Late Night Retro Television Review: Highway to Heaven 3.4 “Another Kind of War, Another Kind of Peace”


Welcome to Late Night 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 Highway to Heaven, which aired on NBC from 1984 to 1989.  The entire show is currently streaming on Freevee and several other services!

This week, Jonathan and Mark bring together a family.

Episode 3.4 “Another Kind of War, Another Kind of Peace”

(Dir by Dan Gordon, originally aired on October 15th, 1986)

Clancy (Eugene Roche) is an old man who has never gotten over the death of his son in Vietnam.  He lives alone in an apartment in Los Angeles.  His only friend is Guido Liggio (Ernest Borgnine), an Italian taxi driver who lives next door.  Guido, who came to this country as a refugee during World War II, is the type of salt-of-the-Earth character who says stuff like, “Clancy, how come you no be a-nice to the people?”  And Clancy is the type of bitter old man who says stuff like, “Don’t ask me for money, ya bum!”

Jonathan and Mark show up at Clancy’s apartment and inform him that they work for an agency that brings refugees to the United States.  They explain that Clancy’s son had a child in Vietnam.  Now, both Clancy’s grandchild and the grandchild’s mother are in the United States and they need somewhere to stay.  Clancy is angered by the news, claiming that the mother is lying and just trying to get into the country.  But eventually, he agrees to allow Lan Nguyen (Haunani Minn) and Michael Nguyen (Ernie Reyes, Jr.) to stay in his apartment.  He even agrees to give Michael lunch money so that Michael won’t starve at school.  Otherwise, Clancy says that he doesn’t want to have anything to do with either of them.

Guido, on the other hand, is more than willing to host Lan and Michael.  He’s a refugee himself and, even more importantly, he’s everyone’s favorite character actor, Ernest Borgnine!  But Jonathan and Mark understand that their assignment is to bring together Clancy and his grandson.  Guido is a nice guy but he’s not Michael’s grandfather.

At school, a bully (Adam Gifford) is stealing Michael’s lunch money.  When Michael says that he needs the money for food, the bully threatens to hurt Clancy.  What a jerk!  Seriously, check out this totally 80s bully:

When the principal tells Mark and Jonathan that Michael has been spending his lunchtime searching for food in the school dumpsters, Jonathan tells Clancy.  Clancy, angered that his money is being wasted, heads down to the school and confronts the bully.  Jonathan briefly gives Clancy and Michael “the stuff,” which allows them to beat up the bully and his entire gang.  This experience brings grandson and grandfather together.  So, I guess the message here is that violence is the answer.  Forget about that turning the other cheek stuff.  Instead, just throw your bully through a car window.

This episode was pretty much what most people picture when they think of a typical Highway to Heaven episode.  It was unabashedly sentimental and a bit simplistic in its approach.  It was earnest enough to be likable though a bit too heavy-handed for its own good.  Any show that features Ernest Borgnine as a special guest star is not exactly going to deliver anything resembling a subtle story.  While this episode was never quite as good as I wanted it to be, I was still glad that Michael and his mother found a home.

JUBAL (1956) – Ford, Borgnine, Steiger, and Bronson star in a Shakespearean tragedy set in the old west!


In 2023, our family (parents, siblings, kids, nieces & nephews, everybody) took a vacation to the Grand Teton National Park. It was one of the most enjoyable vacations I’ve ever been on. Of course, this dad got on his family’s nerves by continuously referencing the film JUBAL since it was filmed with the Grand Tetons in the background. I just kept thinking about the fact that we were hanging out near a place where Glenn Ford, Ernest Borgnine, Rod Steiger, and Charles Bronson worked on one of my favorite westerns. For good measure I mentioned SHANE a few times as well since it was also filmed there.

Nice guy rancher Shep Horgan (Ernest Borgnine) finds Jubal Troop (Glenn Ford) injured and at the point of death. He takes Jubal back to his ranch and they nurse him back to health. The two men hit it off and soon Shep asks Jubal to be his foreman. This doesn’t set well at all with the duplicitous Pinky (Rod Steiger) who’s used to being in charge.  It sets too well with Shep’s beautiful wife Mae (Valerie French) who takes the wrong kind of liking to Jubal, a habit that seems to keep rearing its head with the lonely lady. This eventually turns into a powder keg of betrayal, lies & misunderstandings. Charles Bronson has a small, but pivotal role as cowhand who’s there for Jubal when things get really rough.

