Horror Film Review: Evils of the Night (dir by Mardi Rustam)


How dumb can one movie be without becoming unwatchable?

1985’s Evils of the Night is here to answer that question!

Three space alien vampires (John Carradine, Julie Newmar, and Tina Louise) have led an expedition to Earth.  They’ve taken over a hospital and they’re stealing the blood of their patients so that it can be sent back to their dying planet.  They especially want young blood, which is why they specifically came to a college town.  Unfortunately, their intelligence was faulty and they arrived during the summer, when the campus was closed.  (I guess this is one of those rare colleges that don’t offer a summer term.)  There’s actually a very lengthy scene in which Carradine explains the faulty intelligence to Newmar and Louise and then Newmar complains about how the alien intelligence service just isn’t that good.  What makes this scene so special is that Carradine delivers his lines with a straight face and Newmar actually seems to be sincerely annoyed.  Aliens — they’re just like us!

Just because college is out of session, that doesn’t mean that there aren’t any young people hanging out down at the lake.  There’s actually quite a few, though all of them look to be a little bit too old for high school or college or whatever they’re supposed to be attending.  Several of them are played by veterans of the adult film industry, including Amber Lynn and Jerry Butler.  Everyone wants to get laid down at the lake, which is probably the most realistic thing about Evils of the Night.  However, John Carradine needs their blood so he has Julie Newmar hire two slovenly mechanics, Kurt (Neville Brand) and Fred (Aldo Ray), and sends them out to kidnap any young people that they find.  Kurt and Fred are very good at their job.  Newman pays them and mocks them for caring so much about coins.  Little do the mechanics realize that the aliens are planning on shooting them with their space laser as soon as they leave the planet.

Evils of the Night is a good example of a bad movie that is oddly watchable just because the viewer finds themselves curious as to just how stupid things can get.  The answer here is very stupid and very nonsensical  It never seems to occur to anyone just go to a different lake or maybe just do their skinny dipping in a pool somewhere.  The plot has a “make it up as you along” feel to it and that, at the very least, keeps things vaguely interesting.  The actors playing the “teen” victims are enthusiastic without being particularly good while most of the veterans in the cast are all obviously just there for the paycheck.

That said, John Carradine.  Wow.  What a career.  A trained Shakespearean actor who made his stage debut in 1925 and went on to appear in a countless number of movie, Carradine was a favorite of both John Ford and Fred Olen Ray.  Carradine appeared in hundreds of a theatrical films.  In fact, his final film was released seven years after Carradine’s death.  Carradine was one of the great actors, with that deep voice and that commanding stare.  But he was also one of those actors who was apparently willing to appear in just about anything and that’s one reason why he’s still such a beloved icon.  Playing an outer space vampire-turned-doctor was definitely not the strangest role that Carradine ever played.  Carradine handles his scenes like a pro!

Evils of the Night is dumb but I dare you to look away.

Retro Television Review: Fantasy Island 6.17 “King of Burlesque/Death Games”


Welcome to Retro Television Reviews, a feature where we review some of our favorite and least favorite shows of the past!  On Tuesdays, I will be reviewing the original Fantasy Island, which ran on ABC from 1977 to 1984.  Unfortunately, the show has been removed from most streaming sites.  Fortunately, I’ve got nearly every episode on my DVR.

“Smiles, everyone, smiles!”  It’s time for another two fantasies.

Episode 6.17 “King of Burlesque/Death Games”

(Dir by Cliff Bole, originally aired on March 12th, 1983)

I’m going to deal with the first of this week’s fantasies very quickly because, quite frankly, it’s not every interesting.  Rich Little is Tom Vail, a wall street accountant who wants to be a burlesque comedian.  He gets his fantasy.  He performs at the Fantasy Island Burlesque Revival.  He wears a hideous suit with a big bowtie.  He falls in love with a dancer.  The always likable Red Buttons appears as a Burlesque veteran.  It’s not a bad fantasy but it’s not terribly interesting.

Meanwhile, Vanessa Walgren (Joanna Pettet) has come to the Island to compete in the “First Annual Fantasy Island Pentathlon.”  However, Mr. Roarke knows that she’s there for another reason.  She wants to kill him!  A year ago, Vanessa’s husband was lost at sea while on his own fantasy.  (He wanted to retrace the route of the Kon Tiki.)  Vanessa blames Roarke and she’s put a bounty on his head.  Roarke sighs and says, “Fine, but if you don’t kill me by the end of the weekend, you have to leave the Island and never bother me again.”  Vanessa agrees….

