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!
Happy birthday to director James Nguyen! It’s time for….
4 Shots From 4 Films: Special James Nguyen Edition
Julie and Jack (2003, dir by James Nguyen)
Replica (2005, dir by James Nguyen)
Birdemic (2010, dir by James Nguyen)
Birdemic 2: The Resurrection (2013, dir James Nguyen)
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 Prime!
This week, a man rides a motorcycle and jumps over a plane. Also, God bless Eunice Kennedy Shriver.
Episode 6.6 “Something Special”
(Dir by Charles Bail, originally aired November 21st, 1982)
Ponch is working with the Special Olympics and is upset to discover that Mr. Grieve (Bert Kramer) isn’t even planning on coming out to see his son, Nicky (Ricky Wittman), compete. Ponch does some research and discovers that, in his youth, Mr. Grieve was an Olympic runner. Ponch tells Mr. Grieve that his son is an athlete too, just in his own way. Personally, I think Ponch should have beaten the hell out of Mr. Grieve and then arranged to adopt Nicky himself, but that’s just me.
Yes, this was yet another story where Ponch was the all-knowing wise man who knew how to fix everything. As I’ve said before, CHiPs eventually became The Ponch Show, and Ponch could do no wrong. Sometimes that could get annoying. In this case, though, I’m fully on Ponch’s side. I should mention that this has more to do with the Special Olympics than with any sudden affinity for Ponch as a character. The Special Olympics are one of the few good things that the Kennedy family has given us, and they always make me tear up. That was certainly the case with this episode.
This episode also featured a motorcycle daredevil! Now, I have to admit that I have a weakness for motorcycle daredevils. My inner country girl loves watching men risk their lives by jumping over wrecked cars and through rings of fire. In this episode, Shake Patterson (Robbie Knievel) wants to jump over a moving airplane, and his old friends Bobby and Bruce Nelson agree to work as his pit crew. There wasn’t much to this story, but I still got a little excited when Shake managed to clear the plane.
With Ponch coaching the Special Olympics and the Nelson brothers helping Shake risk his life, you may wonder if anyone actually did any police work in this episode. Klane (Charles Napier) has recently been laid off from his job at an auto factory. Now he is seeking revenge by vandalizing Japanese and German cars. Eventually, the Highway Patrol tracks him down to a warehouse. Klane has a bottle labeled “Nitroglycerin,” and he’s threatening to break it. Fortunately, Kathy Linahan (Tina Gayle) is able to convince him to give her the bottle and surrender.
Poor Klane! As played by Charles Napier, you couldn’t help but feel a little sorry for the guy. He wasn’t evil. He was someone who had lost his job and now felt like he didn’t have anything left to contribute to the world. He lost the one thing that gave his life meaning.
You know what? Considering that this is a final-season episode of a show that was definitely showing its age, “Something Special” is actually pretty good! (You thought I was going to say it was something special, didn’t you? I was tempted, but I decided that was too easy.) This was a throwback to what CHiPs did best. There was a daredevil stunt. There were plenty of chases. There was a lot of California scenery. And finally, there was that last title card, thanking the athletes of the Special Olympics.
The was a good episode.
It’s that time of the month again.
It’s time for me to list my Oscar predictions. As far as wild speculation is concerned, the current Oscar race still feels like it’s off to a slow start. There seems to be a general assumption that The Odyssey is going to dominate both the nominations and the awards, and that there isn’t much point in considering what else could be nominated.
I do think The Odyssey is going to be a big contender. I also think Project Hail Mary will still be in the conversation at year’s end. Fjord won the Palme d’Or at Cannes, which has become a fairly good precursor for nominations, if not for the actual awards. As for the rest of the nominees, it’s still pretty much a guessing game at this point.
Here are a few of my guesses:
You can check out my predictions from March, April, May, June, and July to see how my thinking has evolved over the year.
Best Picture
Being Heumann
The Debut
Fjord
I Play Rocky
Ink
Mr. Irrelevant
The Odyssey
Project Hail Mary
The Social Reckoning
Wild Horse Nine
Best Director
Danny Boyle, Ink
Phil Lord and Christopher Miller, Project Hail Mary
Martin McDonagh, Wild Horse Nine
Cristian Mungiu, Fjord
Christopher Nolan, The Odyssey
Best Actor
David Corenswet, Mr. Irrelevant
Matt Damon, The Odyssey
Ryan Gosling, Project Hail Mary
Anthony Ippolito, I Play Rocky
John Malkovich, Wild Horse Nine
Best Actress
Sandra Hüller, Fatherland
Ruth Madeley, Being Heumann
Julianne Moore, The Debut
Inde Navarrette, Obsession
Renate Reinsve, Fjord
Best Supporting Actor
Steve Buscemi, Wild Horse Nine
Matt Dillon, I Play Rocky
Colman Domingo, Michael
Paul Giamatti, The Debut
Jeremy Strong, The Social Reckoning
Best Supporting Actress
Colleen Camp, Club Kid
Anne Hathaway, The Odyssey
Sandra Hüller, Project Hail Mary
Scarlett Johansson, Paper Tiger
Samantha Morton, The Odyssey
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, 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.
