Retro Television Review: Crime Story 1.21 “Ground Zero”

Posted on September 28, 2026 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 Mondays, I will be reviewing Crime Story, which ran on NBC from 1986 to 1988. The entire show can be found on Tubi!

This week, the first season comes to a close.

Episode 1.21 “Gound Zero”

(Dir by Peter Medak, originally aired on March 13th, 1987)

In Las Vegas, the media is focused on two things: the upcoming atomic bomb test at Yucca Flats and the trial of Ray Luca.

Pauli, the star witness, is being kept in an underground bunker at an Air Force base. Danny comments on the fact that, if America and Russia do go to war and an atomic missile hits Nevada, Pauli would probably be the only survivor. It would be up to Pauli to repopulate the planet. Torello eventually allows Pauli’s girlfriend, Donna (Audrey Matson), to start visiting him. Donna says she loves Pauli. Torello shrugs.

Pauli keeps his end of the deal. He testifies against Luca. However, Frank Holman gives an interview outside the courtroom and tells the press that Luca was the king of organized crime in Las Vegas. The next day, the headline of the local newspaper announces that Luca was the “king of crime.” Disguising himself as the waiter assigned to deliver room service to the sequestered jury, Holman makes sure that the jurors see the headline. The trial judge has no choice but to declare a mistrial. As he walks out of the courtroom, Luca stops in front of Pauli and tells him, “You did what you had to do,” and apologizes for raping Donna.

In Vegas, Luca is upset to discover that gangster Nat Martino (James Russo) is moving in on his territory. Luca is prepared to go to war, but Manny Weisbrod informs Luca that he is to work with Martino. Weisbrod no longer has any confidence in Luca’s abilities. At the same time, Torello learns that Martino is actually an informant. Torello arranges for that information to get leaked to Luca. When Luca heads over to Martino’s favorite brothel, Torello and the other members of the MCU are waiting for him.

Breaking into Martino’s room, Luca manages to shoot and kill Martino before taking several bullets himself. Wounded, Luca escapes through a back window. Pauli, having decided that his place is with Luca, is there to pick him up and drive him out of town.

The next day, a bandaged Luca discovers that Pauli has driven him out to his latest hideout, a seemingly abandoned house in the desert. The house is full of mannequins. Luca looks at a chair and sees that it is the property of the Atomic Energy Commission. Realizing that they’re at Yucca Flats, Pauli and Luca run out to Pauli’s car. As they drive through the desert, a mushroom cloud blossoms in the distance.

And the episode ends!

Did Luca and Pauli escape the nuclear test? Hopefully, we’ll find out next week. I hope they did because it’s hard to imagine Crime Story without them. They were a great pair of villains.

The first season was good, if uneven. The pilot was outstanding, but some of the subsequent Chicago episodes seemed to lose their focus. Torello’s domestic drama was never as interesting as the show wanted it to be, and it took me a while to really warm up to David Abrams and his abrasive idealism. The other members of the MCU often felt like ciphers. (Even after 21 episodes, I still don’t feel like I know much about any of them beyond their almost cult-like loyalty to Torello.) But when the show moved to Vegas, things improved immeasurably. The glitz of Vegas worked perfectly for the show’s hyperreal style, and Stephen Lang’s performance in the role of David Abrams improved as well.

That said, Dennis Farina was the main strength of the first season. Farina played Torello as being intense, ruthless, and maybe just a little unhinged. The only real difference between Luca and Torello is that Torello carries a badge and Luca doesn’t have the Constitution holding him back. Otherwise, Luca really does represent Torello’s own dark side. In his pursuit of Luca, Torello isn’t just trying to enforce the law. He’s also trying to destroy the man that, had Torello not joined the police force, he could have become.

Next week, we’ll start the second season!

Retro Television Review: Crime Story 1.20 “Top of the World”

Posted on September 21, 2026 by Lisa Marie Bowman

This week, Michael Mann directs the downfall of Luca!

Episode 1.20 “Top of the World”

(Dir by Michael Mann, originally aired on March 6th, 1987)

Luca has taken control of Vegas, and now he’s out of control. He’s gambling nonstop and cheating to win. While his wife spends all of her time watching The Price Is Right, Luca is carrying on affairs with both Bambi (Debbie Harry) and Max Goldman’s wife, Joanne (Debra Stipe). Luca has everything that he’s spent this entire season saying that he wanted: money, legitimacy, and power. But at heart, he’s still the same Chicago gangster that he’s always been. As Torello deduces, he needs the risk and the danger that come with being a criminal. Without it, he doesn’t know what to do with himself.

