4 Shots From 4 Films is just what it says it is, 4 shots from 4 of our favorite films. As opposed to the reviews and recaps that we usually post, 4 Shots From 4 Films lets the visuals do the talking!
Today would have been the 85th birthday of the great Italian director, Ruggero Deodato! And that, of course, means that it’s time for….
4 Shots From 4 Films
The House on The Edge of The Park (1980, dir by Ruggero Deodato, DP: Sergio D’Offizi)
Body Count (1986, dir by Ruggero Deodato, DP: Emilio Loffredo)
Phantom of Death (1988, dir by Ruggero Deodato, DP: Giorgio Di Battista)
The Washing Machine (1993, dir by Ruggero Deodato, DP: Sergop D’Offizi)
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 CHiPs, which ran on NBC from 1977 to 1983. The entire show is currently streaming on Freevee!
This week, a Partridge leads a Brady into a life of crime!
Episode 2.3 “Family Crisis”
(Dir by Phil Bondelli, originally aired on September 30th, 1978)
Tired of being confined to a police car, Officer Sindy Cahill (Brianne Leary) cannot wait to graduate from motor school so that she can become the Highway Patrol’s first female bike cop. She’s so eager for the job that, when she’s off-duty, she rides around Los Angeles on a motor scooter and occasionally even makes an arrest. Most of the other motorcycle cops are skeptical about Sindy …. because she’s a woman. But Ponch is supportive of Sindy’s ambition …. because she’s a woman who he likes to look at. Ponch spends the majority of this episode standing behind Sindy and leering.
A fancy black Trans Am has been stolen from a movie set and it is being used in a series of robberies. The thieves have made no effort to disguise the car. They didn’t even bother to paint over the very noticeable green racing stripe that, in theory, would make impossible for them to drive around without being spotted. However, it doesn’t matter because the car is so fast and it can do so many fun movie tricks (like covering the street in smoke and oil) that no one can stop it. Sindy has come up with a plan to catch the thieves but Getraer doesn’t want to hear it and we all know why. In fact, when Sindy crashes her car while chasing the thieves, Getraer tells her that she needs to get checked out by the doctors before she goes back on duty. “If I was a man, you’d let me right back out on the street!” Sindy snaps. Sindy knows that Getraer is treating her differently …. because she’s a woman!
Fortunately, Getraer’s boss somehow finds a copy of Sindy’s plan and he decides that it’s brilliant. With both the LAPD and the Highway Patrol working together, they manage to ambush and corner the Trans Am on the Los Angeles docks. The two thieves push the wrong button in the car and they end up getting ejected from their seats and landing in the ocean. Baker and Ponch share a laugh while the two men probably drown.
The two nameless thieves are not the only ones stealing cars. Fred (Danny Bonaduce), a high school senior, is also stealing cars and — oh no! — he’s convinced his friend Wes (Christopher Knight) to go joyriding with him. What Fred didn’t count on was Wes being the nephew of Officer Jon Baker. Baker isn’t going to let anyone corrupt his nephew. When Ponch and Baker eventually catch Fred and Wes and their girlfriends in a stolen car, they put the handcuffs on everyone, even though only Fred is going to be charged with a felony. Baker tells Wes that he put the handcuffs on him to show him where his life is heading. Wes thanks his Uncle Jon and hopefully, he’s learned an important lesson about why the Bradys didn’t hang out with the Partridges.
Finally, Ponch has finally moved out of his RV and into a swinging new apartment! He’s got a view of the pool, so he’s happy. Good for him.
This episode …. actually, this episode wasn’t that bad. I liked Sindy because, if i was waiting to find out if I was going to be a motorcycle cop, I would probably ride around on a motor scooter too. And having Danny Bonaduce leading Christopher Knight astray appealed to me as a student of pop culture. There were some nice chase scenes. The Trans Am was cool. The California scenery was lovely. It was a fun episode.
Late Night With The Devil is a truly frightening film.
Jack Deloy (David Dastmalchian) is the host of Night Owls, a late-night talk show. Deloy has spent his entire television career competing against The Tonight Show With Johnny Carson. Deloy has a loyal audience. He has several Emmy awards. But he has never been able to beat The Tonight Show in the ratings. Even when he interviewed his dying wife (Georgina Haig) and got the biggest ratings of his career, he still finished second to Johnny Carson. After his wife died, Deloy went into seclusion before eventually returning to his show.
