  Fay accuses him of being a pervert and peeking in on her while she was changing.  Frank turns on the TV in an attempt to prove that he’s not a perv but, instead of showing the restroom, the TV shows the chemical plant where, according to Frank, he works as a night watchman.  He watches as two men steal a barrel of chemical waste and brag about how they’re going to dump it into the harbor.  Frank says that his worst nightmare is seeing something that’s wrong and not doing anything to stop it.  Fay pinches Frank in an attempt to wake him up.  On the TV screen, Frank Nolan tries to stop the men from driving off with the chemical waste.  Frank is fired and then knocked unconscious.

Realizing the Frank has vanished from the café, Fay runs over to a payphone and dials 9-1-1, just to be informed that the number cannot be reached.  Fay opens the door to the café and discovers that she and the café are apparently floating in space!

Returning to the television, Fay sees that, at the chemical plant, Frank is still on the ground and his employer tells a bunch of thugs that he wants them to make Frank watch as they dump the waste into the harbor.  However, once the thugs drive down to the harbor, Frank jumps out of the trunk of their car and into one of the trucks transporting the chemical waste.  The thugs shoot at the truck until it explodes and then decide that it’s time to get a cup of coffee.

Realizing that the thugs might be coming, Fay decides she better pretend to be a real waitress.  She grabs a cup of coffee and walks into the back where she discovers Frank rising out of a water-filled sink.  “You know what?” Frank says, “I don’t think this is your run-of-the-mill all night café!”

Fay congratulates Frank on doing the right thing and standing up to the thugs.  Suddenly, Fay starts to worry about what she saw in the restroom so she and Frank enter and, in the mirror, they see the two thugs approaching the cafe.  Frank and Fay run into the kitchen.  Frank opens a door marked exit and plunges back into the harbor.  Fay closes the door and then opens it again and finds herself staring at a back alley.  Deciding to face the thugs, she heads to the front of the café, where the two thugs demand to know where Frank is.  She tells them that he’s in the ladies room.  They rush into the restroom and suddenly find themselves on a police shooting range with a bunch of cops aiming their guns at them.

“This place has possibilities,” Fay says as the two thugs run from the café.

Suddenly, the TV turns on Fays sees herself in her bedroom, getting dressed for a date.  Frank steps back into the café and watches the TV, barely noticing that Fay has vanished from the café.  While he’s doing this, Blackie steps into the café and, breaking the fourth wall, says, “This ought to be interesting.”

On the television, Fay gets a call from a guy named Al (John D’Aquino) who explains that he’ll be delayed but he’ll see her later.  Frank recognizes Al as being his boss at the chemical plant and then he realizes that Blackie also worked at the chemical plant and was one of the people who always told him not to waste his time reporting the toxic waste dumping.  Blackie holds up a deck of cards and says that whoever pulls the low card will pay for their meal.  Frank says that the only person that he’s betting on is Fay.

On the TV, Fay drives towards Al’s house.  Suddenly, Frank is standing on the side of the road and hitchhiking.  Fay gives him a ride and suddenly, the two thugs pop up and start shooting at them.  Fay speeds off, with Frank in the car.  Fay outmaneuvers the pursuing thugs, who end up crashing their car into the harbor.

Suddenly, Blackie is the only one sitting in the café.  He watches Fay and Frank talk in the car.  Frank tells Fay all about Al and Fay kicks Frank out of the car, not understanding how he could possibly know her name.  Suddenly, Frank is back in the café.  He and Blackie watch as Fay knocks on the door of Al’s penthouse.  No one answers and Frank cheers as Fay starts to walk away.  Suddenly, Blackie appears on the television and unlocks the door so Fay can enter the penthouse.

Fay gives Al a really ugly sweater for his birthday but is then shocked to discover that Al is at the penthouse with another woman (played by Carrie-Anne Moss in an early role), who promptly asks if Fay is the maid.  As Fay heads for the penthouse’s bathroom, one of the thugs shows up and announces that he previous saw Fay at the café.  Meanwhile, Fay searches the medicine cabinet for pills before heading back to her car

Seeing Fay driving towards the harbor on the television, Frank runs out of the café to save Fay again.  But this time, instead of jumping into the harbor, Fay looks at the water and then says that it would be foolish to kill herself over a loser like Al.  Suddenly, Al drives up and Fay and Frank have to jump into the water to avoid getting hit.  However, once they hit the water, Frank realizes that they’re already dead.

Upon figuring this out, Frank and Fay are transported back to the café where Blackie tells them that they’re dead in the real world but they’re alive in the café and now, they get to make a difference in other people’s lives.  Blackie opens the door, to show Frank and Fay that they are once again floating in space and that the Earth in the distance.  Blackie tells them that they’ve been selected by “a higher authority” to help the people who enter the café and “maybe learn a little about yourselves along the way.”  But they’re both dead so what’s left to learn?

