Defiance (1980, directed by John Flynn)


Serving out a six-month suspension, Merchant Seaman Tommy Campbell (Jan-Michael Vincent) rents an apartment on New York’s Lower East Side and passes the time painting and trying to learn Spanish in hope of getting assigned to a ship that is heading to Panama.

Tommy just wants to be left alone but he finds himself being drawn into the close-knit neighborhood.  He becomes friends with Carmine (Danny Aiello) and more than friends with his upstairs neighbor (Theresa Saldana).  He becomes a mentor to a street kid (Fernando Lopez) who lives with a punch-drunk boxer named called Whacko (Lenny Montana).  Abe (Art Carney), who owns the local bodega, agrees to let Tommy use his phone.

Tommy also finds himself drawing the attention of Angel Cruz (Rudy Ramos), head of the local street gang.  Tommy doesn’t want to get involved in any trouble.  He just wants to serve his suspension and sail to Panama.  But with Angel and his gang terrorizing the neighborhood and even robbing a church bingo game, Tommy and his friends finally stand up to the gang.

Defiance is more intelligent and realistic than many of the other urban vigilante movies that came out in the 70s and 80s.  Tommy never becomes a cold-blooded killer, like Charles Bronson did in the Death Wish films.  Instead, he spends most of the film trying to stay out of trouble and, when he does stand up for himself and the neighborhood, he does so realistically.  He fights the gang members but he doesn’t set out to the kill them.  About as deliberately destructive as he and Carmine get is that they destroy Angel’s car.  Rather than being a typical vigilante movie, Defiance is a portrait of a neighborhood where everyone takes care of everyone else.  Angel and his gang mistake the neighborhood’s kindness for weakness.  The neighborhood proves them wrong.

Defiance stars two actors who never quite got their due.  Theresa Saldana’s promising career was derailed when she was attacked and nearly killed by a deranged stalker in 1982.  Though she recovered and went on to do a lot of television, she never became the star that she should have.  Jan-Michael Vincent did become a star in the 70s and 80s but he later became better-known for his struggles with drugs and alcohol.  Both of them are very good in Defiance and leave you thinking about the careers that they could have had if things had just gone differently.

Retro Television Reviews: Miami Vice 1.19 “The Home Invaders”


Welcome to 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 Miami Vice, which ran on NBC from 1984 to 1989.  The entire show is currently streaming on Tubi!

This week, Crockett and Castillo take down some home invaders.  Yes, Crockett and Castillo.  Not Crockett and Tubbs.  Read on to find out why.

Episode 1.19 “The Home Invaders”

(Dir by Abel Ferrara, originally produced by March 15th, 1985)

Always do your research.

Philip Michael Thomas does not appear in this episode of Miami Vice.  At the start of the episode, it’s mentioned that he’s in New York, visiting Valerie Gordon.  It’s a line that sounds like it was written at the spur of the moment and, when I heard it, I assumed that there had been some sort of behind-the-scenes drama between Thomas and the producers.  Fortunately, before I went with that and said something snarky, I actually looked up the reason for Thomas’s absence and I discovered that he was injured performing a stunt in the previous episode.  Thomas missed this episode because he was recovering.  As well, this was the only episode that he missed during the entire run of Miami Vice.

Thomas may be absent but that doesn’t mean that crime is going to take a break in Miami.  A series of violent home invasions lead to Crockett and Castillo getting temporarily assigned to the robbery division.  Crockett is excited to be working under his former boss and mentor, Lt. John Malone (Jack Kehoe).  Castillo quickly realizes that Malone has gotten rusty and that his investigation into the robberies has been sloppy.

This is a moody episode, with the emphasis as much on Crockett’s disillusionment with his old boss as with the efforts to catch the home invaders.  That said, the home invaders are a scary bunch.  Led by Esai Morales and David Patrick Kelly, they are totally ruthless and willing to kill anyone who fails to move quickly enough.  The scenes in which they break into various mansions and threaten the inhabitants are difficult to watch and it definitely captures the trauma of having your personal space invaded and your sense of safety destroyed.

(When I was 17, our house was broken into and, for months, I couldn’t sleep through the night.  Almost every night, I was woken up by what I thought was the sound of someone breaking into my house and I would end up walking through the house in my nightclothes, carrying a golf club for protection.  One night, I nearly hit my sister when she came out of the kitchen with a midnight snack.  It may sound funny now but, at the time, it was terrifying.)

It ends with a shootout that’s violent even by the standards of Miami Vice.  Castillo and Crockett gun down the bad guys and it’s hard not to notice that, while Crockett seems to be clearly upset by the fact that he had to kill a few men, Castillo barely shows any emotion at all.  Castillo is effective because he holds back his feelings about everything.  That’s also why Castillo, and not Crockett, is capable of seeing that Lt. Malone is past his prime.  With the home invaders neutralized, Malone tells Crockett that he’s quitting the force.  His days of being an effective detective are over.  The job and all of the terrible stuff that he deals with on a daily basis has left him burned out and it’s hard not to notice that he and Crockett are the same age.  Fighting crime in Miami takes a toll.

This episode was directed by Abel Ferrara, who keeps the action moving quickly and who fills the screen with ennui-drenched images of people who are not sure whether they’re making any difference at all.  This is an effective episode, even without the presence of Ricardo Tubbs.

