Guilty Pleasure No. 83: Meteor (dir by Ronald Neame)

Posted on May 16, 2025 by Lisa Marie Bowman

1979’s Meteor is about a big rock that is tumbling through space. Earth is directly in its path and, if it hits the planet, it could be an extinction-level event. Unfortunately, little bits of the rock keep breaking off and crashing into Earth, destroying cities and fleeing extras. Goodbye, Hong Kong. Goodbye, Switzerland, which is destroyed via stock footage lifted from Avalanche. Goodbye, New York, which blows up in such spectacular fashion that the scene was later re-used in The Day After.

It might seem like the planet is doomed. The meteor is unstoppable. Bruce Willis hasn’t become a star yet. But fear not! Some of the brightest faces of the 70s have been recruited to stop the meteor. Natalie Wood, in one of her final films, plays a translator and gets covered in muddy river water. Sean Connery wears a turtleneck and curses in that Scottish way of his. Karl Malden wears a hat and tells people to calm down while he calls the President. Brian Keith plays a Russian with all the grace and skill of a cat trying to rip open a bag of treats. Martin Landau is the military official who doesn’t think that the scientist know what they’re talking about. Henry Fonda is the president. That’s a lot of balding men for one movie and it’s hard not to notice that both Malden and Keith often seem to be wearing a hat whenever they share a scene with Connery. My personal theory is that the production, having spent all of their money on blowing up New York, couldn’t afford more than two toupees so everyone had to take turns wearing them. (The few scenes where Malden is hatless while in Connery’s presence are often oddly filmed, with either Connery on Malden standing with their back to the camera, almost as if the scenes were actually done with a stand-in.)

We’re supposed to breathe a sigh of relief when we see that Henry Fonda is playing the President but I’ve seen Fail Safe and I remember him allowing the Russian to nuke New York City. Interestingly enough, New York gets destroyed in this film too. Why didn’t President Fonda care about New York City? Of course, the scientists and the military folks are all located in a control center that’s located under the city. Malden mentions that they’re right next to the Hudson River. It doesn’t seem to occur to anyone that this is a bad idea but, then again, they also elected Henry Fonda president again.

My late friend and colleague Gary Loggins described Meteor as being a “crashing bore.” I have to admit that this is one of the few times that I have ever disagreed with Gary. Meteor is a tremendous amount of fun, as long as you’re watching it with a group of people and nobody takes it seriously. (The first time I saw it was at one in the morning while I was in college. Jeff and I watched it in the lounge of one of the dorms. We may be the only two people to have romantic memories of Meteor.) Meteor features a cast of champion scenery chewers. Karl Malden, Sean Connery, Martin Landau, Brian Keith, none of them were exactly subtle actors and giving them an excuse to argue about how to deal with a meteor allows for a lot of very enjoyable overacting. As well, the special effects are so cheap and obviously fake that it’s hard not to laugh out loud whenever the film cuts to that shot of the meteor rolling through space or the incredibly shiny American and Russian missiles slowly heading towards it.

Meteor’s a lot of fun, even if it is one of those movies where no one points out that our heroes inevitably seem to make every situation worse with their own stupidity. It’s very much at the tail-end of the 70s disaster boom. Watch it for the stars. Watch it for the rock. And watch it for the hairpieces.

Previous Guilty Pleasures

Scene That I Love: The Meteor Hits Hong Kong

Posted on May 2, 2025 by Lisa Marie Bowman

Today’s scene that I love is a chaotic scene in which a fragments of a meteor cause a tidal wave to crash over Hong Kong. It’s chaos on a budget in 1979’s Meteor! This scene was actually filmed in Los Angeles and featured cardboard cut-outs of buildings in a big water tank.

The Challenge (1982, directed by John Frankenheimer)

Posted on January 25, 2025 by Jedadiah Leland

Rick Murphy (Scott Glenn) is a punch-drunk boxer who is hired to return an ancient sword to Japan so that it can be returned to its rightful owner, the honorable Toru (Toshiro Mifune). Once in Japan, Rick becomes involved in a battle between Toru and his corrupt brother, Hideo (Atsuo Nakamura). Hideo demands that Rick work as an undercover spy in Toru’s martial arts school or be beheaded. Rick decides to keep his head and be a spy but he soon finds himself truly wanting to learn the ways of the Bushido.