At the beginning of this episode, Torello tells the demoralized members of the MCU that they can do one of two things. They can either track down Luca’s parents and shoot them for having him, or they can start over with their attempt to build a case against him. (Torello, as intense as ever, doesn’t seem to be joking about tracking down Luca’s parents.) Torello’s plan is to sow dissension among Luca’s troops. When dapper courier Tony Dio (Paul Anka) is spotted leaving Luca’s casino with a suitcase full of skimmed cash for Manny Weisbord, he’s stopped by Torello and essentially kidnapped. They then let Max know that Luca has been sleeping with his wife and insinuate that Luca killed Tony and took the money for himself.

Meanwhile, Luca is temporarily barred from working at his casino by the Nevada Gaming Commission. He can’t even step into any of the places that he owns. Stuck at home with his wife, Luca starts to go stir-crazy. When Steve Kordo tells Luca that Weisbord is asking where his money is, Luca decides that Max is trying to stab him in the back. Luca has Frank Holman plant a car bomb in Max’s car. Though the bomb goes off, Max survives. At the hospital, a severely burned Max tells Torello that he has no intention of being a rat.

However, someone else is, and it’s exactly who you would least expect. Luca, high on pills and self-pity, rapes Pauli’s girlfriend, Donna (Audrey Matson). Pauli grabs a shotgun and starts wandering around Vegas, searching for Luca. Torello is able to arrest Pauli in a diner. Pauli tells Torello the details of every murder that Luca committed over the season, including the murder of David Abrams’s father.

After a shoot-out with Luca’s bodyguards at the casino, Torello, Abrams, and the MCU track Luca down to a restaurant where he’s having dinner with Bambi. (They’re celebrating because an appellate court has stayed the order keeping Luca out of his casinos.) At first, Luca is smug. But when he hears that Pauli is the one who betrayed him, his smile disappears. The episode ends as Luca is taken into custody.

This episode was directed by the show’s executive producer, Michael Mann. Mann does a great job keeping the action moving and showing both Luca’s rapid rise and his just-as-rapid descent. Visually, Mann plays up the darkness in which all the characters live. Nearly every scene takes place at night. When we see Torello sitting in his office, the shadows are so heavy that they almost seem to be swallowing him. This episode reminds us that, just as Luca will always be a Chicago gangster, Torello will always be a Chicago cop. Luca and Torello live in the same darkness, and it’s threatening to devour them both.

Next week, the first season concludes!

Retro Television Review: Crime Story 1.19 “The Pinnacle”

Posted on September 14, 2026 by Lisa Marie Bowman

This week, things get dark.

Episode 1.19 “The Pinncale”

(Dir by John Nicolella, originally aired on February 27th, 1987)

When an earnest businessman named Pete Bauer (Bob Stupak) decides to open up a casino with Luca’s help, he has no idea what he’s getting himself into. Pete’s vision is a fun tourist destination where a chicken plays tic-tac-toe and the biggest loser at a table is still given $5,000 for being a good sport. Luca’s vision is to drive Pete out of business by skimming all of his profits, fixing his slot machines so that they always pay off, and sending Pauli, Holman, and Jack Claymore over to make sure everything goes off as planned.

As we learned last week, Jack is an FBI agent working undercover. Being sent over to Pete’s casino gives Jack a chance to see how Luca and his people rip off others. One night, when Pauli has a date with a showgirl, Jack is the one who gets to take the envelope containing the cash over to Luca. Jack hands it over. Luca gives him a $500 tip, little realizing that he’s also given Jack enough evidence to take back to Torello and Abrams.

Unfortunately, Pete is forced to sell his casino to Luca before Jack’s next meeting with Torello and Abrams. Pauli and Holman decide to celebrate. They stop off at Jack’s apartment complex to pick him up. Unfortunately, they arrive just in time to catch Jack in a phone booth leaving a message for Torello. They beat up Jack and then drag him off to a deserted construction site, where he’s tied crucifixion-style to a casino sign.

When Luca finds out, he leaves a meeting with Manny Weisbord so that he can personally shoot Jack in the back of the head. As Luca explains to Steve Kordo, there are some things that he simply has to do himself. Even though Luca may be recreating himself as a businessman in Las Vegas, he’s still a Chicago gangster at heart.