It’s Halloween night in 1977 and Deloy is hosting a live broadcast of Night Owls. He and his producer (John Quong Tart) are convinced that they’re finally going to achieve their goal of winning the ratings race. On the show, they have the medium Christou (Faysal Bazzi). They have Carmichael Haig (Ian Bliss), a pompous former magician who now makes his living by exposing charlatans. They have parapsychologist June Ross-Mitchell (Laura Gordon) and Lilly (Ingrid Torelli), a young woman who claims to be possessed by a demon that she calls Mr. Wiggles. Deloy’s sidekick Gus McConnell (Rhys Auteri) fears that it’s not a good idea to mess with the occult on Halloween night but Deloy is determined to get those ratings. In fact, Deloy is willing to do just about anything for the ratings.
Opening with narration from Michael Ironside and introduced as being a documentary about what happened that mysterious night, Late Night With The Devil is a found footage horror film but, unlike a lot of films of the genre, it doesn’t get bogged down with people saying stuff like, “Are we recording?” or “Are you getting this?” Instead, the film’s directors actually make good use of the format, suggesting that there might still be a spark of inspiration to be found in the found footage genre. The contrast between the grainy color of the show and the stark black-and-white footage of what went on whenever the show went to commercial is one of the things that makes Late Night With The Devil so memorable. It keeps the audience from getting too comfortable with what they’re watching and it’s a reminder that what one sees in a controlled environment (like a talk show) is often meant to hide the chaos lurking under the surface. Towards the end of the episode, when the color footage goes from being grainy to suddenly being very bright and vivid, it’s truly unsettling. (The film does such a good job of keeping the audience off-balance that the directors can even get away with abandoning the found footage format at a key moment.) Late Night With The Devil does a wonderful job recreating the look and feel of an old late night talk show. One look at the Night Owls set and you can literally smell the combination of stale cigarettes and outright desperation. Looking at the ugly set and the tacky clothes, it’s easy to buy that we actually are watching some long-buried archival footage from 1977. One reason why the film is frightening is because it feels authentic.
(And yes, it feels authentic despite the inclusion of some AI-images. AI was used to create the intertitles that appear whenever Night Owls goes to commercial. They appear for less than a minute and, if not for the online controversy, I never would have noticed them.)
David Dastmalchian plays Jack Deloy as being a showman who is an expert at manipulating the audience and who will do anything to get people to watch. Still, even the most jaded horror fan will be shocked to see how far Jack Deloy is willing to go to win the ratings race. (For all the supernatural elements of the film, nothing is more disturbing than its portrayal of human avarice.) A major subplot deals with Jack’s membership in the Grove, a society of the wealthy and powerful that is based on the very real Bohemian Grove. Bohemian Grove is, of course, a favorite of conspiracy theorists who assume that the rich and famous are up to all sorts of nefarious deeds whenever they gather for their annual meeting. Those conspiracy theorists will find much to appreciate about Late Night With The Devil and Dastmalchian’s performance. (Of course, one can also read Jon Ronson’s Them, which features an entire chapter about Ronson traveling to Bohemian Grove and discovering that what was advertised as being a day of dorky fun for the rich and powerful actually was just that.)
Obviously, many films did influence Late Night With The Devil. The end credits begin with a land acknowledgment but it could have just as easily contained a film acknowledgment. “The filmmakers acknowledge the influence of The Exorcist, Cannibal Holocaust, The Last Exorcism, the careers of James Randi, Uri Geller, and Sylvia Browne, Michelle Remembers, The Conjuring franchise, The Larry Sanders Show, the films of David Cronenberg, and Ghostwatch.” It’s a testament to the skill of the directors and the cast that, despite all the obvious influence, Late Night With The Devil stands as an original and genuinely unsettling work of art.
As some of our regular readers undoubtedly know, I am involved in hosting a few weekly live tweets on twitter and occasion ally Mastodon. I host #FridayNightFlix every Friday, I co-host #ScarySocial on Saturday, and I am one of the five hosts of Mastodon’s #MondayActionMovie! Every week, we get together. We watch a movie. We snark our way through it.
It should make for a night of fun viewing and I invite all of you to join in. If you want to join the live tweets, just hop onto Mastodon, pull up Mission of Justice on YouTube, start the movie at 8 pm et, and use the #MondayActionMovie hashtag! Then switch over to twitter, pull King of New York up on Prime, and use the #MondayMuggers hashtag!
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 can be purchased on Prime!
Things get weird this week.
Episode 2.13 “Definitely Miami”
(Dir by Rob Cohen, originally aired on January 10th, 1986)
This week’s episode of Miami Vice is all about heat.