A martial arts film is the last place most people would expect to find Scott Glenn and considering how miscast Glenn is, that’s understandable. Scott Glenn feels very out-of-place as both a boxer and a modern-day samurai. Scott Glenn is a very good actor but the role of Rick Murphy called for someone who could mix comedy with drama and be convincingly desperate. That’s not Scott Glenn. Who would have been better in the role? Tom Berenger was already acting in 1982. Or maybe even someone like Jan-Michael Vincent. Vincent was a B-actor but, deep down, The Challenge is a B-movie.

The good thing is that the action often does make up for Glenn’s miscasting. John Frankenheimer struggled with making the human drama compelling but he knew how to film a good fight. John Sayles’s script is pulpy without ever being disrespectful to Japanese culture and, as always, Mifune looks like he could battle and defeat the entire world if he wanted to.

One final note: Steven Seagal worked behind-the-scenes on the film but we won’t hold that against it.

Hot Shots! Part Deux (1993, directed by Jim Abrahams)

Posted on January 24, 2025 by Jedadiah Leland

Topper Harley (Charlie Sheen) is back but instead of being a knock-off of Tom Cruise, he’s now Sylvester Stallone.

When two separate teams of U.S. soldiers fail to rescue a group of hostages who are being held by Saddam Hussein (Jerry Haleva, who built an entire career out of his resemblance to the Iraqi dictator), it not only embarrasses America but threatens the reelection campaign of President Tug Benson (Lloyd Bridges). President Benson can get away with throwing up on the Japanese ambassador and knocking over all the other Presidents with a shovel (though Gerald Ford falls on his own) but he can’t survive a hostage crisis. Colonel Denton Waters (Richard Crenna) and Michelle Huddleston (Brenda Bakke) attempt to recruit Topper Harley from the Buddhist monastery, where he’s been living since the disappearance of Ramada (Valeria Golino). Topper refuses to help with a third mission but, after Water is captured by Saddam, Topper does decide to lead the fourth mission. Working with Ryan Stiles and Miguel Ferrer, Topper heads into the jungle to save Colonel Waters, reunite with Ramada, and discover his destiny.

The sequel to Hot Shots! is more of the same, a non-stop cavalcade of jokes, movie references, and deadpan one liners. There are enough laugh out loud moments to make up for the jokes that don’t work. I’ll always like the moment when Charlie Sheen sees Martin Sheen on another patrol boat. (“Loved you in Wall Street!”) It’s a movie made in the vein of Airplane! but the jokes aren’t as timeless as in that classic. Everyone remembers Rambo enough to get the main joke and the interrogation scene in Basic Instinct has left enough of an impression that Topper’s “I know what to get your for Christmas,” comment to Michelle still draws a chuckle but do you remember Body of Evidence and the first President Bush vomiting at a state dinner? Not all of the jokes have aged well but Charlie Sheen does a decent Rambo impersonation and Lloyd Bridges’s dim bulb President is one of the more relatable parts of the movie. Fortunately, jokes about Saddam Hussein getting flattened by a piano will always be funny.

Film Review: And The Band Played On (dir by Roger Spottiswoode)

Posted on January 5, 2025 by Lisa Marie Bowman

I live in a very cynical time.

That was one of my main thoughts as I watched 1993’s And The Band Played On.

Directed by Roger Spottiswoode and featuring an all-star cast, And The Band Played On deals with the early days of the AIDS epidemic. It’s a film that features many different characters and storylines but holding it all together is the character of Dr. Don Francis (Matthew Modine), an epidemiologist who is haunted by what he witnessed during the Ebola epidemic in Africa and who fears that the same thing is going to happen in America unless the government gets serious about the mysterious ailment that is initially called “gay cancer” before then being known as “GRID” before finally being named AIDS. Dr. Francis is outspoken and passionate about fighting disease. He’s the type who has no fear of yelling if he feels that people aren’t taking his words seriously enough. In his office, he keeps a track of the number of HIV infections on a whiteboard. “Butchers’ Bill” is written across the top of the board.