I bought JUBAL on VHS early in my movie collecting days in the 80’s. Of course, they put Bronson’s face on the front of the box with the other stars, even though it was over-inflating the size of his role in the movie. But that’s okay because it was probably the first time a teenage Bradley ever watched a movie with old Hollywood stars like Ford, Borgnine & Steiger. I loved the movie, and I’ve since searched out each actor’s filmography to watch their best films. Steiger especially stands out as the evil Pinky. I’ve been a huge fan of his ever since.

JUBAL also turned me on to the director Delmer Daves. Daves is one of the great directors of that time period. It’s been nice seeing some of his work being released as part of the Criterion Collection. His other films include DARK PASSAGE with Humphrey Bogart, BROKEN ARROW with Jimmy Stewart, DRUM BEAT with Alan Ladd & Charles Bronson, THE LAST WAGON with Richard Widmark, and 3:10 TO YUMA again with Glenn Ford. Heck, the guy wrote the classic tearjerker AN AFFAIR TO REMEMBER. The guy was awesome!

Just to finish off a little personal history related to our family’s trip to the Grand Tetons in 2023…. I recently took my blu-ray of JUBAL to my parents’ cabin and watched it with my Dad and Mom. Me and Dad looked at each other and smiled every time a beautiful shot of the Tetons was in the background, and those majestic mountains are featured in almost every shot. It was marvelous.

Scenes That I Love: Convoy (RIP, Kris Kristofferson)


Rest in peace, Kris Kristofferson.

Today’s scene of the day comes from 1979’s Convoy and it features Kristofferson as the greatest trucker of all time, Rubber Duck.  In this scene, Rubber Duck rescues a fellow trucker from jail and lets the authorities know what they can do with their law.

Scenes That I Love: Ernest Borgnine Yells In The Poseidon Adventure


Ernest Borgnine, that great character actor, was born 104 years ago today.  In tribute, today’s scene that I love comes from one of my favorite Borgnine films, 1972’s The Poseidon Adventure.

Borgnine was a great yeller and, in The Poseidon Adventure, he even manages to outyell the great Gene Hackman.

Scenes That I Love: The Duke Makes Quite An Entrance in Escape From New York


Continuing our celebration of John Carpenter’s birthday, today’s scene that I love comes from one of my favorite Carpenter movies, 1981’s Escape From New York.

In this scene, The Duke of New York makes quite an entrance.  Not only does he have an entourage but his car comes with its own chandeliers and a disco ball!  Along with writing and directing this film, Carpenter also composed the score.

6 Classic Trailers For Loyalty & Law Day!


Since today is both Loyalty and Law Day here in the United States, it’s time for a special edition of Lisa Marie’s Grindhouse Trailers!

  1. The Super Cops (1974)

So, you think you can just ignore the law, huh?  Well, the Super Cops have got something to say about that!  This film was based on the “true” adventures of two widely decorated NYPD cops.  The cops were so good at their job that they were even nicknamed Batman and Robin.  Of course, long after this movie came out, it was discovered that they were both corrupt and were suspected of having committed more crimes than they stopped.  Amazingly, this film was directed by the same man who did Shaft.  The Super Cops are kind of annoying, to be honest.

2. Super Fuzz (1980)

Far more likable than The Super Cops was Super Fuzz.  Terence Hill plays a Florida cop who gets super powers!  Ernest Borgnine is his hapless partner.  The film was directed by Sergio Corbucci, of Django fame.

3. Miami Supercops (1985)

In 1985, Terence Hill returned as a Florida cop in Miami Supercops.  This time, his old partner Bud Spencer accompanied him.

4. Miami Cops (1989)

Apparently, Miami needed a lot of cops because Richard Roundtree decided to join the force in 1989.  Unfortunately, I could only find a copy of this trailer in German but I think you’ll still get the idea.

