Last Night Retro Television Reviews: Nightmare Cafe 1.1 “Nightmare Cafe”


Welcome to Late Night 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 Nightmare Cafe, which ran on NBC from January to April of 1992.  The entire show is currently streaming on YouTube!

Created by Wes Craven and Thomas Baum, Nightmare Café was an anthology show about a mysterious café and the people who worked there.  The proprietor was played by Robert Englund.  The series only aired for six episodes and apparently, NBC didn’t really give the show much of a chance to find an audience.  Myself, I just recently came across it on YouTube and I’m looking forward to reviewing it over the course of October!

Episode 1.1 “Nightmare Café”

(Dir by Phillip Noyce, originally aired on January 29th, 1992) 

“See those two folks up there?” Robert Englund, playing a sharply-dressed man named Blackie, asks while staring straight at the camera.  “They’re about to get a second chance.  And you know what?  I bet they blow it.”

The two people to whom Blackie is referring are Frank Nolan (Jack Coleman) and Fay Pernovic (Lindsay Frost).  On a foggy night, Fay stops her car on the side of the bridge and jumps into the water below.  Fortunately, Jack already happens to be in the water so he grabs her and pulls her to dry land.  Standing on the deserted road and soaking wet, Fay refuses to say thank you and Frank refuses to mention why he was there to begin with.  However, when they see an all-night café in the distance, they decide to get a cup of coffee.  As they head to the café, Blackie watches them from the shadows.  As they enter the café, the neon sign changes from saying “Night Café” to “Nightmare Café.”

The café appears to be deserted, though in working order.  Jack goes behind the counter finds a chef’s outfit.  Fay finds a waitress outfit.  When she heads into the restroom to change clothes, she briefly hears the sound of a woman crying but, upon entering, she finds no one.  Meanwhile, Jack notices that a TV screen at the front of the café has come to life and …. uh-oh!  He’s suddenly watching what appears to be security footage of Fay removing her wet clothes.  Jack does the right thing and turns the TV off but seriously, what’s happening with this place!?

In the restroom, Fay marvels at how well the waitress uniform fits, almost as if it was made for her.  Suddenly, she hears more crying.  She touches the bathroom mirror and she sees herself sobbing and pulling pills out of a medicine cabinet.

Fay steps back into the main part of the café.  Frank confesses about watching her change on the television.  Fay demands to know what color underwear she was wearing.  “White …. with red hearts on back,” is Frank’s reply.  (For the record, as I sit here typing this, I am wearing black underwear with red hearts on the back.)  Fay accuses him of being a pervert and peeking in on her while she was changing.  Frank turns on the TV in an attempt to prove that he’s not a perv but, instead of showing the restroom, the TV shows the chemical plant where, according to Frank, he works as a night watchman.  He watches as two men steal a barrel of chemical waste and brag about how they’re going to dump it into the harbor.  Frank says that his worst nightmare is seeing something that’s wrong and not doing anything to stop it.  Fay pinches Frank in an attempt to wake him up.  On the TV screen, Frank Nolan tries to stop the men from driving off with the chemical waste.  Frank is fired and then knocked unconscious.

Realizing the Frank has vanished from the café, Fay runs over to a payphone and dials 9-1-1, just to be informed that the number cannot be reached.  Fay opens the door to the café and discovers that she and the café are apparently floating in space!

Returning to the television, Fay sees that, at the chemical plant, Frank is still on the ground and his employer tells a bunch of thugs that he wants them to make Frank watch as they dump the waste into the harbor.  However, once the thugs drive down to the harbor, Frank jumps out of the trunk of their car and into one of the trucks transporting the chemical waste.  The thugs shoot at the truck until it explodes and then decide that it’s time to get a cup of coffee.

Realizing that the thugs might be coming, Fay decides she better pretend to be a real waitress.  She grabs a cup of coffee and walks into the back where she discovers Frank rising out of a water-filled sink.  “You know what?” Frank says, “I don’t think this is your run-of-the-mill all night café!”

Fay congratulates Frank on doing the right thing and standing up to the thugs.  Suddenly, Fay starts to worry about what she saw in the restroom so she and Frank enter and, in the mirror, they see the two thugs approaching the cafe.  Frank and Fay run into the kitchen.  Frank opens a door marked exit and plunges back into the harbor.  Fay closes the door and then opens it again and finds herself staring at a back alley.  Deciding to face the thugs, she heads to the front of the café, where the two thugs demand to know where Frank is.  She tells them that he’s in the ladies room.  They rush into the restroom and suddenly find themselves on a police shooting range with a bunch of cops aiming their guns at them.