Throughout the film, quite a few people are dismissive of Dr. Francis and his warnings. But we, the audience, know that he’s right. We know this because we know about AIDS and but the film also expects us to trust Dr. Francis because it’s specifically stated that he worked for the World Health Organization before joining the Center For Disease Control in Atlanta, Georgia. As far as the film is concerned, that’s enough to establish his credentials. Of course, today, after living through the excesses of the COVID pandemic and the attempts to censor anyone who suggested that it may have begun due to a lab leak as opposed to some random guy eating a bat, many people tend to view both the WHO and the CDC with a lot more distrust than they did when this film was made. As I said, we live in a cynical time and people are now a lot less inclined to “trust” the experts. To a large extent, the experts have only themselves to blame for that. I consider myself to be a fairly pragmatic person but even I now find myself rolling my eyes whenever a new health advisory is issued.

This new sense of automatic distrust is, in many ways, unfortunate. Because, as And The Band Played On demonstrates, the experts occasionally know what they’re talking about. Throughout the film, people refuse to listen to the warnings coming from the experts and, as a result, many lives are lost. The government refuses to take action while the search for a possible cure is hindered by a rivalry between international researchers. Alan Alda gives one of the best performances in the film, playing a biomedical researcher who throws a fit when he discovers that Dr. Francis has been sharing information with French scientists.

It’s a big, sprawling film. While Dr. Francis and his fellow researchers (played by Saul Rubinek, Glenne Headly, Richard Masur, Charles Martin Smith, Lily Tomlin, and Christian Clemenson) try to determine how exactly the disease is spread, gay activists like Bobbi Campbell (Donal Logue) and Bill Kraus (Ian McKellen) struggle to get the government and the media to take AIDS seriously. Famous faces pop up in small rolls, occasionally to the film’s detriment. Richard Gere, Steve Martin, Anjelica Huston, and even Phil Collins all give good performances but their fame also distracts the viewer from the film’s story. There’s a sense of noblesse oblige to the celebrity cameos that detracts from their effectiveness. All of them are out-acted by actor Lawrence Monoson, who may not have been a huge star (his two best-known films are The Last American Virgin and Friday the 13 — The Final Chapter) but who is still heart-breakingly effective as a young man who is dying of AIDS.

Based on a 600-page, non-fiction book by Randy Shilts, And The Band Played On is a flawed film but still undeniably effective and a valuable piece of history. Director Roger Spottiswoode does a good job of bringing and holding the many different elements of the narrative together and Carter Burwell’s haunting score is appropriately mournful. The film ends on a somber but touching note. At its best, it’s a moving portrait of the end of one era and the beginning of another.

Horror Film Review: Godzilla (dir by Roland Emmerich)

Posted on October 15, 2024 by Lisa Marie Bowman

There’s a giant lizard rampaging through New York, the result of a mutation that happened as a result of being exposed to radiation. The military tries to stop the lizard but it turns out that stopping a giant lizard is not that easy. Scientists try to understand the lizard and how it came to be a destructive giant. The media breathlessly reports from the scene as two wisecracking cameramen do their best to record every second of the mayhem. The reporters call this lizard …. GODZILLA!

But is it Godzilla?

No, it’s not. Oh, it may be called Godzilla. And the movie itself may be called Godzilla. But the creature at the center of the 1998 American film Godzilla is definitely not Godzilla.

Godzilla was released with a great deal of fanfare in 1998, with commercials and toys and a lot of hype. Diddy, back when he was still calling himself Puff Daddy, recorded a song for the soundtrack and upset thousands of Led Zeppelin fans like my Dad who found themselves having to deal with kids who thought Kashmir was called Follow Me. (Diddy singing, “Follow me?” AGCK! How cringey is that!?) But, like many of the film of Roland Emmerich, it’s been almost totally forgotten in the years since.

And why not? It’s a forgettable film. It’s the epitome of an assembly-line action blockbuster, the type of thing that Roland Emmerich is known for. There’s comic relief, in the form of Hank Azaria. There’s a nerdy scientist hero in the form of Matthew Broderick. Broderick’s scientist has an ex-wife and yes, Godzilla’s invasion of New York gives them a chance to get back together. There’s a mysterious Frenchman who is played, somewhat inevitably, by Jean Reno. The Mayor of New York is a fat guy named Ebert (Michael Lerner) and he has an assistant named Gene (Lorry Goldman) and they get a lot of screentime because Emmerich wanted to make fun of two films critics who didn’t care much for his work. In fact, the Mayor and his assistant get so much screentime that it distracts from the rest of the film. Emmerich was directing a multi-million dollar reboot of a beloved franchise and he was more concerned with a petty feud.