When Abrams and Torello find Jack’s body, Abrams says that whatever chance they had to arrest Luca was just blown out of Jack’s head. Yikes! That’s a graphic way to put it, but Abrams isn’t wrong.

This episode was a case of tonal whiplash, starting out as a comedy but ending in tragedy. For the first 30 minutes, it was hard not to be amused by how efficiently Luca and his men ruined Pete’s business. (Holman even convinced Pete to book a polka band.) However, the final few minutes reminded us that Luca, Holman, and even Pauli are all ruthless murderers. It doesn’t matter if you were a likable character like Jack Claymore. If you betray Luca, you’ll regret it.

As for Torello, this is the second cop he’s lost in his pursuit of Luca. His entire obsession with taking down Luca started with the murder of Detective Wes Connelly in the pilot. How will he react now that he’s seeking justice not just for Wes but for Jack as well?

Retro Television Review: Crime Story 1.17 “The Battle of Las Vegas”

Posted on August 31, 2026 by Lisa Marie Bowman

This week, Frank Homan returns.

Episode 1.17 “The Battle of Las Vegas”

(Dir by Aaron Lipstadt, originally aired on February 6th, 1987)

The hotel and resort workers of Las Vegas are going on strike, and when union leader Slim Mahoney (Frederick Coffin) tells Luca that the unions have no interest in working with the mob (ha!), Luca responds by having Pauli use a big truck to run Slim over.

With Slim dead, Luca tries to maneuver a mob stooge named Sam Taylor (Lee Ving) into the presidency of the union. When Mahoney’s protégé, Roger Jankowski (Anthony Heald), argues that the union cannot sell out to the mob, Abrams and Torello show up at a union meeting to reveal that Sam is crooked and to lead everyone in a pro-union chant. Really?

Okay, the union stuff was a little bit too on-the-nose and silly. That said, at least Stanley Tucci showed up as a bombmaker who was recruited to make trouble for the striking workers. Unfortunately, for those hoping to see him in future episodes, he ended up getting arrested and apparently hanged himself in his cell.

The highlight of this episode wasn’t any of the union stuff. It was the return of Frank Holman (Ted Levine). When we last saw Holman, he was testifying that Luca was a crime boss (true) and that Torello was on the take (false). When Luca and Pauli come across Holman performing with a rock-and-roll band in Vegas, they have a surprising reaction. They drive Holman out to the middle of the desert and .… forgive him. Of course, Holman does make the claim that the only reason he lied about Torello was so that the case against Luca would fall apart. Could Holman be telling the truth? I doubt it. Holman doesn’t seem to be that smart. But Luca decides that he doesn’t care one way or the other, and he welcomes Holman back into his organization.

Why is Luca so forgiving? My personal theory is that Holman, like Pauli, is a symbol of everything that Luca gave up to become a power in Las Vegas. Luca was probably at his happiest when he was breaking into houses with Pauli and Holman. Now that he’s the boss, he doesn’t get to do the dirty work anymore. And yet, it’s obvious that Luca misses it. He’s a born criminal. For that reason, he’s willing to keep Holman and Pauli around, regardless of how much they screw up. In his way, Luca is the most sentimental character on the show.

Of course, Luca isn’t one to let sentiment get in the way of making money. Some things just take precedence.

Retro Television Review: Crime Story 1.16 “The Kingdom of Money”

Posted on August 24, 2026 by Lisa Marie Bowman

This week, the show changes locations. We’re going to Vegas and we’re getting new opening credits!

Episode 1.16 “The Kingdom of Money”

(Dir by James A. Contner, originally aired on January 30th, 1987)

Welcome to Las Vegas!

Ray Luca is very happy to be in Vegas. Along with Max Goldman, Pauli, and Steve Kordo (Jay O. Sanders), Ray has taken over a casino and is pushing his way into the local rackets. He gives a speech to the casino’s employees, telling them that from now on everything in the casino will be run honestly and that anyone who steals any money will be fired. He then has a meeting with Max in which they discuss all the ways to skim the profits.

Luca’s wife, Cori (Johann Carlo), isn’t happy about the move. She misses Chicago, so instead of hanging out around the house, Luca goes out and hires a prostitute named Jackie (Debra Feuer). Luca tells Jackie that she will be working exclusively for him from now on. Jackie points out that she already has a “manager.” Luca smirks.

The only problem for Luca is that Mike Torello is in Vegas, and now he’s working for the Justice Department. Luca and his team are headquartered in a small Vegas motel. When David Abrams sees that someone has brought a bowl of Justice Department matchbooks into the motel, he tells Torello’s men to throw them out. “We’re not a recruiting station,” Abrams says.