Maniac Cop III: Badge of Silence (1992, directed by William Lustig)


Despite finally getting his burial with honors at the end of Maniac Cop 2, Matt Cordell (Robert Z’Dar) returns for one last outing.  Raised from the dead by a voodoo houngan (Julius Harris), Cordell invades a hospital to seek vengeance for a comatose policewoman named Katie Sullivan (Gretchen Baker).  In a coma due to the wounds she received while thwarting a convenience store robbery, Katie is being framed by unscrupulous reporters and attorneys who claim that Katie was a bad cop who killed a clerk in cold blood.  Cordell sees Katie as being a fellow victim of anti-cop bias and he is not going to let anyone treat her with disrespect, which is something that two doctors (Robert Forster and Doug Savant) are unfortunate enough to discover.  Sean McKinney (Robert Davi) and Dr. Susan Lowery (Caitlin Dulany) try to figure out how to bring peace to the souls of both Cordell and Katie.

As opposed to the first two films, Maniac Cop III had a troubled production.  Lustig and screenwriter Larry Cohen wanted to set the film in a Harlem hospital and bring in an African-American detective to investigate Cordell’s activities.  The film’s Japanese producers insisted that Robert Davi return as the lead, even though the script’s lead character had little in common with the way Sean McKinney was portrayed in Maniac Cop 2.  Larry Cohen then refused to do any rewrites on the script unless he was paid more.  William Lustig filmed what he could and ended up with a 51-minute movie.  Extra scenes were directed by one of the film’s producers and the film was also padded out with outtakes from Maniac Cop 2.

The film is disjointed and there’s too much time devoted to Jackie Earle Haley playing a character who has much in common Leo Rossi’s serial killer from the second film.  (Haley’s performance is fine but the character feels superfluous).  But the movie’s hospital setting leads to some interesting kill scenes and Z’Dar and Davi both give good performances as two different types of maniac cops.  The supporting cast is full of good character actors like Haley, Forster, Savant, Julius Harris, Bobby Di Cicco, and Paul Gleason.  Despite the film’s flaws, Maniac Cop III is a solid ending for the trilogy.

Retro Television Reviews: The Master 1.12 “Rogues”


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

Max and McAllister continue their trip through California!

Episode 1.12 “Rogues”

(Dir by Gordon Hessler, originally aired on August 10th, 1984)

This week’s episode finds Max and McAllister on Los Angeles’s famed Rodeo Drive.  We know that this episode takes place on Rodeo Drive because every single establishing shot opens with a close-up of the street sign.  It’s as if someone in production said, “Do not let them forget that this episode is not only set on Rodeo Drive but we filmed it there as well!”

Wow, a television program filmed in Los Angeles!  The Master was all about spoiling their audience.

Here’s my thing with Rodeo Drive — the word is pronounced Ro-Dee-O.  Get out of here with all that Roe-Day-O nonsense, you yankees.

Anyway, this episode continues last week’s theme of McAllister and Max dropping in on people from Max’s past.  Apparently, the hunt for John Peter McAllister’s long lost daughter has been abandoned so that Max can drop in on his old high school buddies.  Seeing as how it hasn’t even been ten years since Max graduated from high school whereas McAllister has never even met his daughter and it’s totally possible that McAllister’s ninja rivals may be trying to kill her, it seems a bit odd that this is what Max and McAllister are concentrating on but whatever.  We’re nearly done with this show anyway.

Max visits his ex-girlfriend, Talia (Cindy Harrell), at the health club where she works.  Talia is an aerobics instructor, which means that there’s a lot of spandex in this episode.  While McAllister deals with a trainer who takes one look at him and declares him to be in terrible shape (and she has a point because, unlike his stunt double, Lee Van Cleef was noticeably overweight and often seemed to be winded on The Master), Max talks to Talia and discovers that Talia’s brother, Jerry (Paul Tulley), became a cop and is now missing!  Max promises to help her find Jerry.

However, it turns out that Jerry is just hiding outside the health club.  When he sees Max’s van, he tosses a note inside of it, asking Max and McAllister to meet him.  (How exactly did Jerry know that Max and McAllister would be able to help him?)  It turns out that, while investigating a series of Rodeo Drive robberies, Jerry discovered that the culprits were rogue cops who had been hired by a local gallery owner.  Now, the crooked policemen are after Jerry!  Needless to say, it’s time for McAllister to put on his black ninja outfit so that Lee Van Cleef’s stunt double can beat up some corrupt law enforcers!

This was not a particularly memorable episode.  The corrupt cops were generic villains and even the fight scenes, which were usually The Master‘s saving grace, felt sloppy and rushed.  While it was always obvious that this show was dependent on stunt doubles, it was especially obvious in this episode as the stand-ins for both Van Cleef and Van Patten didn’t even resemble their respective actors.  There was a brief moment of hope when the action moved to one of those police academy shooting ranges, full of fake buildings and cardboard targets but the show never really took advantage of the location’s potential.  This was one of those episodes where it felt like the basic plot could have been used for a dozen other shows without having to make anything more than a few cosmetic changes.  It could have just as easily been an episode of Half Nelson.

(L.A. — you belong to me!  No, no, we’ve moved on….)

Next week …. The Master ends!  Will McAllister even mention his missing daughter during the show’s final episode?  We’ll find out!