He certainly wasn’t concerned with Godzilla. Personally, I like the giant lizard and one of the only effective moments in the film is when the lizard discovers that its children have been killed by the military. But that lizard is not Godzilla and the fact that Emmerich made a Godzilla film without Godzilla indicates that he didn’t really care about the monster or its fans. This film has no love for its source material and that’s a shame. The Godzilla films are fun! And the fact that the majority of the ones made up until the release of this film looked kind of cheap and featured a Godzilla who was obviously a man in a rubber suit only added to the fun. There’s not much fun to be found in this version of Godzilla. The movie looks great without ever making much of an impression.

And you know what? Having gotten this review out of the way, I’m ready to get back to reviewing the true Godzilla films. They may not have cost as much as Emmerich’s film but they’ve got heart.

Previous Godzilla Reviews:

Retro Television Review: City Guys 1.9 “Future Shock” and 1.10 “Easy Money”

Posted on September 29, 2022 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 Thursdays, I will be reviewing City Guys, which ran on NBC from 1997 to 2001. The entire show is currently streaming on Tubi!

Believe it or not, there’s a “lost” episode of City Guys.

According to Wikipedia, an episode called “The Movie” aired on November 1st, 1997. Here’s the plot description: Jamal and Chris decide to make a film using the school’s video camera. Things gets hairy when Ms. Noble wants to see their progress on the yearbook video.

Sound like fun, right? Unfortunately, it appears that “The Movie” was not included in City Guys‘s syndication package and, as a result, it’s also not available to stream on Tubi or anywhere else online. So, we’ll just have to accept that “The Movie” is lost to us. That said, it is nice to see that the show apparently attempted to return to the video yearbook storyline. For something that was supposed to be a big, year-long project, it certainly doesn’t appear that Chris and Jamal spent much time working on it.

For instance, in the two episodes that are reviewed below, they both manage to develop a gambling addiction and Jamal faces his own mortality. But no one says a damn thing about the video yearbook.

Anyway, roll with the city guys!

City Guys 1.9 “Future Shock”

(Directed by Frank Bonner, originally aired on November 8th, 1997)

“Meet Charlie Gresham,” Ms. Noble tells Jamal after he runs into Charlie (Corey Parker) in Noble’s office, “your class president.”

But wait a minute? Didn’t they elect a new class president in the previous episode? As you may remember, Cassidy, Dawn, and El-Train were all running for the office. Who the Hell is this Charlie Gresham guy? I’ve already pointed out that, even in its first season, City Guys struggled with continuity but this has got to be one of the show’s most glaring examples of just not keeping track of stuff. Did no one involved in the production care? I mean, even Saved By The Bell managed to remember that Jessie was class president.

Charlie is a lovable and charismatic class clown who is also a straight A student. He’s even got a scholarship to Harvard! He and Jamal meet and become best friends the same day! But then, the next morning, Ms. Noble announces that Charlie has been killed by a drunk driver. Bye, Charlie!

Jamal is so upset over the death of someone who he’s known for less than 24 hours that he decides that there’s no point of studying to do well on his PSATs. Character actor Clyde Kusatsu shows up as the therapist who is brought in to help everyone come to the terms with the death of a universally loved classmate whom none of them had ever mentioned before. Kusatsu is always good.

Actually, the entire cast does a good job in this one. It perhaps would have been more powerful if Charlie had actually been seen (or even referred to) prior to this episode but, given the show’s lack of concern with continuity, I wouldn’t be surprised if Charlie turns up alive in a future episode. That said, Ms. Noble asking Jamal to deliver the eulogy at Charlie’s memorial service felt a bit weird. They’d know each other for about 8 hours before Charlie died. “I don’t know what to say!” Jamal says. Yeah, I wouldn’t know what to say at a complete stranger’s funeral either.

Anyway, Charlie’s ghost comes back and encourages Jamal to keep on studying. That was nice of him. This episode ends with a totally unironic performance of Kumbaya. That takes guts.

City Guys 1.10 “Easy Money”

(Directed by Frank Bonner, originally aired on November 15th, 1997)

Chris and Jamal start making bets on football games! They make a ton of money and they’re even able to go out and buy totally happening portable televisions!

Unfortunately, when they try to become bookies themselves (don’t ask), they end up owing $400 to El-Train and his cousin. Yes, El-Train returns in the episode. When we last saw him, he was running for class president and determined to turn his life around. In this episode, he’s back to being the much feared school bully. He’s so intimidating that Chris and Jamal steal $400 from the school raffle. These city guys may be smart and streetwise but are they really the neat guys? I’m having my doubts.

