4 Shots From 4 Films: Special Dinosaur Day Edition

Posted on May 21, 2024 by Lisa Marie Bowman

4 Shots From 4 Films is just what it says it is, 4 shots from 4 of our favorite films. As opposed to the reviews and recaps that we usually post, 4 Shots From 4 Films lets the visuals do the talking!

Since, as my sister has already pointed out, today is Dinosaur Day, it only makes it sense to continue to pay tribute to everyone’s favorite prehistoric marvels. It’s time for….

4 Shots From 4 Dinosaur Films

The Ghost of Slumber Mountain (1918, dir by Willis O’Brien, DP: Willis O’Brien)

One Million Years B.C. (1966, dir by Don Chaffey, DP: Wilkie Cooper)

Planet of the Dinosaurs (1978, dir by James Shea, DP: Henning Schellerup)

Carnosaur (1993, dir by Adam Simon, DP: Keith Holland)

Retro Television Reviews: International Airport (dir by Don Chaffey and Charles S. Dubin)

Posted on April 9, 2023 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 Sundays, I will be reviewing the made-for-television movies that used to be a primetime mainstay. Today’s film is 1985’s International Airport! It can be viewed on YouTube!

It’s not easy working at an international airport!

At least, that’s the message of this made-for-television film. Produced by Aaron Spelling and obviously designed to be a pilot for a weekly television series, International Airport details one day in the life of airport manager David Montgomery (Gil Gerard). Everyone respects and admires David, from the recently graduated flight attendants who can’t wait for their first day on the job to the hard-working members of the airport security team. The only person who really has a problem with David is Harvey Jameson (Bill Bixby), the old school flight controller who throws a fit when he learns that a woman, Dana Fredricks (Connie Sellecca), has been assigned to work in the tower. Harvey claims that women can’t handle the pressure of working the tower and not having a personal life. He demands to know what Dana’s going to do during that “one week of the month when you’re not feeling well!” Harvey’s a jerk but, fortunately, he has a nervous breakdown early on in the film and Dana gets to take over the tower.

Meanwhile, David is trying to figure out why an old friend of his, Carl Roberts (played by Retro Television mainstay Robert Reed, with his bad perm and his retired porn star mustache), is at the airport without his wife (Susan Blakely). David takes it upon himself to save Carl’s troubled marriage because it’s all in a day’s work for the world’s greatest airport manager!

While Carl is dealing with his mid-life crisis, someone else is sending threatening letters to the airport. One of the letters declares that there’s a bomb on a flight that’s heading for Honolulu. David and Dana must decide whether to allow Captain Powell (Robert Vaughn) to fly to Hawaii or to order him to return to California. And Captain Powell must figure out which one of his passengers is the bomber. Is it Martin Harris (George Grizzard), the sweaty alcoholic who want shut up about losing all of his friends in the war? Or is it the woman sitting next to Martin Harris, the cool and aloof Elaine Corey (Vera Miles)?

Of course, there are other passengers on the plane. Rudy (George Kennedy) is a veteran airline mechanic. Rudy is hoping that he can talk his wife (Susan Oliver) into adopting Pepe (Danny Ponce), an orphan who secretly lives at the airport. Unfortunately, when Pepe hears that Rudy’s plane might have a bomb on it, he spends so much time praying that he doesn’t realize he’s been spotted by airport security. Pepe manages to outrun the security forces but he ends up hiding out in a meat freezer and, when the door is slammed shut, it appears that Pepe may no longer be available for adoption. Will someone hear Pepe praying in time to let him out? Or, like Frankie Carbone, will he end up frozen stiff?

International Airport was an attempt to reboot the Airport films for television, with the opening credits even mentioning that the film was inspired by the Arthur Hailey novel that started it all. As well, Gil Gerard, Susan Blakely, and George Kennedy were all veterans of the original Airport franchise. George Kennedy may be called Rudy in International Airport but it’s easy to see that he’s still supposed to be dependable old Joe Patroni. Unfortunately, despite the familiar faces in the cast, International Airport itself is a bit bland. It’s a disaster film on a budget. While the viewers gets all of the expected melodrama, they don’t get anything as entertaining or amusing as Karen Black flying the plane in Airport 1975 or the scene in Concorde: Airport ’79 where George Kennedy leaned out the cockpit window (while in flight) and fired a gun at an enemy aircraft. Probably the only thing that was really amusing (either intentionally or unintentionally) about International Airport was the character of Pepe and that was just because young Danny Ponce gave perhaps the worst performance in the history of television.