Suddenly, Al enters the café.  Blackie tells Al that Frank and Fay are in the restroom.  Al steps into the restroom and suddenly has a vision of Fay testifying against him in court.  Terrified, Al runs from the café but, upon opening the door, he plunges through space and lands in a vat of chemical waste.

A woman (played by Joan Chen of Twin Peaks fame) opens the front door.  “Hi,” she asks, “Are you open?”

Nightmare Café only ran for 6 episodes and anthology shows are notorious for being uneven.  All that considered, I really enjoyed the pilot for Nightmare Café, with its twisty plot, frequently surreal visuals, and — last but not least — Robert Englund having what appears to be a lot of fun as the show’s host.  The pilot was directed by Philip Noyce, who keeps the action moving a great pace.  Even more importantly, from their first scene together, Lindsay Frost and Jack Coleman have a lot chemistry.  I’m looking forward to watching the remaining episodes and seeing where all of this goes!

Horror Film Review: Silent Hill: Revelation (dir by M. J. Bassett)


The 2012 video game adaptation, Silent Hill: Revelation, is gloriously silly.

It’s also a sequel to the first Silent Hill. While many members of the original cast do return and while the sequel’s plot does directly follow up on the first film, Silent Hill: Revelation still feels like an all-together different film. Whereas the first Silent Hill was atmospheric and, with its 2 hour plus running time, a bit ponderous, the sequel is short, direct, and …. well, I hate to use that word again, a bit silly. It’s also undeniably entertaining.

Sharon (Adelaide Clemens) is now 18 and is currently using the name Heather. With her father, Harry (Sean Bean), Sharon/Heather has spent the last several years of her life moving from place to place and trying to keep one step ahead of the Order, the Silent Hill cult. Heather — let’s just use that name — tries to make the best of her situation but she is 18 and she would like a chance to do normal teenager stuff as opposed to just spending her life on the run.

Good luck with that! When Harry mysteriously vanishes, Heather finds a message telling her to go to Silent Hill. Teaming up with her classmate, the enigmatic Vincent (Kit Harrington), Heather heads back to Silent Hill. She hopes to find both Harry and Rose (Radha Mitchell) but the Order has other plans. Soon, Heather and Vincent are back in the alternate dimension, dealing with monsters and stabby blind nurses.

As is typical of horror films about cults, there’s a lot of talk about sacrifices and using blood to bring about a new age and everyone worships some mysterious God who doesn’t sound all that pleasant. Whenever I watch a movie like this, I find myself wondering how the cult got started in the first place. Who woke up one day and said, “I’m going to follow the demon that regularly kills all of his followers. Now, let’s go alter some adoption records!” I also can’t help but notice that cults can never do anything the simple way. Instead, there’s always some alternate dimension or some extremely complex ritual that has to be performed and it all has to be done at a certain time of the year. Maybe if they just simplified things, they wouldn’t have so much trouble getting stuff done. Maybe instead of always trying to steal new souls, they could just be happy with the ones they have. I mean, it’s just common sense.

But anyway, back to Silent Hill: Revelation. Silent Hill: Revelation usually gets dismissed as an inadequate sequel but I was entertained. The plot moves quickly and the film features some memorably gory scenes. The scene where Heather suddenly hallucinates about Silent Hill while walking through a mall was enjoyably gruesome. At the same time, I couldn’t help but regret that Revelation never quite succeeded in duplicating that ominous atmosphere of the first film. If the first film felt like a nightmare-come-to-life, Revelation feels more like the season finale of a long-running, supernatural-themed television show. It’s fun to watch but it’s not particularly challenging. That said, Adelaide Clemens gave a sympathetic performance as Heather, Sean Bean’s natural gravitas was put to good use, and Malcolm McDowell made a brief appearance. The film kept me entertained.

We’re following the White Rabbit again in The Matrix Resurrections Trailer


It’s been more than 20 years since the original Matrix dazzled audiences. It looks like both Keanu Reeves and Carrie-Anne Moss are reprising their roles as Neo and Trinity, alongside some fresh faces in Candyman‘s Yahya Abdul-Mateen II and Underwater‘s Jessica Henwick (sporting a fresh blue hairdo). Once again, Thomas Anderson is realizing the world around him isn’t quite what it seems. Just like before, others will show up to hopefully help him find his way, all to the tune of a sweet remix of Jefferson Airplane’s White Rabbit.