WHAT!?  What type of vengeance is that!?  Seriously, if you’re obsessed with vengeance, you don’t just shrug and accept an arbitrary rule from the person you’re trying to kill.

Anyway, Roarke is the judge for the Pentathlon so he’s got various athletes trying to kill him over the course of the entire weekend.  He even gets cut during a fencing match!  (“If you can bleed, you can die!” Vanessa declares in a wonderfully over-the-top moment.)  Whenever anyone fails to kill him, Roarke says, “Get off my Island!,” which is rally cool.  Tattoo wonders why Roarke is allowing this to happen.  Why doesn’t Roarke order Vanessa to get off the Island.  Roarke is all like, “I can’t tell you, just trust me.”  The final event is a skydiving competition and I’m not really sure how you compete at that but whatever.  Despite Vanessa’s efforts to sabotage his parachute, Roarke lands safely.

Vanessa then offers him two glasses of wine.  One glass is poisoned!  Can Roarke pick the right glass?  Roarke is like, “Screw this,” and finally reveals that Vanessa’s husband is not dead.  Instead, he’s a secret agent who had to fake his own death but who is now ready to be reunited with Vanessa….

Again, WHAT!?  Seriously, that came out of nowhere.

Reunited with her husband, Vanessa apologizes for trying to murder Roarke.  Roarke says it’s fine because Mr. Roarke is very forgiving.

The burlesque fantasy was boring (loved the costumes, though!) but the revenge fantasy made up for it.  I love it when Fantasy Island embraces the melodrama.  Plus, this fantasy actually gave Ricardo Montalban and Herve Villechaize quite a bit to do.  All in all, this was a good trip to the Island!

Insomnia File #66: Ghosts Can’t Do It (dir by John Derek)


What’s an Insomnia File? You know how some times you just can’t get any sleep and, at about three in the morning, you’ll find yourself watching whatever you can find on cable or streaming? This feature is all about those insomnia-inspired discoveries!

If you find yourself having trouble getting to sleep tonight or tomorrow, you may want to try watching 1989’s Ghosts Can’t Do It.  It won’t necessarily put you to sleep but it will give you something to ponder while you lie in bed and stare up at the ceiling.  For instance, how exactly did this movie get produced without anyone coming up with a better title than Ghosts Can’t Do It?

Bo Derek plays Kate, the wife of elderly billionaire Scott (played by Anthony Quinn, who appears to be drunk in the majority of his scenes).  Despite their age difference, Kate and Scott are deeply in love.  When they’re not playing in the snow and riding horses around the ranch, they’re having sex.  “Sex, sex, sex, sex!” the movie seems to chant in almost every scene.  But then Anthony Quinn has a heart attack, which in this film means that he spends what appears to be hours lying in the snow while trading jokes with Kate.  (It’s important to be able to joke with your partner but if my man had a heart attack, my first reaction would be to get a doctor.)

Scott survives his heart attack but he’s told that, in his weakened state, he can no longer have sex.  Also, he can’t get a new heart because he’s too old.  Facing a future without sex, Scott shoots himself.  Fortunately, Scott’s guardian angel (Julie Newmar) takes sympathy on him and sends his spirt back down to Earth.  Only Kate can see and hear him and, while she’s happy to be reunited with him, they are both upset to discover that ghosts can’t do it.

Scott comes up with a plan.  Kate needs to find a young, virile lover and then murder him so that Scott can possess his body and then he and Kate can have sex whenever they feel like it.  Because that plan makes total sense and there’s no way that it could lead to Kate’s soul being damned to an eternity in Hell, Kate agrees.  Kate travels the world, having sex and looking for a man who will be able to please her after she has murdered him.  Eventually, Kate meets a charming young criminal named Fausto (Leo Damian) and decides that he’ll do.  Scott can’t wait to inhabit Fausto’s body but Kate suddenly realizes that she might not have it in her to be a murderer!  Well, she’ll never know unless she tries.  (I never thought that I would be able to shoot down a drone but then, one night in December….)