Torello decides that the best way to get Luca is to go after one of Luca’s Vegas associates, a loan shark named Al (Mike Starr). They visit a diner owner (Graham Beckel) who owes Al money. They convince him to call Al and say that he has Al’s money. When Al comes to collect, Torello will arrest him. Sound like a good plan, right?

Unfortunately, someone is dumb enough to leave behind the bowl of Justice Department matchbooks in the diner. Additionally, it doesn’t occur to Torello to have someone watching the diner 24/7. When Al shows up early and discovers the matchbooks, he guns down not only the owner of the diner but also his wife and 5-year-old son.

Torello’s angry. Well, Torello should be angry. He should also be feeling guilty, seeing as how he and his men basically got the diner owner killed through their own incompetence. Torello decides to go undercover as someone who needs a loan. He and his men even set up a fake strip club where Torello and Al can meet to discuss the terms of the loan. Torello’s attempt to arrest Al falls apart when one of Al’s men pulls a gun and starts firing. Danny takes a bullet in the arm before killing the gunman. As for Al, he runs through the streets of Vegas before Torello guns him down.

Abrams looks down at Al’s body and says that he doesn’t think Al is going to be testifying.

This was a good episode. If the previous Chicago-based episodes emphasized the professionalism of Torello and the impulsivity of Luca, the roles are reversed in Vegas. Luca is in his element, and Torello and his men are the ones who are now having to adjust to a new city. If the previous Chicago-based episodes tended to be cold and gray, this Vegas episode is visually defined by neon and excess. The sallow, grim-faced Torello looks out of place here. This is Luca’s world.

I’m looking forward to seeing how the rest of season one plays out.

Retro Television Review: Crime Story 1.15 “Torello on Trial”

Posted on August 17, 2026 by Lisa Marie Bowman

This week, Luca prepares for Vegas.

Episode 1.15 “Torello On Trial”

(Dir by Gary Sinise, originally aired on January 16th, 1987)

Buh-bye, Chicago!

Seriously, this is a huge episode.

It doesn’t start out as a huge episode. It starts out as just another courtroom drama. Mike Torello has been called by Ray Luca’s defense attorney to testify about the accusations that Frank Homan made against him. By defending himself against Homan’s false claim that Torello was on the take, Torello will also be destroying the credibility of the state’s case against Luca, Phil Bartoli, and Paulie. Torello’s not happy about it. He’s even less happy when U.S. Attorney Brietel’s aggressive cross-examination reveals that Torello actually does have several acquaintances who are connected to the mob. Of course, most of those acquaintances have been killed over the past few episodes. As Brietel puts it, violence tends to follow Torello around.

Fortunately, the next day, David Abrams requests to be allowed to cross-examine Torello. David reveals that Torello was a decorated soldier in Korea. He reveals the Torello has been given regular commendations by the Chicago Police Department. David makes Torello look like a saint.

As a result, the jury decides that Homan is not a credible witness. Luca, Paulie, and Bartoli are all acquitted. Brietel is told that the Justice Department has decided to drop the indictment against Torello. Torello tells Brietel that the blood of anyone killed by Luca will be on his hands. Brietel is not having a good day.

The first 35 minutes or so of this episode were solid but still felt like a standard and slightly predictable episode of Crime Story. It wasn’t until the last 10 minutes or so that this episode really took off.

At a conference held immediately after Luca and company are acquitted, Manny Weisbrod convinces Chicago gangster Dom Tranchita (Joseph Ragno) to agree to invest ten million dollars in Luca’s plan to take over Las Vegas. In return for the money, Manny agrees to allow Dom to continue to deal drugs in Chicago. Luca and Paulie make plans to immediately head to Las Vegas to start their new lives.

The night, before leaving town, Luca drops in on Tranchita and shoots him dead. Then, Luca goes over to Bartoli’s house and kills him as well. We’re reminded that Luca is someone who can kill without hesitation. It doesn’t matter that he and Bartoli worked together. Luca is cleaning up all of the loose ends before he leaves Chicago.

Meanwhile, Torello is invited to a meeting in a hotel. U.S. Deputy Attorney General Patrick Hallahan (Jann Wenner) tells him that the Justice Department is setting up a national task force to take down Luca and that it’s going to be headquartered in Chicago and Las Vegas. He asks Torello to be in charge of it. Torello says that he has no interest in working with the same Justice Department that tried to throw him in prison. Hallahan reveals that Brietel has been “reassigned to Anchorage” and that David Abrams will be working with Torello. The members of the Major Crimes Unit will be reassigned to the strike force.