International Airport did not lead to a television series. Watching it today, it’s a bit on the dull side but, at the same time, it is kind of nice to see what an airport was like in the days before the TSA. If nothing else, it’s a time capsule that serves as a record of the days when the world was a bit more innocent.

4 Shots From 4 Films: Special Raquel Welch Edition!

Posted on September 5, 2020 by Jedadiah Leland

Today, we wish a happy birthday to the one and only Raquel Welch!

4 Shots From 4 Films

One Million B.C. (1967, directed by Don Chaffey)

Fathom (1967, directed by Leslie H. Martinson)

100 Rifles (1969, directed by Tom Gries)

Kansas City Bomber (1972, directed by Jerrold Freedman)

A Movie A Day #334: Charley One-Eye (1973, directed by Don Chaffey)

Posted on December 9, 2017 by Jedadiah Leland

Welcome to the old west, where life is brutal and unpredictable. Ben (Richard Roundtree) joined the Union Army so he could kill white men. When his commanding officer caught Ben in bed with his wife, Ben was forced to commit murder and go on the run. When Ben stumbles across an unnamed Indian (Roy Thinnes) with a bad leg, Ben forces the Indian to accompany him. Despite Ben being loud, cruel, and mentally unstable, an unlikely friendship develops between Ben and the Indian, cemented by their mutual hatred of the white man. When they find a deserted church, Ben and the Indian settle in and start to raise chickens. The Indian’s favorite chicken is a one-eyed bird that he has named Charley. Meanwhile, the Bounty Hunter (Nigel Davenport), a British racist, retraces their every step.

Richard Roundtree made Charley One-Eye after shooting to fame as John Shaft. This film was his attempt to show that he was capable of playing more than just the black private dick that’s a sex machine to all the ladies. Ben is a world away from Shaft. There’s nothing smooth or charming about Ben, who never stop laughing or talking about how much he wants to kill a white man. (Though the character introduces himself as being named “Ben,” the end credits simply read, “The Black Man … Richard Roundtree.”) The Indian is also half-crazy and given to fits of laughter. The Bounty Hunter never laughs. Whenever these three aren’t talking, the sound of buzzing flies is heard. Death and decay are all around.

Don Chaffey was a British director who best known for films like Jason and the Argonauts and One Million Years B.C. Charley One-Eye was a strange departure for him and he would never make another film like it. It has elements of the Blaxploitation genre and Spaghetti western fans will recognize Aldo Sambrell in the tiny role of a Mexican bandit. But it is really neither blaxploitation nor a western. It’s a slowly paced, sometimes boring character study of two outsiders. Both Roundtree and Thinnes give good performances, though their characters are sometimes hard-to-take. The only thing that makes Ben and the Indian tolerable is that their enemies, like the Bounty Hunter, are a hundred times worse. There is a weird religious subtext running through the entire movie and the ending will leave you wondering whether the director of Jason and the Argonauts was actually calling for armed revolution. Charley One-Eye is uneven and it goes on for at least thirty minutes too long but it is still an intriguingly strange movie.

One final note: Charley One-Eye was produced by none other than David Frost, the British media personality whose post-presidency interview with Richard Nixon was recreated in Frost/Nixon.

Val’s Movie Roundup #5: Dogs Edition

Posted on July 27, 2015 by Valerie Troutman

Beethoven’s Big Break (2008) – Some months ago I watched a SyFy movie called Lake Placid vs. Anaconda (2015). During, or shortly after, one of the actresses named Ali Eagle reached out to me on Twitter. As a result, I added several of her films to my queue. I just happened to get around to this one recently. That’s her above. As for the movie, I grew up with the first two Beethoven films and have not seen the third, fourth, and fifth films that come before this one. The family from those films isn’t here. Now we get an animal trainer whose son finds a Saint Bernard and names it Beethoven because of it’s affinity for classical music. The father is helping another animal trainer who unbeknownst to him kidnaps the dog star of a movie in order to extort money from the production company. Problem is that they haven’t actually shot one scene with the dog. As a result, upon seeing Beethoven, they simply recast. What follows is possibly the largest collection of tired, overused, and old jokes I have ever seen in one film. It’s obviously supposed to be a parody in some ways of the Beethoven movies while also being a reboot, but it doesn’t work. There is no reason to see this stinker. I will probably see the other Beethoven sequels, so we can hope that they are at least a little better.