While all of this is going on, Kate is handling Scott’s business affairs.  This leads to a meeting with a famous and ruthless businessman named Donald Trump.  Yes, the 45 and 47th President of the United States plays himself in this film.  Kate and Trump meet in a conference room to discuss a deal.  Kate mentions that she read Trump’s book.  Trump smiles and nods.  They have hard-boiled business dialogue.  Kate tells Trump that he’s “too pretty” to be as ruthless as he is.  ‘You noticed,” Trump says.  It’s a pretty dumb scene but, from a historical point-of-view, it’s a reminder of the fact that, long before he was elected President, Trump was already a ubiquitous figure on the American pop cultural scene.

Ghosts Can’t Do It is definitely a misfire, albeit one that is such a huge misfire that it become interesting in the same way that trainwrecks are often interesting.  Almost everything about it, from the dialogue to the attempts at humor to the nearly unreadable font that is used for the opening credits, feels wrong.  There is one brief moment that works, in which Kate dances with her ghost husband and, for the first and only time in the film, we see a flicker of genuine chemistry between Bo Derek and Anthony Quinn.  (Bo Derek, I will mention, is not quite as bad an actress as her reputation suggests.  It’s just that she should have been playing campy soap opera villainesses on late night television as opposed to starring in her husband’s crackpot films.)  Otherwise, this movie is perhaps the worst movie to ever feature both a two-time Oscar winner and a future President.  And, for that reason, it’s a watchable curiosity.  It’s just what insomnia demands.

Previous Insomnia Files:

  1. Story of Mankind
  2. Stag
  3. Love Is A Gun
  4. Nina Takes A Lover
  5. Black Ice
  6. Frogs For Snakes
  7. Fair Game
  8. From The Hip
  9. Born Killers
  10. Eye For An Eye
  11. Summer Catch
  12. Beyond the Law
  13. Spring Broke
  14. Promise
  15. George Wallace
  16. Kill The Messenger
  17. The Suburbans
  18. Only The Strong
  19. Great Expectations
  20. Casual Sex?
  21. Truth
  22. Insomina
  23. Death Do Us Part
  24. A Star is Born
  25. The Winning Season
  26. Rabbit Run
  27. Remember My Name
  28. The Arrangement
  29. Day of the Animals
  30. Still of The Night
  31. Arsenal
  32. Smooth Talk
  33. The Comedian
  34. The Minus Man
  35. Donnie Brasco
  36. Punchline
  37. Evita
  38. Six: The Mark Unleashed
  39. Disclosure
  40. The Spanish Prisoner
  41. Elektra
  42. Revenge
  43. Legend
  44. Cat Run
  45. The Pyramid
  46. Enter the Ninja
  47. Downhill
  48. Malice
  49. Mystery Date
  50. Zola
  51. Ira & Abby
  52. The Next Karate Kid
  53. A Nightmare on Drug Street
  54. Jud
  55. FTA
  56. Exterminators of the Year 3000
  57. Boris Karloff: The Man Behind The Monster
  58. The Haunting of Helen Walker
  59. True Spirit
  60. Project Kill
  61. Replica
  62. Rollergator
  63. Hillbillys In A Haunted House
  64. Once Upon A Midnight Scary
  65. Girl Lost

Retro Television Reviews: The Love Boat 3.7 “The Reunion/Haven’t I Seen You?/Crew Confessions”


Welcome to Retro Television Reviews, a feature where we review some of our favorite and least favorite shows of the past!  On Wednesdays, I will be reviewing the original Love Boat, which aired on ABC from 1977 to 1986!  The series can be streamed on Paramount Plus!

This week is all about mistaken identity!

Episode 3.7 “The Reunion/Haven’t I Seen You?/Crew Confessions”

(Dir by George Tyne, originally aired on October 20th, 1979)

After discovering that a guy that he went to high school with in Oakland is now a published author, Isaac decides that maybe he should spend the cruise writing a novel of his own.  The other members of the crew encourage him to try his hand at being a literary genius because, seriously, how hard can it be?  (Gopher suggests that anyone can be a writer!  Okay, Gopher….)  Isaac attempts to write a western, just to discover that he can’t get past the first two sentences.  He then tries to write a romance and can’t get past the first two sentences.  Finally, he attempts to do a science fiction novel and can’t get past …. well, you get the idea.