So, it looks like we might be in another cycle of the One here? Anyone who saw the Matrix Reloaded should recall that there were at least 6 previous Ones before Thomas Anderson, a.k.a. “Neo” came along. What I’m curious about is how this is going to be with all the background changes. The Wachowski’s have usually made their films as a pair, from Bound to Speed Racer to Cloud Atlas. This time around, Lana’s on her own in the directing duties, though we also have Sense8 writers Aleksandar Hemon and David Mitchell on board. That should bring some familiarity to fill in the space where Lilly Wachowski would be. My first thought is that it might be like a Christopher Nolan film without his brother Jonathan on board, but we’ll see how it goes. Musically, there’s also a change. Instead of Don Davis, we have Cloud Atlas‘ Tom Tykwer & Johnny Klimek on board.

The Matrix Resurrections also stars Jonathan Groff (Frozen), Christina Ricci (The Addams Family), Priyanka Chopra Jonas (Baywatch), Neil Patrick Harris (Gone Girl), Daniel Bernardt (Nobody, The Matrix Reloaded), Lambert Wilson (The Matrix Reloaded), Erindira Ibarra (Sense8), and Jada Pinkett Smith (The Matrix Reloaded)

The film will release in theatres and HBO Max this Christmas.

A Movie A Day #194: Lethal Tender (1996, directed by John Bradshaw)


Detective David Chase (Jeff Fahey) should not be mistaken for the creator of The Sopranos.  Instead, he is an eccentric and tough Chicago policeman, the type of cop who appears to have seen Mel Gibson in Lethal Weapon one too many times.  His superiors send Detective Chase and his partner to keep an eye on a strike occurring outside of a water purification plant.  Chase, however, is less interested in the strike and more interested in hitting on Melissa (Carrie-Ann Moss), who works at the plant.

Before you can say Die Hard All Over Again, a band of terrorists led by Montessi (Kim Coates) seizes control of the plant.  Montessi threatens to poison all of Chicago’s drinking water but, what the authorities don’t realize, is that the attack is really just a distraction, designed to keep everyone from noticing Mr. Turner (Gary Busey) and his men running off with a bunch of stolen government bonds.  Since Bruce Willis, Steven Seagal, and even Jean-Claude Van Damme were busy, it is up to Jeff Fahey to save the water, the money, and the day!

A Die Hard rip-off starring Gary Busey, Kim Coates, and Jeff Fahey does not actually have to be any good.  All the movie has to do is let those three actors do their thing and it will be watchable.  That is certainly the case with Lethal Tender, which is entertaining even if it is, ultimately, just another predictable Die Hard ripoff.  Jeff Fahey does okay as the hero but Lethal Tender belongs to the villains.  This was made in the days when Gary Busey playing crazy was still enjoyable instead of just sad.  Realizing that he was going to have to compete with Busey’s legendary ability to overact, Coates chews every piece of scenery that he can get his hands on.  Launching a major terrorist strike to cover up a simple robbery might seem like overkill but watching Busey and Coates compete to see who can steal the most scenes is so much fun that it really doesn’t matter that Chicago’s drinking water might get poisoned as a result of their shenanigans.

For fans of Busey and Coates, Lethal Tender is required viewing.  For everyone else, it’s the most successful attempt ever made to transport the plot of Die Hard to a water filtration plant.

Iron Fist Gives A Glimpse of The Living Weapon


iron-fist

Netflix and Marvel has had quite a couple years. It began in 2015 with the premiere of the first season of the Daredevil series. It was then followed up by the Jessica Jones series.

Here we are in 2016 and we get the second season of Daredevil to start the year and ending it with the just released Luke Cage series. What do Marvel and MCU fans have to look forward to in 2017.

Well, we have the upcoming Iron First series coming out this March 2017 to look forward to with Daredevil, Jessica Jones, Luke Cage and Iron Fist teaming up to become the Defenders to end the year.

We finally get the first trailer for Iron Fist and it dropped during New York Comic-Con for attendees first, but it didn’t take Marvel and Netflix to release the trailer on-line for all the bear witness to the Living Weapon.

Her Name Is Jessica Jones


Jessica Jones

The Daredevil series on Netflix was a hit with both critics and audiences. It helped lay the foundation in the street-level corner of the Marvel Cinematic Universe. Now, we have the second of four planned original series with the upcoming Jessica Jones which looks to continue the mature themes and tone of Daredevil.

The series will star Krysten Ritter in the title role with Mike Colter appearing for the first time as the Marvel superhero Luke Cage aka Power Man. It also stars David Tennant in the role of main antagonist and just all-around creepy villain Zebediah Kilgrave aka The Purple Man.

Where Daredevil only scratched the surface of superpowers in the more down-to-earth, street-level part of the MCU, it looks like Jessica Jones will introduce a wider variety of abilities (superhuman strength and endurance, unbreakable skin, mind-control just to name a few) and an even more mature series than Daredevil with it’s depiction of psychological damage and trauma to it’s treatment of Jessica Jones’ sexuality throughout the series.