There’s only one condition. As much as Torello wants to take Luca down, he’s going to have to wait until he has enough evidence to take down the entire organization with him.

Torello nods. He’s going to Vegas!

It makes sense really. Torello has nothing left in Chicago. He’s divorced, he has no real friends outside of the other members of the Major Crimes Unit. Torello’s only purpose in life is to stop Ray Luca. What choice does Torello have but to follow him to Vegas? Torello is obsessed and, if he had to stay in Chicago while Luca went to Vegas, he would have been miserable. It’s good for the government and good for the show that Torello agreed to take charge of the task force. But, as the episode ends, it’s hard not to feel that it won’t be good for Torello’s mental health.

This turned out to be a great episode, To be honest, I was starting to get a little bit bored with Crime Story. But now, with the story heading in a new direction, I can’t wait to see what happens!

Retro Television Review: Crime Story 1.14 “Fatal Crossroads”

Posted on August 10, 2026 by Lisa Marie Bowman

This week, guess who screws up?

Episode 1.14 “Fatal Crossroads”

(Dir by Gary Sinise, originally aired on January 9th, 1987)

As much as I want to like David Abrams — and I did like him for the first few episodes — he’s just dumb. Offended by the fact that Luca is using his legal advice to try to beat his indictment, David starts this episode out by approaching Luca in public and announcing that he’s not only quit the public defenders office but that he’s also decided to join the D.A.’s office, specifically so he can take guys like Luca down. Then, later on in the episode, David approaches Luca again and, this time, he brings along his father (Nathan Davis). David’s father, a former low-level gangster, brags about how smart David is and how he’s going to take Luca down.

So, of course, Luca has someone put a bomb underneath David’s car.

And, of course, it’s David’s father who decides to borrow the car to go to the store and who ends up getting blown up.

And yes, it’s a terrible thing that David’s father got blown up. BUT WHAT DID DAVID THINK WAS GOING TO HAPPEN!? He knows who Luca is! He knows that Luca will kill people without a second thought. So why the Hell is David walking up to Luca and basically daring him to try to kill him? I mean, David’s father was in the rackets! David should have known better and, for that matter, David’s father should have known better.

I’m sorry but David Abrams is a moron.

For some reason, Luca also tries to take a hit out on Torello, despite the fact that Luca’s entire legal strategy depends on Torello denying Homan’s claims that Torello is crooked. Fortunately, Torello is somehow brilliant enough to realize that Luca is going to take a hit out on him and the members of the Crime Squad are smart enough to take a look at a building and somehow figure out exactly which room a sniper would be hiding in. If only David Abrams was as smart!

This episode featured a few too many coincidences and a bit too much of David Abrams suddenly acting like an idiot. It was directed by Gary Sinise, who is one of my favorite people. Sinise does a good job of capturing the drizzly gangster movie atmosphere but the script could have used a bit more work.

Retro Television Review: Crime Story 1.12 “Hide and Go Thief”

Posted on July 27, 2026 by Lisa Marie Bowman

This week, Torello finally tracks down Homan.

Episode 1.12 “Hide and Go Thief”

(Dir by Francis Delia, originally aired on December 12th, 1986)

In Chicago, an unnamed gunman (Paul Guilfoyle) has taken a woman (Lorraine Bracco) hostage and has barricaded himself in a hotel room. He wants to get on television and he figures that holding a hostage and firing a machine gun out the window is the best way to do it. The members of the Major Crimes Unit are in the street, ducking behind squad cars whenever the gunman starts firing on them.

It’s definitely a major situation but Torello is more interested in going to Gary, Indiana than exchanging gunfire in Chicago. Frank Homan (Ted Levine), a former member of Luca’s crew, has been discovered working as a cook in a Gary diner. Everyone in Gary knows Frank as “Mike Torello.” The real Torello is determined to arrest Frank and hopefully use him to take down Luca. Torello abandons the hostage situation, drives down to Gary, and captures Homan at work.