5. The Soldier (1982)

In order to celebrate loyalty, here’s the trailer for 1982’s The Soldier!  They’re our government’s most guarded secret …. or, at least, they were.  Then someone made a movie about them.

And finally, what better way to celebrate both Loyalty and Law Day than with a film that pays tribute to the Molokai Cops?  From Andy Sidaris, it’s….

6. Hard Ticket To Hawaii (1987)

Happy May Day!

Live Tweet Alert: Join #FridayNightFlix for Super Snooper (a.k.a. Super Fuzz)!


 

As some of our regular readers undoubtedly know, I am involved in a few weekly live tweets on twitter.  I host #FridayNightFlix every Friday, I co-host #ScarySocial on Saturday, and I am one of the five hosts of #MondayActionMovie!  Every week, we get together.  We watch a movie.  We tweet our way through it.

Tonight, at 10 pm et, #FridayNightFlix has got 1981’s Super Snooper!

Directed by Sergio Corbucci and starring Terence Hill and Ernest Borgnine, Super Snooper is the story of an amiable Florida cop who can do just about anything.  The film is better known as Super Fuzz but, for some reason, Prime is going with Super Snooper.  Whatever.  We’re going to live tweet the Heck out of it, regardless of which title it’s under.

If you want to join us this Friday, just hop onto twitter, start the movie at 10 pm et, and use the #FridayNightFlix hashtag!  It’s a friendly group and welcoming of newcomers so don’t be shy.

Super Snooper is available on Prime and YouTube!  See you there!

 

Scenes That I Love: Happy New Year From The Poseidon


Happy new year!

With 2023 coming in like a tidal wave, it only seem fitting that the first scene that I love for this year should come from 1972’s The Poseidon Adventure.  Just as how Die Hard has recently been acclaimed as one of the great Christmas films, The Poseidon Adventures is one of the best of the New Year’s Day films.  It’s also perhaps the only film in which Gene Hackman managed to overact more than even Ernest Borgnine.  I mean, don’t get me wrong.  It’s a strong competition between two great actors, neither of whom was known for being particularly subtle when it came to barking out their lines.  But, in the end, Hackman still managed to take the overacting crown for this film.

(That said, what’s New Year’s Day without Borgnine shouting, “Where’s your God now, Preach-ah!?”)

In the scene below, the passengers ring in the new year while Leslie Nielsen faces the tidal wave that will soon turn the boat upside down.  Whatever else you may want to say about this particular film, it does a great job of contrasting the celebrations in the ballroom with the dread on the bridge.  While everyone else is counting down and celebrating and mugging for the camera, Nielsen can only stare in stoic horror as the wave approaches.  He does the only thing that a captain can do.  He sounds the alarm.  He sends out an S.O.S.  Unfortunately, the alarm can barely be hard over the celebrations of the new year and the S.O.S. man is quickly swept away by the crashing of the wave.

The scene goes from celebrating the future to highlighting the type of old-fashioned, nature-fueled destruction that has been wiping out civilizations since the beginning of time.  It doesn’t matter how many plans you’ve made.  It doesn’t matter how rich  you are.  It doesn’t matter how safe you feel or how much you cling to the furniture as the world turns upside down.  Fate, whether it’s in the form of a wave or some other natural disaster, is pitiless.  That’s one reason why disaster movies, as melodramatic as they could often be, so entranced audiences.  Everyone knew that it would just as easily happen to them.  Just as no one expected the tidal wave on New Year’s, no one would be expecting to leave the theater to be confronted by an earthquake or a tornado.  But it could definitely happen.  Life, like society, is a fragile thing.  If not even Gene Hackman, Stella Stevens, Shelley Winters, and Roddy McDowall could make it to the end of the movie, what hope is there for anyone?  Of course, the thing to remember is that they may not have made it but Ernest Borgnine, Red Buttons, Carol Lynley, and a few others did.  They survived, though I imagine they spent the rest of their lives dreading January 1st.

Needless to say, neither the passage of time nor the wave can be escaped.  As much as we may have things left to do in 2022, it’s too late now. 2023 is here and the world has moved on.