Finally, Isaac realizes that his mistake is that he’s not writing about what he knows.  Instead, he starts writing a book about life on a cruise ship!  (There’s a bit of an inside joke here as The Love Boat itself was inspired by a “non-fiction” book written by a former cruise director.)  Unfortunately, the rest of the crew soon recognizes themselves in Isaac’s writing.  Doc is offended at being portrayed as a sex-crazed womanizer who rarely practices medicine.  Gopher is upset to discover that the fiction ship’s purser is a klutz named Muskrat.  Julie is upset at the character of the “perky” cruise director.  Only Captain Stubing seems to be truly supportive of Isaac.  Upset that his friends are upset, Isaac rips his book in half.  Guilt-stricken, the rest of the crew decides to support Isaac and they start giving him ideas for his novel.  For instance, Doc Bricker tells Isaac that he served in the U.S Navy after medical school, adding yet another piece of the puzzle to the enigma of Adam Bricker.

The novel-writing storyline, I liked.  I could relate to it because I’ve noticed that people are always willing to support your literary ambitions until they realize that you’re writing about them.  I kind of hope that Isaac will keep writing.  Knowing The Love Boat, though, I know this is probably one of those things that will be forgotten by the next episode.

As for the other storylines this week, they were okay if slight.  Don Knotts plays a shoe salesman named Herb Groebeck who looks just like a television start named Devon King.  At first, Herb keeps correcting everyone about his identity but, when he’s approached by Marla (Julie Newmar), he decides to pretend to be Devon for a while.  Marla reveals that she has a baby and she says that Devon is the father, the result of a one-night stand in Las Vegas.  Herb, having fallen in love with Marla, asks her to marry him.  Marla suddenly reveals that she’s never actually met Devon and that she was lying about him being the father because she wanted a husband who could take care of her baby.  Herb says that’s okay because he’s not even Devon King.  Marla and Herb share a good laugh and leave the cruise as an engaged couple which …. I mean, is this really a relationship that’s really going to last?  It’s pretty much built on lies.

Speaking of lies, Laurette Ferot (Jane Wyatt) has boarded the boat so she can be reunited with her long-missing husband, Gilbert (Jean-Pierre Aumont).  Laurette and Gilbert were married in 1939 but the Nazi invasion of France tore them apart.  Laurette was taken off to Denmark.  Gilbert vanished and was presumed dead.  Laurette has spent the last 40 years looking for Gilbert.  Unfortunately, the man who shows up on the cruise is not her Gilbert.  Instead, he’s a former member of the French Resistance who befriended the real Gilbert in a concentration camp and who fell in love with Laurette as a result of listening to the real Gilbert talk about her.  When the real Gilbert died in the camp, the fake Gilbert assumed his identity.  Having survived the war, the fake Gilbert came to America and made millions as a lock manufacturer while also looking for Laurette.  Laurette is surprisingly forgiving of Fake Gilbert and even goes through with the ceremony to “renew” their vows on the ship.  Laurette marries Fake Gilbert and they leave the ship together.  Jane Wyatt and Jean-Pierre Aumont both gave heartfelt performances but this storyline, involving concentration camps and Nazi cruelty, felt a bit out-of-place when partnered up with stories about Isaac writing a salacious book and Don Knotts pretending to be an action star.  It was a bit too serious for The Love Boat format.

Overall, this episode was uneven but genuinely well-acted.  Just as last week’s episode gave Fred Grandy a chance to show off the fact that he actually could act, this episode gives the spotlight to Ted Lange and Lange, again, proves himself to be capable of more than just making drinks and pointing.  I hope his book was best seller.

Retro Television Reviews: The Feminist and the Fuzz (dir by Jerry Paris)


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 1971’s The Feminist and The Fuzz!  It  can be viewed on YouTube!

At first glance, Jane Bowers (Barbara Eden) and Jerry Frazer (David Hartman) don’t have much in common.

Jerry is a cop, though he’s attending night school with the hope of someday becoming a lawyer.  Jerry is an old-fashioned law and order man.  He expects the law to be followed.  He’s also the type who definitely believes that there are clear differences between men and women.  As he explains it, there are some thing that men are just better at.  Jerry is dating Kitty (Farrah Fawcett), who works as a waitress at the local Playboy Club.

Dr. Jane Bowers is a pediatrician and a proud feminist, one who takes it personally when a cop like Jerry refuses to give her a parking ticket just because she’s a woman.  She wants to be treated as an equal in all matters.  She’s dating Wyatt Foley (Herb Edelman), an attorney who still lives with his mother and who constantly goes out of his way to let everyone know that he’s an ally.  Jane’s best friend is Dr. Debby Inglefinger (Jo Anne Worley), who has decided that it’s time to lead a protest at the Playboy Club.