Finally, some good news for the real Mike Torello, right? Well, not quite. After Homan is arrested, U.S. Attorney Harry Brietel (Ray Sharkey) takes custody of him. Brietel has political ambitions and taking down gangster Manny Weisbord would be a good way for him to make a name for himself. When Homan is interrogated by Brietel, Homan lies. He says that he’s never heard of Manny Weisbord. But, Homan says, he has information that will take down Luca, Phil Bartoli, and a crooked cop. In exchange for a light sentence and entry into the witness protection program, Homan is willing to testify that Mike Torello is on the take. Brietel is intrigued. Fighting police corruption is guaranteed to generate even better press than taking down an actual mobster.

Meanwhile, back in Chicago, Torello rejoins the MCU at the hostage situation. (Apparently, the gunman has been awake and firing out of his hotel window for two and a half days straight. One gets the feeling that perhaps it’s wise not to give too much thought to the logistics of this episode’s timeline.) In a well-shot, slow-motion scene, Torello and his men storm the hotel room and shoot the gunman dead. The hostage survives.

Significantly, neither the gunman nor the hostage are given names in this episode. Indeed, Paul Guilfoyle is credited as playing “Deranged Gunman.” That’s because the gunman and the hostage are really only there to show just how obsessed Torello has become with Luca. When it comes to destroying Luca and his fledgling criminal empire, all else can wait, even saving an innocent woman from an armed lunatic.

I usually don’t enjoy watching anything that involves a hostage situation because it always seems to lead to the same predictable narrative beats. Fortunately, this episode avoided most of the usual cliches by making the gunman a total nutcase who never stopped firing his weapon. The scene where Torello and his men storm the hotel room was stylish enough to verge on being surreal. As for the Homan plotline, both Ted Levine and Ray Sharkey provided strong performances and I’m looking forward to seeing how Luca and Torello react to being betrayed by the same guy.

All in all, this was a good episode.

Film Review: Tucker: The Man and His Dream (by Francis Ford Coppola)

Posted on January 4, 2025 by Lisa Marie Bowman

First released in 1988, Tucker: The Man and His Dream is a biopic about Preston Tucker.

Tucker was an engineer in Detroit who went from designing vehicles for the Army during World War II to trying to launch his own car company. His ideas for an automobile don’t sound particularly radical today. He wanted every car to have seat belts. He wanted a windshield that popped out as a safety precaution. He want brake pads and he also wanted a car that looked sleek and aerodynamic, as opposed to the old boxy cars that were being pushed out be Detroit. He wanted a car that got good mileage and he wanted one that could be taken just about anywhere. Unfortunately, Tucker’s dreams were cut short when he was indicted for stock fraud, a prosecution that most people agree was a frame-up on behalf of the Big Three auto makers. Tucker was eventually acquitted but his car company went out of business. Of the 50 cars that Tucker did produce, 48 of them were still on the road and being driven forty years later.

The film stars Jeff Bridges as Preston Tucker, Joan Allen as his wife, Christian Slater and Corin Nemec as two of his sons, Lloyd Bridges as the senator who tried to take Tucker down, Martin Landau as Tucker’s business partner, and Dean Stockwell as Howard Hughes, who shows up for a few minutes to encourage Tucker to follow his dreams regardless of how much the government tries to stop him. One gets the feeling that the film was a personal one for director Francis Ford Coppola, a filmmaker who has pretty much spent his entire career fighting with studios while trying to bring his vision to the screen. Tucker fought for seat belts. Coppola fought for a mix of color and black-and-white in Rumble Fish. Tucker stood up for his business partner. Francis Ford Coppola stood up for Al Pacino when no one else could envision him as Michael Corleone. As is the case with many of Coppola’s films, Tucker: The Man And His Dream is a film that Coppola spent years trying to get made. It was the film that Coppola originally intended to be the follow-up to The Godfather, with Marlon Brando projected for the lead role of Tucker. After watching the Tucker, it’s hard not to feel that it worked out for the best that Coppola was not able to make the film in 1973. It’s impossible to imagine anyone other than Jeff Bridges in the role of Preston Tucker.

“Chase that tiger….chase that tiger….chase that tiger….” It’s a song that Tucker sings constantly throughout the film as the camera spins around him and how you react to Tucker: The Man And His Dream will largely depend on how tolerant you are of Coppola’s stylistic flourishes. Coppola directs the film as a combination of Disney fairy tale and film noir. The opening of the film, with Tucker running around in almost a manic state and excitedly telling everyone about his plans, is presented with vibrant colors and frequent smiles and an almost overwhelming air of cheerful optimism. As the film progresses and Tucker finds himself being targeted by both the government and the other auto companies, the film gets darker and the viewer starts to notice more and more shadows in the background. The moments of humor become less and less and there’s a heart-breaking moment where Martin Landau, in one of his best performances, reveals just how far the government will go to take down Tucker’s company. But, in the end, Tucker refuses to surrender and Jeff Bridges’s charming smile continues to fill the viewer with hope. The film becomes about more than just cars. It’s a film that celebrates all of the innovators who are willing to defy the establishment.