Horror Film Review: The Devil’s Rain (dir by Robert Fuest)


Was I the only one who was relieved that William Shatner didn’t die this week?

Seriously, when I heard that the 90 year-old Shatner was going to be taking a trip on one of the Amazon rockets, I was really worried.  First off, you’re taking a 90 year-old into space.  Secondly, you’re doing it with a rocket that people don’t really know that much about.  And third, that 90 year-old is a cultural icon and one who probably played no small role in causing people like Jeff Bezos and Elon Musk to become obsessed with conquering space in the first place.  With the exception of George Takei, everyone loves William Shatner.  (And, at this point, Takei’s constant sniping about Shatner is coming across as being just a little bit petty.  Move on, George!  People love you, too.)

As I watched Shatner land back on Earth, I found myself thinking about The Devil’s Rain, a film from 1975 that starred William Shatner as a man whose exploration of the unknown led to a far less triumphant result.   

In this film, Shatner plays Mark Preston, a youngish man who lives on ranch with his father (George Sawaya) and his mother (Ida Lupino).  For some reason, the Preston family owns a book that is full of evil magic.  Satanic high priest Jonathan Corbis (Ernest Borgnine) wants the book and when the Prestons refuse to hand it over, he makes it his mission to destroy them.  He gets things started by turning Mark’s father into a weird, waxy zombie who melts in the rain.  Not wanting the same fate to befall the rest of the family, Mark grabs the book and heads to a desert ghost town that has been taken over by Corbis and his followers.  Mark never returns.

Mark’s older brother, Tom (Tom Skerritt) then shows up in town, searching for Mark.  Accompanying him are his wife (Joan Prather) and a paranormal researcher (Eddie Albert).  Tom discovers that Corbis is transforming his followers into zombies who have no memories and who exist only to …. well, I’m not sure what the point of it all is but I guess it basically comes down to Corbis needing something evil to do.  Not only has Mark become one of his Corbis’s followers but, if you keep an eye out, you might spot a very young John Travolta in the background.  This was Travolta’s film debut.  According to the end credits, the character he plays is named Danny.  Danny Zuko, perhaps?  That would serve him right for making Sandy doubt herself.

The Devil’s Rain is one of the many low-budget movies that William Shatner did between the end of the Star Trek TV show and the start of the Star Trek movies.  It’s a bit of an disjointed film, as I think any film starring William Shatner and Tom Skerritt as brothers would have to be.  Skerritt gives a very laconic performance, playing his character as if he was the star of a Western.  Shatner, meanwhile, does that thing where he randomly emphasizes his words and gets the full drama out of every sentence and facial expression.  But, as much as Shatner overacts, you can’t help but enjoy his performance because he’s William Shatner and that’s what he does.  The same is true of Ernest Borgnine, who overacts in his role just as much as you would expect Ernest Borgnine to overact when cast as an evil cult leader.  For that matter, Eddie Albert isn’t exactly subtle as the paranormal researcher.  Don’t even get me started on Keenan Wynn, playing yet another small town sheriff.  Let’s just say that, with the exception of Tom Skerritt, the cast of The Devil’s Rain is not necessarily full of actors noted for their restraint.  That said, there’s something rather charming about everyone’s attempts to steal every scene in which they appear.

The Devil’s Rain is a deeply silly film but that doesn’t make any sense but it’s hard not to get caught up in it.  Even if the fact that this film is perhaps your only opportunity to see John Travolta melt on screen isn’t enough to make you watch, Shatner vs. Borgnine with Skerritt approaching in the distance is just too entertaining to resist!  Thankfully, Shatner survived appearing in this film and revitalized his career through a combination of Star Trek movies and Canadian tax shelter flicks.  He’s a survivor.  In fact, I guess I shouldn’t have been surprised that, even at the age of 90, Shatner has no trouble going into space.  William Shatner’s going to be around forever.

Film Review: Convoy (dir by Sam Peckinpah)


Well, it looks like we’ve got ourselves a Convoy!