The only thing that Jerry and Jane have in common is that they both desperately need an apartment but apparently, apartments were not easy to find in San Francisco in the early 70s.  Fortunately, a hippie (Howard Hesseman) has just been evicted from his apartment because the landlord (John McGiver) didn’t like the fact that he was constantly having overnight guests.  Jane and Jerry both end up at the apartment at the same time, with Jane getting offended by Jerry’s refusal to give her a traffic ticket.  (Jerry makes the mistake of saying that he’s going to let her off “with a warning.”  He wouldn’t give a warning to a man!  Seriously, though, who in their right mind would actually demand a ticket?  Those things cost money.)  Even though they take an instant dislike to each other, Jane and Jerry still decide to pretend to be husband and wife so that they can rent the apartment together.  With their busy schedules, they figure that they’ll never have to see each other.  They won’t even know the other is around.

Of course, it doesn’t work out like that.  Jane allows Debby to hold a consciousness raising meeting at the apartment.  (Future director Penny Marshall appears as a participant.)  Meanwhile, Jerry lets a prostitute (Julie Newmar) stay at the apartment, just to keep her off of the streets for the night.  The landlord is getting suspicious.  So, for that matter, is Jane’s father (Harry Morgan).  And, as you probably already guessed, Jerry and Jane are falling in love.

With its hippies and its militant feminists and its jokes about the Playboy Club, The Feminist and the Fuzz is a film that practically yells, “1971!”  Unfortunately, script’s attempt to turn the film’s rather predictable plot into a Neil Simon-style jokefest never quite works.  The “humorous” dialogue feels forced and the film’s 75-minute run time doesn’t do it any favors, as we never really have the time to get to know Jerry or Jane as human beings.  Instead, they just remain “The Fuzz” and “The Feminist.”  As a result, it’s not that easy to care about whether or not they actually get together.  Some of the supporting performances are amusing.  Barbara Eden manages to avoid turning Jane into a caricature of a humorless activist but poor David Hartman is stiff as a board and in no way convincing as a veteran cop.

The main thing I took away from this movie is that the Playboy Clubs were exceptionally tacky.  Way back in 2011, NBC actually tried to air a drama series that took place at a Playboy Club in the 60s.  (This was when every network was trying to come up with the next Mad Men.)  The pilot started with creepy old Hugh Hefner assuring the viewers that, “Everybody who was anybody wanted to be a member of the club.”  I mean, seriously?  What a strange world.

Retro Television Reviews: Half Nelson 1.3 “The Deadly Vase”


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 Half Nelson, which ran on NBC from March to May of 1985. Almost all nine of the show’s episodes can be found on YouTube!

The pilot for Half Nelson was pretty good!  Now, let’s see if this rest of the show lived up to its promise.

Episode 1.3 “The Deadly Vase”

(Directed by Alan Cooke, originally aired on March 29th, 1985)

I cannot escape Robert Reed.

Seriously!  Robert Reed is one of those actors who seems to show up every week in my retro television reviews.  If he wasn’t starring in The Brady Bunch Hour, he was guesting on The Love Boat or Fantasy Island.  And now, he’s the guest villain in this week’s episode of Half Nelson!

Reed, with his graying perm and his aging porn star mustache, plays Seymour Griffith.  Griffith is a fabulously wealthy Beverly Hills attorney who is planning on becoming even more wealthy by stealing a valuable vase and selling it to a crooked antiques dealer named Morgan (Cesar Romero).  Unfortunately, while stealing the vase, Griffith kills the owner.  (Griffith is also having an affair with the dead man’s wife.)  Somewhat inconveniently, for Griffith, the dead man was a client of the Beverly Hills Patrol!  Rocky Nelson is on the case, both because he’s romantically pursuing the dead man’s daughter (Michelle Johnson) and also because Rocky believes in justice.

This week’s villains

The tone of The Vase is notably different from the pilot that preceded it.  The Pilot had its comedic elements (such as Rocky continually borrowing famous cars from the studio) but it was ultimately fairly serious and it even ended on something of a down note, with Police Chief Parsons (George Kennedy) committing suicide rather than face justice for the murders that he committed.  In the pilot, Rocky was definitely out-of-place as a New Yorker in Los Angeles but, at the same time, he was finding his way around his new town and learning how to fit in.