Anyway, everyone confesses in the end and Ms. Noble punishes them by forcing them to clean the school furnace for free. Unfortunately, Chris and Jamal also had to give back their portable televisions. What a shame.

The message is don’t gamble but the subtext is that Jamal didn’t learn a damn thing from Charlie Gresham’s death. Hopefully, next week’s episodes will find him behaving in a way that would have made Charlie proud.

A Movie A Day #305: Go Tell The Spartans (1978, directed by Ted Post)

Posted on November 10, 2017 by Jedadiah Leland

One of the best films ever made about Vietnam is also one of the least known.

Go Tell The Spartans takes place in 1964, during the early days of the Vietnam War. Though the Americans at home may not know just how hopeless the situation is in South Vietnam, Major Barker (Burt Lancaster, in one of his best performances) does. Barker is a career military man. He served in World War II and Korea and now he’s ending his career in Vietnam, taking orders from younger superiors who have no idea what they are talking about. Barker has been ordered to occupy a deserted village, Muc Wa. Barker knows that occupying Muc Wa will not make any difference but he is in the army and he follows orders.

Barker sends a small group to Muc Wa. Led by the incompetent Lt. Hamilton (Joe Unger), the group also includes a drug-addicted medic (Dennis Howard), a sadistic South Vietnamese interrogator (Evan C. Kim) who claims that every civilian that the men meet is actually VC, a sergeant (Jonathan Goldsmith) who is so burned out that he would rather commit suicide than take command, and Cpl. Courcey (Craig Wasson). Courcey is a college-educated idealist, who joined the army to do the right thing and is now about to discover how complicated that can be in South Vietnam. At Muc Wa, the soldiers find a cemetery containing the graves of French soldiers who died defending the hamlet during the First Indochina War. The inscription as the cemetery reads, “Go tell the Spartans, stranger passing by, that here, obedient to their laws, we lie.”

Because the film strives for realism over easy drama, Go Tell The Spartans has never gotten the same attention as some other Vietnam films. Unlike The Deer Hunter, Platoon, Coming Home, and Born on the 4th of July, Go Tell The Spartans received no Oscar nominations. It is still a brilliantly acted and powerful anti-war (but never anti-soldier) film. It starts out as deceptively low-key but the tension quickly builds as the soldier arrive at Muc Wa and discover that their orders are both futile and impossible to carry out. Vastly outnumbered, the Americans also find themselves dealing with a land and a culture that is so unlike their own that they are often not even sure who they are fighting. Military discipline, as represented by Lt. Hamilton, is no match for the guerilla tactics of the VC. By the film’s end, Vietnam is revealed to be a war that not even Burt Lancaster can win.

A Movie A Day #70: Wired (1989, directed by Larry Peerce)

Posted on March 18, 2017 by Jedadiah Leland

Sometimes, you watch a movie and all you cay say, at the end, is “What the Hell were they thinking?”

Wired is one such movie. Based on a widely discredited biography by Bob Woodward, Wired tells two stories. In the first story, John Belushi (Michael Chiklis, making an unfortunate film debut) wakes up in a morgue and is told by his guardian angel that he has died of a drug overdose. Did I mention that his guardian angel is Puerto Rican cabbie named Angel Vasquez (Ray Sharkey) and Angel drives Belushi through a series of flashbacks? Belushi meets Dan Aykroyd (Gary Groomes, who looks nothing like Dan Aykroyd). Belushi gets cast on Saturday Night Live. Belushi marries Judy (Lucinda Jenney). Belushi uses drugs, costars in The Blues Brothers, dies of a drug overdose in a sleazy motel, and plays a pinball game to determine whether he’ll go to Heaven or Hell. While this is going on, Bob Woodward (J.T. Walsh) is interviewing everyone who knew Belushi while he was alive.

There are so many things wrong with Wired that it is hard to know where to even begin. I haven’t even mentioned the scene where Bob Woodward travels back in time and has a conversation with Belushi while he’s dying on the motel room floor. Wired tries to be a cautionary tale about getting seduced by fame and drugs but how seriously can anyone take the message of any movie that features Ray Sharkey as a guardian angel? The scenes with Woodward are strange, mostly because the hero of Watergate is being played by an actor best known for playing sinister villains. (Seven years after playing Bob Woodward, J.T. Walsh was actually cast as Watergate figure John Ehrlichman in Nixon.) Considering that this was his first movie, Michael Chiklis is not bad when it comes to playing a drug addict named John but he’s never convincing as John Belushi. He never captures the mix of charisma and danger that made John Belushi a superstar. Wired wants to tell the story of Belushi’s downfall but never understands what made him special to begin with.