The 1978 film Convoy opens with the image of a truck passing by some hills that have been covered with snow.  At a certain point, it actually looks like the truck is descending into a sea of white powder.  It’s an appropriate image because, to film lovers and cinematic historians, Convoy will always be associated with cocaine.

Convoy was meant to be a relatively small-scale B-movie, one that was meant to capitalize on the popularity of a novelty song, as well as the recent success of other car chase films.  Instead, it became a notoriously troubled production that went famously overbudget and overschedule as director Sam Peckinpah turned Convoy into a personal statement about modern cowboys and independence.  When the film was finally released, it was the biggest box office hit of Peckinpah’s storied career.  However, because so much money had been spent making the film, it still failed to make a profit and the film is regularly described as being one of the many flops of the late 70s that eventually led to the power in the film industry shifting away from the directors and over to the studio executives.  Many in Hollywood grumbled that it was Peckinpah’s well-known cocaine use that led to him having such trouble with what should have been a simple B-movie.  That’s probably a bit unfair to Peckinpah as it’s been written that just about everyone in Hollywood was using cocaine in 1978.

Add to that …. Convoy‘s not that bad.

Convoy tells the story of Rubber Duck (Kris Kristofferson), a legendary trucker who has never joined the Teamsters.  He’s an independent.  Rubber Duck’s nemesis is Sheriff Dirty Lyle (Ernest Borgnine), who is also an independent.  He’s never joined the policeman’s union.  As Rubber Duck puts it, “There’s not many like us anymore.”

Anyway, for reasons that are only vaguely defined, Rubber Duck leads a convoy of trucks across the southwest while being pursued by the police.  It has something to do with protesting the law enforcement tactics of Dirty Lyle, despite the fact that Rubber Duck appears to kind of like Lyle.  Soon hundreds of other independent truckers are joining Rubber Duck’s convoy, all to protest law enforcement.  Among those in the convoy are Pig Pen (Burt Young), Widow Woman (Madge Sinclair), and Spider Mike (Franklyn Ajaye), who just wants to get home to his pregnant wife.  Traveling with Rubber Duck is Melissa (Ali MacGraw), who is supposed to be some sort of photojournalist.  Rubber Duck and Melissa fall in love but there’s only so much you can do with a love story when it centers around two of the least expressive stars of the 70s.  During the chase, Rubber Duck picks up some non-truckers supporters, including some religious fanatics in a microbus.  He and the truckers also drive through and destroy a lot of buildings, which kind of makes it look like the cops might have had a point.

What sets Convoy apart from other chase films of the 70s is just how seriously it takes itself.  There’s an undercurrent of melancholy that runs through the entire film.  Rubber Duck seems to know that America is changing and as people become more comfortable with the idea of sacrificing their freedoms, his days as an independent trucker are numbered.  Dirty Lyle also seems to be stuck in a permanent existential crisis, taking no joy in being a crook but still forced to do so by being a part of an inherently corrupt government system.  There’s a scene where a truckstop waitress offers herself up as a gift to Rubber Duck on his birthday and Peckinpah films it as if he’s making an Italian neorealist drama about Rome after the war.  When Spider Mike says that he has to get home to his wife, he says it with the pain of a man who knows that the system only cares about control and not happiness.  These aren’t just truckers.  These are men and women who are on the front lines battling a creeping culture of oppression.

Surprisingly enough, the film’s serious tone actually works to its advantage.  You may not fully understand why Rubber Duck is leading that convoy but you hope that it succeeds because you get the feeling that the world might end if it doesn’t.  When the film ends with Ernest Borgnine laughing like a maniac, it comes across less like a moment of amusement and more like an acknowledgment that the universe is a tragic farce.  Life is a riddle wrapped inside an engima and only Rubber Duck and Dirty Lyle seem to understand that fact.

Add to that, this is a film about independents refusing to allow themselves to be limited by the regulatory state.  In its way, it’s one of the most sincerely Libertarian films ever made and, with all of us currently living under “lockdowns” and hoping that our governors don’t join those who have already surrendered their better instincts to their inner tyrant (sorry, Michigan, Kentucky, and New Jersey), Convoy remains an important film.  Go, Rubber Duck, go!