“This place has possibilities,” Fay says as the two thugs run from the café.

Suddenly, the TV turns on Fays sees herself in her bedroom, getting dressed for a date.  Frank steps back into the café and watches the TV, barely noticing that Fay has vanished from the café.  While he’s doing this, Blackie steps into the café and, breaking the fourth wall, says, “This ought to be interesting.”

On the television, Fay gets a call from a guy named Al (John D’Aquino) who explains that he’ll be delayed but he’ll see her later.  Frank recognizes Al as being his boss at the chemical plant and then he realizes that Blackie also worked at the chemical plant and was one of the people who always told him not to waste his time reporting the toxic waste dumping.  Blackie holds up a deck of cards and says that whoever pulls the low card will pay for their meal.  Frank says that the only person that he’s betting on is Fay.

On the TV, Fay drives towards Al’s house.  Suddenly, Frank is standing on the side of the road and hitchhiking.  Fay gives him a ride and suddenly, the two thugs pop up and start shooting at them.  Fay speeds off, with Frank in the car.  Fay outmaneuvers the pursuing thugs, who end up crashing their car into the harbor.

Suddenly, Blackie is the only one sitting in the café.  He watches Fay and Frank talk in the car.  Frank tells Fay all about Al and Fay kicks Frank out of the car, not understanding how he could possibly know her name.  Suddenly, Frank is back in the café.  He and Blackie watch as Fay knocks on the door of Al’s penthouse.  No one answers and Frank cheers as Fay starts to walk away.  Suddenly, Blackie appears on the television and unlocks the door so Fay can enter the penthouse.

Fay gives Al a really ugly sweater for his birthday but is then shocked to discover that Al is at the penthouse with another woman (played by Carrie-Anne Moss in an early role), who promptly asks if Fay is the maid.  As Fay heads for the penthouse’s bathroom, one of the thugs shows up and announces that he previous saw Fay at the café.  Meanwhile, Fay searches the medicine cabinet for pills before heading back to her car

Seeing Fay driving towards the harbor on the television, Frank runs out of the café to save Fay again.  But this time, instead of jumping into the harbor, Fay looks at the water and then says that it would be foolish to kill herself over a loser like Al.  Suddenly, Al drives up and Fay and Frank have to jump into the water to avoid getting hit.  However, once they hit the water, Frank realizes that they’re already dead.

Upon figuring this out, Frank and Fay are transported back to the café where Blackie tells them that they’re dead in the real world but they’re alive in the café and now, they get to make a difference in other people’s lives.  Blackie opens the door, to show Frank and Fay that they are once again floating in space and that the Earth in the distance.  Blackie tells them that they’ve been selected by “a higher authority” to help the people who enter the café and “maybe learn a little about yourselves along the way.”  But they’re both dead so what’s left to learn?

Suddenly, Al enters the café.  Blackie tells Al that Frank and Fay are in the restroom.  Al steps into the restroom and suddenly has a vision of Fay testifying against him in court.  Terrified, Al runs from the café but, upon opening the door, he plunges through space and lands in a vat of chemical waste.

A woman (played by Joan Chen of Twin Peaks fame) opens the front door.  “Hi,” she asks, “Are you open?”

Nightmare Café only ran for 6 episodes and anthology shows are notorious for being uneven.  All that considered, I really enjoyed the pilot for Nightmare Café, with its twisty plot, frequently surreal visuals, and — last but not least — Robert Englund having what appears to be a lot of fun as the show’s host.  The pilot was directed by Philip Noyce, who keeps the action moving a great pace.  Even more importantly, from their first scene together, Lindsay Frost and Jack Coleman have a lot chemistry.  I’m looking forward to watching the remaining episodes and seeing where all of this goes!

The TSL’s Grindhouse: Slipping Into Darkness (dir by Eleanor Gaver)


Last night, Jeff and I watched the 1988 film, Slipping Into Darkness.  It’s available on Prime and we watched it because it looked like it was good, old-fashioned revenge flick.  The plot description said something about a former biker kidnapping the three women who he held responsible for the death of his brother.  It sounded trashy and fun and you know what?  It definitely is trashy and fun.

It’s also one of the most thoroughly incoherent film that I’ve ever seen.

If you were to ask me what I learned from watching Slipping Into Darkness, I would say that I was amazed to discover that it doesn’t hurt to get your fingers shot off.  Seriously, one character loses his fingers and, just a few minutes later, he’s hitching a ride out of town.  (Needless to say, he has to use his other hand to flag down a ride.)  Even though he’s with his friends, no one seems to be too concerned with the fact that he’s just had several of his fingers blown off.  No one says, “Hey, you want to go to the hospital before you bleed to death?”  I don’t think it even occurs to anyone to pick up his fingers.  They just leave them in a cornfield.