Wired tries to be edgy but it only succeeds for one split second. During the filming of The Blues Brothers, a director who is clearly meant to be John Landis walks over to Belushi’s trailer. Listen carefully, and a helicopter can be heard in the background.

As for the rest of Wired, what the Hell were they thinking?

Cleaning Out The DVR Yet Again #8: Remote Paradise (dir by Michael Feifer)

Posted on November 18, 2016 by Lisa Marie Bowman

(Lisa recently discovered that she only has about 8 hours of space left on her DVR! It turns out that she’s been recording movies from July and she just hasn’t gotten around to watching and reviewing them yet. So, once again, Lisa is cleaning out her DVR! She is going to try to watch and review 52 movies by Thanksgiving, November 24th! Will she make it? Keep checking the site to find out!)

I recorded Remote Paradise off of the Lifetime Movie Network on October 30th. As is often the case with Lifetime movies, Remote Paradise was actually produced under a different title: Dark Paradise. I’m not sure why, exactly, Lifetime decided that Remote was somehow more appealing than Dark. But regardless, Paradise is Paradise, right?

Anyway, as this film started, I thought I might be able to relate to its story. I say this despite the fact that, in the starring role, poor Boti Bliss was occasionally forced to wear some of the most unflattering outfits that I’ve ever seen in a Lifetime film. Seriously, a huge reason why I watch Lifetime films is because I like seeing what people are wearing and how they decorate their homes. At the start of the movie, Tamara (played, of course, by Boti Bliss) not only wears horrid overalls but she also lives in a pretty small and cramped house. That was definitely a red flag.

However, once I got over her house and her sense of style, I started to relate to Tamara. At the start of the film, she’s informed that her father has died and she’s inherited close to 8 million dollars! A shocked Tamara mentions that she and her father didn’t even get along.

Hey! I thought, I used to fight with my Dad too!

Since Tamara has just broken up with her boyfriend, she decides to invest the money by going on a trip with her two best girlfriends.

Hey! I thought, I’m close to my girlfriends too!

So, they got to Hawaii.

OH MY GOD! I yelled I’VE BEEN TO HAWAII!

While in Hawaii, Tamara meets a sexy boat captain who claims that his name is Dario (played by Antonio Sabato, Jr). Dario says that he’s from Italy.

ARE YOU FREAKING KIDDING ME!? I’VE BEEN TO ITALY!

Soon, Tamara is swept off her feet by the handsome but mysterious Dario. She spends all of her time with him, dreaming of their future together.

OH MY GOD, I HAVE A WEAKNESS FOR HANDSOME AND MYSTERIOUS TOO!

Meanwhile, one of her friends is beat into a coma by an unknown attacker….

Okay, I can’t relate to that. I guess I should be happy about that…

One morning, Tamara wakes up to discover that not only is Dario gone but so is her bank account. That’s right, Dario stole all of her money and then fled Hawaii!

Sorry, Tamara, can’t relate…

And — oh my God! — Dario’s not even Italian! Tamara learns that Dario has been overheard speaking in Portuguese! OH MY GOD — HE’S BRAZILIAN!

Okay, I’ve lost the ability to relate to the movie…

And so, Tamara and her non-coma friend go to Brazil, looking for revenge. And I will say this for “Dario.” He may be sleazy. He may be evil. He may be every woman’s worst nightmare. But damn!, he’s got a nice house!

I like nice houses! But … no, sorry, still no longer relating…

Anyway, Remote Paradise is okay. Boti Bliss has been in several Lifetime films and she always tends to overact but that actually worked to her advantage here as Tamara seemed to be an overly dramatic person in general. (I especially enjoyed the way she spat out the word “bastard,” when she saw Dario’s car.) The story’s predictable but there’s a last minute twist that will not take you by surprise but, fortunately, the film does shy away from letting the Tamara pursue her vengeance. In the end, what’s important is that the beach looked good and so did Brazil and so did Antonio Sabato, Jr.

And, most importantly, so did his house!