The Deadly Vase, on the other hand, reimagines Rocky as a short, Italian version of Eddie Murphy’s Axel Foley from Beverly Hills Cop.  Chester (Fred Williamson), who was a supportive boss in the pilot, is suddenly a bit uptight about Rocky investigating a crime in Beverly Hills.  He even sends his newest recruits, Kurt and Beau (played by Bubba Smith and Hang Time‘s Dick Butkus), to follow Rocky around Beverly Hills and make sure that Rocky doesn’t offend any rich people with his New York attitude.  This episode pretty much just duplicates the plot of Beverly Hills Cop.  During one car chase, The Heat Is On plays on the soundtrack and it’s hard not to notice that the other musical cues are almost identical to the ones heard in Beverly Hills Cop.

Smith and Butkus aren’t the only new members of the cast.  Dependable character actor Gary Grubbs joins the show as Detective Hamill, who is far less a fan of Rocky’s than Parsons was.  Hamill shows up long enough to order Rocky to stay off the case and to get growled at by Rocky’s pit bull.  Hamill also gets to have a conversation with Dean Martin about whether or not Frank and Sammy and Shirley MacClaine would be willing to do a benefit for the Beverly Hills police department.  Dean is only onscreen for a few minutes but it’s still nice to see him there.

Joe Pesci, who was so strong in the pilot, spends most of this episode looking more than a little annoyed so I’m going to guess that he may not have been happy with the show’s new direction.  About the only time Pesci seems to be having fun is when Rocky is hired to play a hot dog in a commercial.  The director of the commercial is played by Donald O’Connor and yes, Pesci does wear a hot dog costume.

Joe Pesci getting dressed up like a hot dog pretty much saved this episode as the mystery itself was fairly bland and Robert Reed never really felt like a worthy opponent to Rocky.  Hopefully, next week’s episode will be a bit of an improvement …. or, at least, let’s hope the show finds another excuse to put Joe Pesci in a hot dog costume.

Oblivion (1994, directed by Sam Irvin)


In the far, far future, Earth has set up colonies all across the universe.  One of those colonies is the dusty town of Oblivion, which looks just like an old west town except the deputy is a cyborg and there’s an ATM outside the saloon.  A humanoid lizard named Red Eye (Andrew Divoff, covered in green scales) comes to town and kills the marshal.  Red Eye and his gang take over Oblivion, planning to turn it into their own personal pleasure palace.

The marshal’s son, Zack (Richard Joseph Paul), comes to town for the old man’s funeral.  Everyone thinks that Zack is a coward because he refuses to avenge his father’s death.  Zack, however, is no coward.  He’s just an empath who can’t handle the negative emotion that are generated by violence.  But seeing as how his father is dead, his best friend Buteo (Jimmie F. Skaggs) is being tortured in the town square, and lovely Mattie Chase (Jackie Swanson) wants Red Eye and his gang to get out of town, Zack knows that he’s going to have to do the right thing and conquer his empathy.

Oblivion is a haphazard mix of comedy, science fiction, and the western genre.  Some of the ideas come close to being clever but it never makes sense why an Earth colony in 3031 would resemble a one-horse town from a singing cowboy movie.  (The film probably would have worked better if it had been about Red Eye invading an actual Old West town in the 1800s instead of a colony designed to look like one.)  Andrew Divoff is entertaining as he hams it up as the main desperado but, as far Old West charisma is concerned, Richard Joseph Paul is no John Wayne or Henry Fonda.  Quite a few familiar names were somehow roped into appearing in this low-budget space oater, though most of them only appear for a few minutes and don’t contribute much to the overall story.  George Takei plays the alcoholic town doctor.  Julie Newmar is Miss Kitty, the owner of Oblivion’s “social” club.  In a nod to her most famous role, Newmar hisses at Red Eye and his gang but that’s all she gets to do.  It feels like a waste of a cameo.  Isaac Hayes and Meg Foster also make appearances, though again neither really gets to do anything interesting.

The idea of a space western isn’t a bad one and there actually have been a few good ones.  (Outland, for example.)  But Oblivion can never escape the drag of its low budget and its bland lead.