The Adventures of RoboRex (2014) – You know your Transformers movies suck when a children’s film about a good robotic dog and an evil robotic cat is better. This movie is about a kid whose mother passed away and left him with a crystal. He doesn’t know it’s importance until a capsule arrives like The Terminator with an evil robotic cat named Destructo Cat inside. Soon after, a good robotic dog called RoboRex shows up to help the kid. The cat is sent from the future by Professor Apocalypse to instruct and help his younger self get the crystal. What follows is a slow but sure trajectory toward a final battle. In between we do get a nice little fight between the cat and dog that is more exciting than anything in the 4,076 minutes of Transformers: Age of Extinction (2014). I definitely recommend this one, but two things kind of bothered me. Ben Browder is in this and although it’s only been about ten years or so since Stargate, he looks like he has aged quite a bit. The other part is that they never explain how RoboRex ends up at Ben Affleck’s place in Gone Girl (2014).

C.H.O.M.P.S. (1979) – This movie has stupid characters and plot, but the dog is awesome! It’s like The Terminator (1984) and Superman (1978). It literally rips off the roof of a car with it’s paws. And you can see from the picture above that it’s a small dog. The movie is about a guy who works for a home security company. Instead of trying to make your standard security system, he looks to nature’s home security system and decides to improve it. He first thinks of creating a robotic Doberman, but probably realized that people had already seen Dobermans rob banks in earlier movies and just copied his own dog instead. The movie basically has three things going on. First, the dog is on an endless rampage to catch these two criminals that might as well have stepped out of Home Alone (1990). Second, the guy and his girl are trying to sell the company on the idea of a robotic dog. Third, is this big black dog that occasionally pops up whose thoughts we can hear. That dog has some mouth on it. It says, “Up your poop, granny” and “Shit”. With Hot to Trot, that makes two talking animal movies I’ve seen recently where the talking animal says “shit”. If you can put aside the problems and just focus on the cool dog, then this one can be fun. It’s a little weird to see the dog’s eyes light up and the head get removed though.

The Amazing Wizard of Paws (2015) – This is a movie that would have the Cinema Snob saying “What the fuck!” The script is a mess. The movie begins with what looks like Snape cornering Gandalf against a tree. Gandalf is holding a book. That book will be important…sort of. Next a dog meets up with a kid who has lost his father in a car accident. Snape visits him in the backyard, but doesn’t seem to do anything. Then we jump seven years into the future. That’s where this movie starts to just go wherever it feels like. It sets things up that the dog can talk, the book is magic, and the kid is supposed to protect it using magic. However, despite this evil wizard who wants the book, the kid spends most of his time signing up for talent shows in order to get money so his mother can keep the house. You will find yourself saying, “And the wizard went where? What happened to him wanting the book?” I can’t recommend this movie at all. A total skip. It’s sad because I really do like the dog.

A Quickie With Lisa Marie: One Million Years B.C. (directed by Don Chaffey)

Posted on February 27, 2011 by Lisa Marie Bowman

So, last night, I was talking Oscar fashion over on twitter and, at one point, I somehow ended up promising that if I was ever nominated for an Oscar, I would wear an outfit based the fur bikini that Raquel Welch wore in the 1966 film One Million Years B.C. Well, everyone seemed to think that this was a pretty good idea on my part but it made me realize that I’ve never actually seen this movie. As I was already planning on going to Fry’s to buy the Criterion edition of Fish Tank, I decided to buy One Million Years B.C. as well. When I returned home, I kinda watched it.

I say “kinda” because One Million Years B.C. is probably one of the most draggy movies ever made and my mind wandered considerably whenever there wasn’t a dinosaur on-screen. The movie opens with a really pompous sounding narrator who explains 1) that One Million Years B.C. was a long time ago and 2) not much else. I mean, honestly, Mr. Narrator, I could have figured out we were dealing with prehistory just from the fact that there’s a bunch of dinosaurs wandering around. Anyway, the movie itself is about a caveman (played by a nicely rugged actor named John Richardson) who is exiled from his own savage tribe but who eventually ends up with Raquel Welch’s tribe. But then his new tribe gets sick of him and decides to exile him as well. This time, Welch goes off with him and they eventually join Richardson’s old tribe which then goes to war with Welch’s old tribe and then finally, a volcano explodes. Oh, and there’s a lot of dinosaurs wandering around as well. On rare occasions, they attack the cave people but, for the most part, they just put out the same aloof vibe as my cat does right after he eats.

Most of the film’s dinosaurs were created through stop motion animation and they’re fun to watch. However, for me, what truly made the film was a giant turtle that pops up about 30 minutes in. It’s trying to make its way back to the ocean and, for its trouble, a bunch of little cave people insist on throwing spears at it. But the turtle just kinda looks back at them and shrugs. What a cool turtle!