Seriously, it literally starts with a shot of a solar flares erupting off the surface of the sun. The camera then pulls away, letting us see what the sun looks like a cloudless blue sky. Finally, we find ourselves in Miami, where the sky is clear and a heat wave is raging. The camera focuses on the beads of sweat forming on skin. Every pastel shirt is stained with sweat and everyone is wearing sunglasses. When a drug dealer drives out to a quarry to meet connection, the heat seems to radiate out of the screen. When he’s shot and killed by Charlie Basset (Ted Nugent — yes, the musician and gun enthusiast), the dust that rises up looks like smoke rising from a burning planet.
Sonny and Rico are working undercover as Burnett and Cooper, hanging out at a hotel pool and complaining about the heat. Their target is Sergio Clemente (Roger Pretto) but Sonny is actually more interested in Callie (Arielle Dombasle), a beautiful blonde who he spots laying by the pool. Callie sees Sonny watching her and brings him a drink. Sonny introduces himself as Sonny Burnett.
Clemente is willing to turn himself in but only if he can see his sister, Maria (Kamala Lopez), and know that she’s still alive. Maria testified against her brother at a trial and is currently in the witness protecting program. Joe Dalva (Albert Hall), an arrogant Department of Justice official, is willing to bring Maria to Clemente, despite the fact that Maria indicates that Clemente used to sexually abuse her. Castillo thinks that it’s a terrible idea and tries to use a decoy. In the end, the government orders Castillo to do what Dalva wants. Castillo stands in a corner and stares down at the ground, which viewers of the show know is something Castillo does whenever he knows just how badly things are going to turn out. When the meeting finally happens, Tubbs, Castillo, and Davla can only watch as Maria pulls a knife and stabs her brother to death.
Sonny is not there to see Clemente die. Callie has told him that her husband is physically abusive and she wants Sonny — as Burnett — to meet him in a quarry, make a drug deal with him, and then kill him. Sonny suspects that he’s being set up and he’s right. Callie’s husband is Charlie and he only hits her when she tells him to. Callie seduces drug dealers and then Charlie kills them. Sonny, however, is smart enough to bring Zito with him to the quarry. During a shoot out, Charlie ends up dead. While the police dig up the quarry and find body after body, Sonny goes to the beach so that he can arrest Callie. When Sonny approaches Callie, she’s making a sand castle that looks exactly like the quarry. At first, Callie thinks that Sonny is Charlie but then she forces herself to smile when she sees that Charlie is dead. She assumes Sonny will be her new partner. Instead, Sonny calls in a police helicopter and Callie is taken into custody by two cops. Callie flirts with one of the cops while she’s being led to the helicopter.
And the sun continues to burn in the sky….
This was an odd episode, one that put far more emphasis on vivid and sometimes surreal imagery than it did on telling a coherent story. That’s not a complaint, of course. This episode had a dream-like intensity to it that I really appreciated. It was weird but entertaining, with the grinning Ted Nugent popping up like a gleefully evil goblin. Sonny is targeted because Callie thinks that he’s a drug dealer when he’s actually a cop. The idea of Sonny being able to maintain his undercover identity despite having personally arrested or killed a countless number of Miami drug dealers has always been one of the stranger elements of Miami Vice. This episode, though, it makes a strange sense that Sonny could be mistaken for a drug dealer despite always acting like a cop. That’s definitely Miami.
As some of our regular readers undoubtedly know, I am involved in hosting a few weekly live tweets on twitter and occasionally Mastodon. I host #FridayNightFlix every Friday, I co-host #ScarySocial on Saturday, and I am one of the five hosts of Mastodon’s #MondayActionMovie! Every week, we get together. We watch a movie. We snark our way through it.
Tonight, for #MondayActionMovie, the film will be 1992’s Mission of Justice, selected and hosted by Sweet Emmy Cat!
It should make for a night of fun viewing and I invite all of you to join in. If you want to join the live tweets, just hop onto Mastodon, pull up Mission of Justice on YouTube, start the movie at 8 pm et, and use the #MondayActionMovie hashtag! The live tweet community is a friendly group and welcoming of newcomers so don’t be shy.
Orson Welles was fond of telling the story of how Franklin D. Roosevelt, shortly before his death, encouraged Welles to enter politics and run for Wisconsin’s U.S. Senate seat in 1946. Welles gave it some consideration but ultimately, he decided not to run. He was, after all, a movie star and, in the mid-40s, he had yet to be exiled from Hollywood.
Welles later said that a part of him regretted not running because, if he had, his opponent would have been Joseph McCarthy. Welles assumed that he would have easily beaten McCarthy and therefore, the McCarthy era never would have happened. Of course, the truth of the matter is that there’s no guarantee that Welles, as someone who had spent most of his life in New York and California, would have even won the Democratic primary, that Welles would have defeated McCarthy in the general, or that some other Senator wouldn’t have launched an anti-communist crusade in McCarthy’s place. But Orson Welles was never one for false modesty. That’s one thing that made him such an important and exciting filmmaker.