The other thing that I discovered is that some people can still do stuff for several minutes after having a switchblade thrown straight into their brain.  I mean, I guess maybe that’s true.  I’ve heard of weird stuff like that happening but it still seems like having a knife sticking out of your forehead would be a bigger deal than it appears to be in this film.

Just from reading those two paragraphs, you might think that this is like an over-the-top Evil Dead-style comedy, where the action is deliberately cartoonish.  What’s strange is that it’s not.  Instead, it’s a rather pretentious film from Nebraska that actually seems like it wants to say something about …. well, something.  I mean, it’s either trying to say something about morality or the director just randomly decided to include several nuns standing in the background of several shots.  You tell me.

Anyway, the film is about three best friends, Carlyle (Michelle Johnson), Genevieve (Anastasia Fielding), and Alex (Cristen Kaufman).  Caryle is rich and self-centered.  Genevieve is obsessed with sex.  And Alex is just kind of there.  When we first see them, they’re flirting with some bikers, who turn out to be less than ideal company.  Later, after they get away from the bikers, they accidentally hit a dog with their Mercedes.  Fortunately, the dog lives and they take it to the vet.  They also take the dog’s owner, Ebin (Neil Barry), with them as well.  Ebin is developmentally disabled so they take him to get ice cream.  One jump cut later and Ebin is getting run over by a train.  A coroner who announces that, when he died, Ebin was covered in ice cream and liquor.

Ebin’s older brother, Fritz (John D’Aquino), is convinced that Ebin’s death was no accident because Ebin didn’t drink.  Maybe the ice cream’s a clue?  After Fritz sees Carlyle returning the dog from the vet, he decides to kidnap the three friends and demand to know what happened to his brother.  Helping Carlyle out are T-Bone (David Sherrill) and Otis (Vyto Ruginis), two of the bikers who the girls met earlier but who are now apparently unrecognizable because they’ve shaved and gotten haircuts.

Following this so far?

So, Fritz and his friends kidnap Carlye and her friends.  And, at first, Carlyle and her friends don’t want to be kidnapped but then, about five minutes, the girls and their kidnappers are suddenly best friends and everyone just kind of forgets about Ebin.  Genevieve and Otis go off to the cemetery together and, when the sun rises, it turns out that Otis has accidentally killed her during a sessions of rough graveyard sex.

What’s odd is that no one — not even Genevieve’s two best friends — seems to be particularly upset about Otis having killed her.  Instead, they just bury her in a nearby grave and then they start do discuss how to best protect Otis.  So, I guess the whole kidnapping thing has been resolved and no one cares about Ebin anymore.

However, it turns out that Otis is too paranoid to be protected.  Running off to a farmhouse, he discovers an old farmer who has committed suicide.  “This is a shit world,” Otis declares.  Soon, everyone’s getting chased through a wheat field by Otis, who has commandeered a thrasher….

And the movie’s not over yet!  But I’m not going to spoil any more of it.  It’s on Prime and you can watch it for yourself.  Slipping Into Darkness is one of the most incoherent films that I’ve ever seen and yet it’s such an incomprehensible mess that it’s actually a lot of fun to watch.  The dialogue is frequently ludicrous and is filled with lines that sound like they were written by an Intro to Philosophy student trying to be profound.  The film is full of jump cuts, which makes it increasingly difficult to understand how once scene relates another.  It’s impossible to keep track of who is friends with who or who is investigating what because everyone’s motivation and mood randomly changes from scene to scene.  At one point, Fritz is obsessed with his brother’s death and then, a few minutes later, he no longer seems to care.  Otis feels guilty about killing Genevieve and then, in the next scene, he’s a giggling sociopath making crude jokes about necrophilia.  Alex hates T-Bone and then she loves T-Bone and then she hates him and then she loves him and seriously, who can keep track?  The entire movie plays out like a fever dream.

Interestingly, a lot of the film’s most important events take place off-screen.  I don’t know if the director was trying to make a statement about the randomness of life or if she just ran out of money before filming certain scenes.  “We just got arrested!” a character cries towards the end of the film before then adding that they also got bailed out.  Well, that’s good.  It would have been nice to have seen that but oh well.  As long as everything works out….

What to make of Slipping Into Darkness?  I have no idea.  It’s on Prime.  Go watch it, let me know if you can figure out what the Hell’s going on.