There’s a certain type of viewer — and we all know the type — who will complain that One Million Years B.C. commits the sin of 1) having dinosaurs existing at the same time of cavemen and 2) having all the different dinosaurs living together at the exact same time. And to those people, I think it’s high time that everyone just finally says, “Shut the fuck up.” I mean, seriously, instead of nitpicking every little cinematic detail, why don’t you concentrate on losing some weight before you drop dead of a heart attack?

Just a suggestion.

Oddly enough, this film has a weird connection to the James Bond film series in that, on the basis of their work here, both John Richardson (who also starred in Mario Bava’s classic Black Sunday) and Raquel Welch came close to being cast in On Her Majesty’s Secret Service. However, the roles ended up going to George Lazenby and Diana Rigg instead. (Welch was also nearly cast as a Bond girl in Diamonds are Forever.) Though neither Welch nor Richardson ever became a part of the 007 franchise, Robert Brown (who plays Richardson’s father here) later played the role of M in a handful of Bond films.

Quickie Review: Jason and the Argonauts (dir. by Don Chaffey)

Posted on November 25, 2010 by Arleigh

While I have been buying and collecting dvds for some ten years now (collection around 2500-3000 titles) I have seen those purchases dwindle and wane to almost just a few a year now. I blame the convenience of Netflix and my resurgence in gaming with my Xbox 360 as the main cause for my slacking off in the dvd collecting. While I still see myself collecting dvds and, most likely, moving onto blue-rays, I have seen why people love their Netflix accounts so much. Last night I was able to combine my love for my Netflix and my Xbox 360 and feed my need to always be watching a film. Using Netflix Instant I was able to watch streaming over my Xbox 360 one of the classic fantasy films ever made.

The film I speak of is the 1963 classic fantasy meets Greek mythology simply called Jason and the Argonauts. It is one of those films which has stood the test of time. I know of no film lover who hasn’t seen this at least once. It’s beloved and admired by millions of people of different generations for its simplicity and for the work of one man whose name overshadows everyone on the film from the director to the actors. This was the film which established for eternity the genius and imaginative creative of special effects guru Ray Harryhausen.

Jason and the Argonauts takes one of the more popular Greek myths about a son looking to re-take his father’s kingdom from a usurper but in the process goes through a journey that pits him against monsters, betrayers and the Gods themselves. The titular character and his crew must travel to the fabled island of Colchis at the edge of the world to find the legendary Golden Fleece purported to have magical properties of healing and even to grant peace throughout the land. I say that’s a piece of item worth fighting off a giant bronze warrior statue, screeching harpies, tempermental seaside cliffs and up to a many-headed hydra and skeleton warriors spawned from it’s teeth.

The acting is typical of most fantasy films of the 60’s and that’s they’re all bombastic, full of vigor and turns even the most simple dialogue into pronouncements of epic deeds to be done. Todd Armstrong leads a cast of British actors including such luminaries of their era like Nigel Green, Nancy Kovack, Honor Blackman and Douglas Wilmer. While the acting may seem quaint by today’s standards I still believe it’s what gives the film it’s timeless energy and quality. It makes the film flow like an epic poem that gave birth to it’s source material to begin with.

But what really makes this film stand out years after years and decade after decade since it’s release is the stop-motion animation effects created by the king of stop-motion effects himself, Ray Harryhausen. To say that the quieter moments where characters interact with each other almost feel like fillers to move the story along until it reaches one of several action sequences featuring Harryhausen’s work. It doesn’t diminish the work done by the actors or the efficient direction by filmmaker Don Chaffey. It just means that Harryhausen’s stop-motion work were so impressive that the audience just wants to see what new magic he has up next.

The climactic fight between Jason and his men versus skeleton warriors born from the teeth of a slain hydra (a stop-motion sequence which was in itself quite impressive) still goes down as one of the most impressive feats of filmmaking married with special effects today. There’s something to be admired about a four and a half minute action sequence where Harryhausen spent 4 months of meticulous frame-by-frame work to make the skeletal opponents come to life. There’s a reason why so many special effects magicians since then have pointed to this scene as one of their favorites and one reason why they got into the FX work to begin with.

Jason and the Argonauts may not have the technical wizardry of today’s fantasy epics and films with their million-dollar budgets spent on CGI-effects. It may not have the seriousness that today’s fantasy films have taken to heart (losing some of the fun, innocence of what makes fantasy films so great). What it does have is great storytelling which harkens back to a more innocent, hopeful and simple time. It also has the finest work of one of film history’s master magicians in Ray Harryhausen and that, in the end, is what makes this film of the the greatest of its kind and one every kid should be introduced to.