Welles also said that, despite his regrets, he was ultimately happy that he didn’t run because he would have felt the need to then run for President. President Welles! Imagine that. (Actually, it probably would have been a disaster but still …. President Orson Welles! If nothing else, a Welles presidential campaign would have spared America from having to look at Adlai Stevenson for two straight elections.)
Today’s scene that I love provides a glimpse of what an Orson Welles political campaign might have been like. In this scene, from 1941’s Citizen Kane, Charles Foster Kane runs for governor and gives the political speech of his life. Sadly, as we all know, Kane would never be governor and he would never again be as beloved by the masses as he was in this scene. Instead, he would die isolated, alone, and wishing for his childhood.
4 Or More Shots From 4 Or More Films is just what it says it is, 4 shots from 4 of our favorite films. As opposed to the reviews and recaps that we usually post, 4 Shots From 4 Films lets the visuals do the talking!
Today we celebrate what would have been the 109th birthday of the great Orson Welles! It’s time for….
4 Shots from 4 Orson Welles Films
Citizen Kane (1941, dir by Orson Welles, DP: Gregg Toland)
MacBeth (1948, dir by Orson Welles, DP: John L. Russell)
Touch of Evil (1958, dir by Orson Welles, DP: Russell Metty)
Chimes at Midnight (1965, dir by Orson Welles, DP: Edmond Richard)
Welcome to Late Night Retro Television Reviews, a feature where we review some of our favorite and least favorite shows of the past! On Sunday, I will be reviewing the Canadian series, Degrassi Junior High, which aired on CBC and PBS from 1987 to 1989! The series can be streamed on YouTube!
This week, Lucy learns that she has the worst friends in the world.
Episode 3.3 “A Big Girl Now”
(Dir by Kit Hood, originally aired on December 5th, 1988)
Lucy is totally in love with Paul, her older boyfriend from the high school. At first, all of her friends are excited for her but then Lucy stops spending time with them and they start to get jealous. When Lucy misses L.D.’s big soccer game because she already has plans with Paul, Lucy promises to make it up to L.D. and everyone else by letting them have a party at her house.
But then Paul and his high school friends discover that Lucy’s parents are out of town and they decide that they should throw a party of their own. And when they announce that they don’t want any “niners” other than Lucy at the party, Lucy agrees to lie to her friends. She tells them that the party’s been cancelled because of a family crisis.
Needless to say, both L.D. and the Farrell twins discover that Lucy lied to them. (It doesn’t help that Paul and his friends chant, “Party! Party!” when they pull up in front of Degrassi.) Lucy loses their friendship and, because she doesn’t want to have sex and risk getting pregnant like Spike did, Lucy also loses her boyfriend. What she does get is a “reputation” because everyone assumes she had sex with Paul even though she didn’t.
Poor Lucy! Listen, Lucy should not have lied about the party. And Paul really was a jerk. But her friends need to cut Lucy some slack. Lucy’s parents are never home, she’s still dealing with the trauma of being groomed by that creepy substitute last season, and she’s not even allowed to shoplift anymore. So, Lucy made some mistakes. Everyone makes mistakes!
Why can’t Lucy’s friends be as forgiving as Wheels? During this episode, Snake finally approaches Wheels and apologizes for not talking to him since the funeral for Wheels’s parents. Snake admits that he didn’t know what to say and Wheels admits that he’s struggling with depression. Wheels explains that he no longer wants to go to school and he certainly doesn’t want to be a part of the Zit Remedy. Still, Wheels is clearly touched by Snake’s apology. Both Neil Hope and Stefan Brogren did a good job of portraying the combination of awkwardness and sincerity that lies at the heart of their friendship.
.Finally, the results of the student election are announced. To the surprise of no one, Nancy Kramer defeats Kathleen for student council president. Kathleen becomes Vice President. Melanie begs Kathleen to nominate her for the dance committee. Kathleen, however, tells Nancy that only niners (and Melanie is not a niner) should be allowed to serve on a committee. Melanie overhears and proceeds to pour a carton of milk in Kathleen’s hair. Poor Kathleen! Seriously, ladies, be more like Snake and Wheels and support each other!
This episode felt like it was setting up a lot of future storylines. Will Lucy get her friends back? Will Wheels ever regain his love of life? Will Kathleen be able to get all the milk out of her hair? We’ll find out next week!
I felt pretty bleh for most of this week but I did enjoy the rain and I’m looking forward to more of it. Hopefully, this upcoming week will feature a bit less malaise.
Through the Shattered Lens 