While the Avengers fight gods, alien invasions, sentient killer A.I. and terrorist groups bent on world-domination, the Matt Murdock’s and Jessica Jones’ look to keep the street-level safe for the people of Hell’s Kitchen.

Jessica Jones is set to premiere and release all 13-episodes on Netflix this November 20, 2015. Time to set that date for another Netflix binge watch.

Two Late Reviews: The Legend of Hercules (dir by Renny Harlin) and Pompeii (dir by Paul W.S. Anderson)


As I mentioned in a previous review, I’ve only got a few months left before I’m going to have to make out my list of the 16 worst and the 26 best films of 2014.  With that in mind, I really need to get caught up on reviewing some of the films that might appear on those two lists.  For the most part, I try to review every single movie that I see but, occasionally, a movie or two will slip through the cracks.  And now, with Oscar season approaching but not quite arrived, seems like as good as time as any as to try to get caught up by reviewing two films that came out earlier this year: Renny Harlin’s The Legend of Hercules and Paul W. S. Anderson’s Pompeii.

Hercules_(2014_film)_poster

The Legend of Hercules is a film that I first saw with my BFF Evelyn way back in January.  And while I meant to review it after I first saw it, I simply never got around to actually doing so.  Some of that is because, when Kellan Lutz first showed up on screen, Evelyn said, “Nice tits,” and I ended up laughing so hard that I nearly fell out of my seat.  This led to Evelyn spending the entire film trying to make me laugh again and, in between all of the whispering and the giggling, we undoubtedly missed out on a lot of the film.

However, I recently rewatched The Legend of Hercules on Cinemax and I was quickly reminded about the other reason that I hadn’t gotten around to reviewing it.  There’s really just not that much to say about The Legend of Hercules.  It’s just not a very good film but yet it’s not bad in a fun way either.  It’s just boring.  As played by Kellan Lutz, Hercules wanders through the ancient world and he does all the stuff that you would expect Hercules to do.  Actually, he does all the stuff that you would expect any character in a rip-off of 300 to do.  The film could have just as easily been called The Legend of Eammon, an Irishman in Greece.  

In fact, I’d really like to see a movie called The Legend of Eammon, an Irishman in Greece.  Get on it, someone.

According to Wikipedia, The Legend of Hercules had a budget of 70 million dollars, which makes it a bit odd that the film itself just looks cheap and generic.  At one point, Hercules fights a lion and the CGI is so bad that, for a few minutes, the movie looks like one of those senior projects that students occasionally upload to YouTube.  (I was half-expecting to see a comment apologizing for the “crappy special effects” flash across the screen.)  During the film’s many fight scenes, director Renny Harlin does that thing where every punch is shown in slow motion.  It gets annoying after the hundredth time.

A few words about Kellan Lutz.  I happen to like Kellan Lutz.  I think he’s been likable in other roles.  But, in The Legend of Hercules, he really did spend the entire movie looking like he was wishing that he could be anywhere else.  But can you blame him?

Pompeii-posterFor a far more enjoyable trip into the past, allow me to recommend a film that came out a few months after The Legend of Hercules, Pompeii. 

Now, before I review Pompeii, I should admit that, as you all know, I am a history nerd and, as you all might not know, I’ve always been fascinated by the Roman Empire.  The summer after I graduated high school, I took a trip to Italy and I actually walked through the streets of Pompeii.  My two main memories of Pompeii: while we were touring an ancient brothel, an Australian man lay down on one of the slabs.  My other memory is that it was a very windy day and I was wearing a skirt so I can legitimately say that not only have I visited Pompeii but I’ve flashed Pompeii as well.

Anyway, Pompeii the Movie tells the story of the final days of Pompeii the City.  A Celtic slave and gladiator named Milo (Kit Harrington) is sent to Pompeii where he, in quick order, meets and romances the noble Cassia (Emily Browning), establishes a friendly rivalry with fellow gladiator Atticus (the always intimidating Adewale Akinnuoye-Agbaje), spots the evil Roman General (Kiefer Sutherland) who killed Milo’s mother, and then eventually has to run for his life as a cloud of ash and a river of lava crashes down on Pompeii.

Pompeii is a lot of fun.  Harrington and Browning have a lot of chemistry, all of the actors are obviously having a good time with their melodramatic dialogue, and Kiefer Sutherland was born to play an evil Roman.  As opposed to the Legend of Hercules, Pompeii looks good and the eruption of Mt. Vesuvius is genuinely impressive.  Perhaps best of all, the film actually allows things to play out to their natural and logical conclusion.  For once, history is not changed just to force a happy ending on the viewers and Pompeii is all the better for it!

So, in conclusion: forget about The Legend of Hercules and give Pompeii a chance.  Actually, you’ve probably already forgotten about The Legend of Hercules so just try not to suddenly remember it.  But seriously, Pompeii is better than you might think.