There’s a tendency to dismiss the majority of Coppola’s post-Apocalypse Now films. However, Tucker: The Man And His Dream is a later Coppola film that deserves to be remembered.

Here Are The Independent Spirit Nominations!

Posted on December 4, 2024 by Lisa Marie Bowman

Today, most awards watchers will be devoting most of their attention to the National Board of Review and the American Film Institute. That said, the Independent Spirit nominations were still announced earlier today and Anora had a strong showing. Meanwhile, The Brutalist, which did so well with the New York Film Critics Circle, picked up a nomination for Best Director but not Best Picture.

Here are the Spirit Nominations. While looking at the nominations, keep in mind that a lot of potential Oscar nominees were not eligible for a nomination. As a result, the Spirit nominations aren’t exactly the strongest predictive tool when it comes to guessing what will eventually be nominated by the Academy.

Still, it never hurts to be mentioned!

Best Feature

Anora
Producers: Sean Baker, Alex Coco, Samantha Quan

I Saw the TV Glow
Producers: Ali Herting, Sam Intili, Dave McCary, Emma Stone, Sarah Winshall

Nickel Boys
Producers: Joslyn Barnes, Dede Gardner, Jeremy Kleiner, David Levine

Sing Sing
Producers: Clint Bentley, Greg Kwedar, Monique Walton

The Substance
Producers: Tim Bevan, Coralie Fargeat, Eric Fellner

Best First Feature

Dìdi
Director/Producer: Sean Wang
Producers: Valerie Bush, Carlos López Estrada, Josh Peters

In the Summers

Director: Alessandra Lacorazza Samudio
Producers: Janek Ambros, Lynette Coll, Alexander Dinelaris, Cynthia Fernandez De La Cruz, Cristóbal Güell, Sergio Alberto Lira, Rob Quadrino, Jan Suter, Daniel Tantalean, Nando Vila, Slava Vladimirov, Stephanie Yankwitt

Janet Planet
Director/Producer: Annie Baker
Producers: Andrew Goldman, Dan Janvey, Derrick Tseng

The Piano Lesson
Director: Malcolm Washington
Producers: Todd Black, Denzel Washington

Problemista
Director/Producer: Julio Torres
Producers: Ali Herting, Dave McCary, Emma Stone

John Cassavetes Award

Given to the best feature made for under $1,000,000

Big Boys
Writer/Director/Producer: Corey Sherman
Producer: Allison Tate

Ghostlight
Writer/Director: Kelly O’Sullivan
Director/Producer: Alex Thompson
Producers: Pierce Cravens, Ian Keiser, Chelsea Krant, Eddie Linker, Alex Wilson

Girls Will Be Girls
Writer/Director/Producer: Shuchi Talati
Producers: Richa Chadha, Claire Chassagne

Jazzy
Writer/Director/Producer: Morrisa Maltz
Writer/Producer: Lainey Shangreaux
Writers: Andrew Hajek, Vanara Taing
Producers: Miranda Bailey, Tommy Heitkamp, John Way, Natalie Whalen, Elliott Whitton

The People’s Joker
Writer/Director: Vera Drew
Writer: Bri LeRose
Producer: Joey Lyons