Hi, everyone! Tonight, on twitter, I will be hosting one of my favorite films for #MondayMania! Join us for My Mom Robs Banks!
You can find the movie on Prime and then you can join us on twitter at 9 pm central time! (That’s 10 pm for you folks on the East Coast.) See you then!
1963’s Cleopatra is a guilty pleasure of mine.
On the one hand, it’s a historically inaccurate portrayal of the events leading to the transformation of the Roman Republic to the Roman Empire. The pace is often slow. Some of the performances are regretful. It’s a film that was first envisioned as being a cheap B-picture but ended up nearly bankrupting 20th Century Fox. Of all of the movies released in 1963, it sold the most tickets and yet, because of the films huge production costs, it still lost money.
On the other hand, it’s a truly gigantic film, one that recreates the perhaps imagined splendor of the ancient world and which does it without the use of CGI. The film may not exactly embrace historical accuracy but it does embrace the melodrama. And, finally, you have scenes like the one below, in which it was obvious that Elizabeth Taylor and Richard Burton couldn’t wait for the cameras to stop rolling so they could toss off the costumes and make some history of their own.
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 is all about letting the visuals do the talking.
Let’s celebrate the end of the month with four shots from four films about Caesar’s one true love, Cleopatra!
4 Shots From 4 Films
Cleopatra (1917, dir by J. Gordon Edwards)
Cleopatra (1934, dir by Cecil B. DeMille)
Cleopatra (1963, dir by Joseph L. Mankiewicz )
Cleopatra (1970, dir by Osamu Tezuka and Eiichi Yamamoto)
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 Circuitry Man 2!
If you want to join this watch party, just hop onto Mastodon, pull up Circuitry Man 2 on YouTube, start the movie at 8 pm et, and use the #MondayActionMovie hashtag!
Enjoy!
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: The Next Generation, which aired from 2001 to 2015! The series can be streamed on YouTube and Tubi.
This week is Degrassi at its best and most important.
Episode 3.8 “Whisper to a Scream”
(Dir. Philip Earnshaw; originally aired November 12th, 2003)
Ellie is dealing with more than any teenager should have to.
Her father, Colonel Nash (Daniel Lévesque), is deployed overseas, leaving her to take care of her self-centered, alcoholic mother (Kirsten Kieferle). Ellie is up for an internship with Caitlin Ryan, but to get it she’ll have to beat out none other than Paige. Despite the fact that Paige starts wearing glasses to look smarter and “accidentally” spills a drink on Ellie’s shirt, Ellie still manages to get the internship. “I guess she really did feel sorry for you,” Paige says.
The internship is Ellie’s dream job, but now she has to balance it with school and taking care of her mom. Her grades struggle. The ladies in the front office start giving her nasty looks whenever she comes in for a late slip. Whenever the stress gets to be too much, Ellie cuts herself.
This episode is difficult for me to watch. For a time, Degrassi was advertised as the show that “goes there,” and this episode has always hit close to home for me. When I was much younger and blaming myself for my parents’ divorce and the fact that my mom usually had to work more than one job to support me and my sisters, I used to manage my stress in much the same way Ellie did, though I was usually too afraid of scars to actually break the skin. Cutting is a sensitive subject, and not one that is easy for other people to understand or for people who cut to really explain. This episode approaches the subject with intelligence and sensitivity, and Stacey Farber gives a commendable performance.
To the show’s credit, Ellie does not magically get over being a cutter in just 20 minutes. Even after her former rival, Paige, sees the scars on Ellie’s arms and encourages her to talk to the school counselor, Ellie isn’t suddenly better. In a future episode, Ellie will admit, “I’ll always be a cutter,” regardless of whether she’s actually cutting or not. It’s one of those honest moments that sets Degrassi apart from most other teen shows.
I should admit that when Ellie cuts herself, she does so with a drawing compass, and it’s obvious that the point is very dull. This was apparently done on purpose to keep the episode from becoming a “how-to” video. I can understand that. Degrassi shows the dangers of cutting, but it doesn’t shy away from admitting that it also provides an outlet for Ellie’s stress.
This episode’s B-plot is important as well. Someone has been leaving flowers at Terri’s locker. Terri fears that her secret admirer is Toby, and Toby doesn’t help things by saying stuff like, “I don’t know, am I?” Fortunately, it turns out that Toby is not her secret admirer and is just acting weird because he’s trying to test whether or not she has ESP. Instead, Terri’s secret admirer is cute, shy Rick Murray (Ephraim Ellis).