Bombs Away: THE ROOKIE (20th Century Fox 1959)


gary loggins's avatarcracked rear viewer

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If there’s a film room in hell, you can be sure THE ROOKIE is playing there continuously. This totally unfunny service “comedy” stars the team of Tommy Noonan and Peter Marshall. They’re about as funny as having a spike driven through your forehead. The only reason I’m writing about this atrocity is to give you all fair warning: DON’T WATCH IT!!

The story makes no sense whatsoever. Tommy is drafted just as WWII is over, and demands to be put through boot camp. A mix-up occurs at the Pentagon when two drunken janitors answer the phone, and Camp Clyde is ordered to stay open and put Tommy through basic training. This doesn’t sit well with Sgt. Peter Marshall, who was looking forward to discharging and marrying his sweetheart, starlet Lili Marlene (Julie Newmar, who’s wasted in this mess).

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News of this nonsense makes Lili’s PR man (Jerry Lester) come up…

View original post 280 more words

Which Way Forward For The “Batman” Movie Franchise? Take Twelve : A Few Words About Catwoman


 

It occurs to me that before we delve into the “meat,” so to speak, of our story any further, I should take a brief step back and say explain what I have in mind for Catwoman , at least conceptually, in our little hypothetical series, and since my last post ended with her on-screen introduction, and I’ve mentioned a time or eight that she will be playing a major part in the Batman III, and III trilogy, now is probably as good a time as any to give folks an idea of what I view the “ideal” Catwoman for this series to be like.

Which doesn’t mean I’m going to drop names as to who should be playing her. Sorry. Casting ideas are waaaaayyyy down the road a piece, after our plot is all laid out, so we’re not going anywhere near all that — yet. Can’t say I blame you for trying, though!

Anyway, as you know, I never pic our introductory graphics for these pieces by accident, so if you want to know what sort of Catwoman I’m picturing for this series, she’s right there on top of this post. I know, I know — a real Julie Newmar style “feline fatale” would be great, but that , again, (sigh) “just wouldn’t fly with a contemporary audience,” and is also way heavier on the camp than her character requirements in this reboot call for, where — without giving a way too much! — she’s going to go from Batman’s flirtatious friend/foe to essentially “full-time” love interest to, at a very crucial point, the voice of his conscience.

But, again, we don’t want to get ahead of ourselves. Obviously, Catwoman is always going to be sexy — she can’t help herself! — but we don;t want to go too overtly heavy on the sex appeal a la the Halle Berry version of the character. The PVC bondage look of Michelle Pfeiffer’s incarnation is out, too. And Anne Hathaway’s super-contemporary look is a bit too non-feline and frankly eschews the more “old school” vibe we’re going with from top to bottom here.

So — the cartoon Catwoman it is. Not, of course, that I would want, or even expect, her to look exactly like that once she hits the screen. I’m just saying that her overall visual aesthetic should be based on, or at the very least inspired by, that sort of look. It’s a map, not the destination itself. Just so we’re clear on that.

One thing that I definitely want to emphasize in this series, and that I thought Nolan did a nice job with is The Dark Knight Rises, is that Batman and Catwoman come from very different “sides of the tracks,” so to speak, socio-economically speaking. While I wouldn’t come right on out and portray her as being a prostitute like Frank Miller and David Mazzuchelli did in Batman : Year One, it should be clear that she’s seen her fair share of hard times and that she isn;t necessarily proud of everything she’s done to provide for herself and, as we’ve already seen in our last post, her younger sister. This is somebody that’s called Catwoman not just because she loves her furry feline friends, but because she’s had to bite, scratch, and claw for everything she’s got.

So that’s how I see the overall shape of her character, with several blanks to be filled in as we continue filling in plot details. On a “housekeeping” note, I’ll be taking the next couple days off from doing any sort of blogging, but this series should be resuming on either Wednesday or Thursday. I’ll be doing quite a bit of writing on horror movies during the month of October, but should hopefully still have time to do one or two entries in this Batman series every week, as well, so look for something a bit more balanced in terms of my overall output in the days and weeks to come — I won’t be ignoring this series for two or three weeks as I did a little while back there, but I won’t be making new entries almost daily as I’ve managed to do for the last week or two, either. I think one or twice a week — heck ,maybe three times — is enough to sustain the interest of most folks without having this series consume all my writing time, but we shall see.

In any case, as always, I look forward to your thoughts, dear reader, on today’s matter at hand. What sort of Catwoman would you consider to be ideal?