BEST DIRECTOR

Ali Abbasi
The Apprentice

Sean Baker
Anora

Brady Corbet
The Brutalist

Alonso Ruizpalacios
La Cocina

Jane Schoenbrun
I Saw the TV Glow

BEST SCREENPLAY

Scott Beck, Bryan Woods
Heretic

Jesse Eisenberg
A Real Pain

Megan Park
My Old Ass

Aaron Schimberg
A Different Man

Jane Schoenbrun
I Saw the TV Glow

BEST FIRST SCREENPLAY

Joanna Arnow
The Feeling That the Time for Doing Something Has Passed

Annie Baker
Janet Planet

India Donaldson
Good One

Julio Torres
Problemista

Sean Wang
Dìdi

BEST LEAD PERFORMANCE

Amy Adams
Nightbitch

Ryan Destiny
The Fire Inside

Colman Domingo
Sing Sing

Keith Kupferer
Ghostlight

Mikey Madison
Anora

Demi Moore
The Substance

Hunter Schafer
Cuckoo

Justice Smith
I Saw the TV Glow

June Squibb
Thelma

Sebastian Stan
The Apprentice

BEST SUPPORTING PERFORMANCE

Yura Borisov
Anora

Joan Chen
Dìdi

Kieran Culkin
A Real Pain

Danielle Deadwyler
The Piano Lesson

Carol Kane
Between the Temples

Karren Karagulian
Anora

Kani Kusruti
Girls Will Be Girls

Brigette Lundy-Paine
I Saw the TV Glow

Clarence “Divine Eye” Maclin
Sing Sing

Adam Pearson
A Different Man

BEST BREAKTHROUGH PERFORMANCE

Isaac Krasner
Big Boys

Katy O’Brian
Love Lies Bleeding

Mason Alexander Park
National Anthem

René Pérez Joglar
In the Summers

Maisy Stella
My Old Ass

BEST CINEMATOGRAPHY

Dinh Duy Hung
Inside the Yellow Cocoon Shell

Jomo Fray
Nickel Boys

Maria von Hausswolff
Janet Planet

Juan Pablo Ramírez
La Cocina

Rina Yang
The Fire Inside

 BEST EDITING

Laura Colwell, Vanara Taing
Jazzy

Olivier Bugge Coutté, Olivia Neergaard-Holm
The Apprentice

Anne McCabe
Nightbitch

Hansjörg Weissbrich
September 5

Arielle Zakowski
Dìdi

ROBERT ALTMAN AWARD – Given to one film’s director, casting director, and ensemble cast

His Three Daughters
Director: Azazel Jacobs
Casting Director: Nicole Arbusto
Ensemble Cast: Jovan Adepo, Jasmine Bracey, Carrie Coon, Jose Febus, Rudy Galvan, Natasha Lyonne, Elizabeth Olsen, Randy Ramos Jr., Jay O. Sanders

BEST DOCUMENTARY (Award given to the director and producer)

Gaucho Gaucho
Directors/Producers: Michael Dweck, Gregory Kershaw
Producers: Christos Konstantakopoulos, Cameron O’Reilly, Matthew Perniciaro

Hummingbirds
Directors: Silvia Del Carmen Castaños, Estefanía “Beba” Contreras
Co-Directors/Producers: Miguel Drake-McLaughlin, Diane Ng, Ana Rodriguez-Falco, Jillian Schlesinger
Producers: Leslie Benavides, Rivkah Beth Medow

No Other Land
Directors/Producers: Yuval Abraham, Basel Adra, Hamdan Ballal, Rachel Szor
Producers: Fabien Greenberg, Bård Kjøge Rønning

Patrice: The Movie
Director: Ted Passon
Producers: Kyla Harris, Innbo Shim, Emily Spivack

Soundtrack to a Coup d’Etat
Director: Johan Grimonprez
Producers: Rémi Grellety, Daan Milius

 BEST INTERNATIONAL FILM (Award given to the director)

All We Imagine as Light
France, India, Netherlands, Luxembourg
Director: Payal Kapadia

Black Dog
China
Director: Guan Hu

Flow
Latvia, France, Belgium
Director: Gints Zilbalodis

Green Border
Poland, France, Czech Republic, Belgium
Director: Agnieszka Holland

Hard Truths
United Kingdom
Director: Mike Leigh

PRODUCERS AWARD  presented by Bulleit Frontier Whiskey – The Producers Award, now in its 28th year, honors emerging producers who, despite highly limited resources, demonstrate the creativity, tenacity, and vision required to produce quality independent films.

Alex Coco

Sarah Winshall

Zoë Worth

 SOMEONE TO WATCH AWARD  – The Someone to Watch Award, now in its 31st year, recognizes a talented filmmaker of singular vision who has not yet received appropriate recognition.

Nicholas Colia
Director of Griffin in Summer

Sarah Friedland
Director of Familiar Touch

Pham Thien An
Director of Inside the Yellow Cocoon Shell

TRUER THAN FICTION AWARD – The Truer Than Fiction Award, now in its 30th year, is presented to an emerging director of non-fiction features who has not yet received significant recognition.

Julian Brave NoiseCat, Emily Kassie
Directors of Sugarcane

Carla Gutiérrez
Director of Frida

Rachel Elizabeth Seed
Director of A Photographic Memory