Considering Rick’s ultimate legacy as a Degrassi student, it’s always a bit surprising to be reminded that, in his first appearance, he just came across as a sweet romantic. “Awwww! He left her a poem!” When you already know that Rick is destined to (1) put Terri in a coma and (2) shoot Jimmy in the back, it completely changes how you react to Rick’s courtship of Terri.
Next week, Emma’s back and she’s trying to move on from Sean. Yeah, good luck with that!
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 Homicide: Life On The Street, which aired from 1993 to 1999, on NBC! It can be viewed on Peacock.
This week, we start season 6.
Episode 6.1 “Blood Ties: Part 1”
(Dir by Alan Taylor, originally aired on October 17th, 1997)
It’s a new season of Homicide and, while Pembleton and Bayliss have been off working in the robbery division, some changes have occurred. Sgt. Howard has left Homicide to work in another division. Brodie’s documentary won an Emmy and he’s moved to Los Angeles. Melissa Leo and Max Perlich are no longer a part of the cast.
Instead, we have three new detectives. Gharty and Falsone (ugh!) are now full-time members of the squad. Joining them is Laura Ballard (Callie Thorne), a recent transfer from Seattle. When Pembleton and Bayliss return to Homicide, the first that they see is Ballard and Gharty being given a commendation for solving “the Rico case.” Meanwhile, Falsone is walking around the squad room like he owns the place. Giardello praises the new detectives and basically acts as if Pembelton and Bayliss are useless.
And listen, as much as I dislike Falsone and Jon Seda’s mumbling performance in the role, I do think that Peter Gerety is well-cast as Gharty. And Callie Thorne seems like she’ll do a good job as Ballard, even if this episode does spend a bit too much time trying to convince us that she’s the greatest detective since Frank Pembleton. But, when it comes to Homicide, I want to follow detectives like Munch, Lewis, Pembleton, and Bayliss. I want to watch as Kellerman battles his demons and Giardello battles his superiors. My point is that I don’t care about these new people. I don’t care that Ballard is a hotshot detective. I don’t care that Gharty is a blue-collar guy who is looking to prove himself. I can’t stand Falsone. I don’t want any of these people to be the new lead characters on the show. I want Melissa Leo with her weird accent. What are we even doing here, Homicide?
This episode, however, seemed to be determined to force the new characters on me. For instance, Georgia Mahoney (Hazel Goodman) is in town, looking to get revenge for the death of her brother Luther. She’s got people shooting at Lewis, Kellerman, and Terri Stivers. Needless to see, Lewis and Kellerman get involved in tracking down and arresting not only Georgia but also Junior Bunk (Mekhi Phifer), Luther’s incompetent nephew. However, Falsone gets involved too. This means that we have to sit through an entire scene of Falsone attempting to interrogate Kellerman about the Mahoney shooting and the inconsistencies in the statements given by Lewis, Stivers, and Kellerman.. Hey, Falsone — YOU’RE THE NEW GUY! WE LIKE KELLERMAN! LEAVE HIM ALONE, YOU MUMBLING DOUCHEBAG!
Meanwhile, at a banquet honoring distinguished businessman and civil right activist Felix Wilson (James Earl Jones), a young Haitian woman is found beaten to death in the men’s room. Her name is Melia and she worked for the Wilsons. Now, in this case, Pembleton and Bayliss are the primaries but Ballard and Gharty still come along to provide support and soon, Ballard and Pembleton are arguing about the best way to handle the investigation. Ballard thinks that Pembleton is going easy on Felix Wilson because of Wilson’s standing in the black community. Pembleton thinks that Ballard should remember who the primary investigator is. And myself, I’m wondering why Pembleton and Ballard are having the type of conversations that Pembleton used to have with Bayliss. Whenever Pembleton and Bayliss debate prejudice, it works because we know who Pembleton is and we know how Bayliss is. We don’t know enough about Ballard for her debate with Pembleton to really mean anything.
Apparently, Homicide was nearly cancelled after the end of season 5. When it was renewed, it was done on the condition that had to improve its rating and win its time slot. This episode feature a lot of action. A man on a motorcycle fires at Falsone and Lewis. A sniper hits Kellerman in the arm. The cops stop Georgia’s private plane from taking off and arrest her. Visually, this episode is brightly lit and there’s none of the odd camera angles that dominated the previous few seasons. Comparing this episode to the episodes that came before it creates a tonal whiplash that can only be compared to going from the Steve Carell-led Office to the Ed Helms version. It’s not necessarily bad but it just doesn’t feel right.
This episode ends with Georgia in jail and Pembleton still investigating the death of Melia. Season 6 is off to a start and I’m not really happy about how it’s going so far but we’ll see what happens.
