Retro Television Review: Crime Story 1.5 “The War”

Posted on May 25, 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, Luca has to prove himself.

Episode 1.5 “The War”

(Dir by Leon Ichaso, originally aired on October 7th, 1986)

Luca is in trouble.

Last week’s episode ended with Max Goldman on the receiving end of a beating from Noah Ganz’s goons. Goldman survives and returns with a message. Ganz is not happy that Luca tried to steal his book. Bartoli, Weisbord, and Fosse all inform Luca will have to resolve the Ganz situation on his own.

Luca tries to get public defender David Abrams (Stephen Lang) to act as a negotiator for him but David doesn’t want to get involved in the mobster lifestyle that made his father rich. David just wants to defend the poor and play sax in a jazz club. When Luca is attacked while driving in Chicago, he realizes that negotiating with Ganz is a dead end.

Instead, he just kills Ganz. In a bravura sequence, Luca shows up at a hotel and, with the help of sniper, takes down Ganz’s bodyguards. Then he uses a bomb to take out Ganz while the latter is holding court in an elevator. A plume of white smoke puffs out of the hotel’s exhaust vent.

Having taken care of the issue, Luca is welcomed back into the family. Weisbord says, “Call me Mac.” Fosse (played by Michael Madsen) nods and slowly smokes a cigarette.

Meanwhile, Torello’s wife miscarries. This is the episode that features the clip of Torello walking down a lonely Chicago street on a rainy night. (The clip is prominently featured during the show’s opening credits.) In fact, both Torello and Luca end up spending a good deal of time walking around at night while David Abrams plays his saxophone. It’s a scene that is so overstylized that it shouldn’t work but somehow, it does. If nothing else, it reminds us that Crime Story of two dangerously obsessed men on a collision course.

This was a good episode, if just because it showed that Luca can be a clever criminal when he needs to be. Before this episode, Luca seemed to be clearly outmatched by Torello. With this episode, Luca proved himself to be Torello’s equal.

Villain of the Day: Emilio Barzini (The Godfather)

Posted on May 25, 2026 by Lisa Marie Bowman

Emilio Barzini.

As played by Richard Conte in The Godfather, Barzini is far different from many of the other mob bosses that we meet over the course of Mario Puzo’s and Francis Ford Coppola’s Mafia epic. He doesn’t yell. He doesn’t threaten. If anything, Barzini comes across as almost being a statesman. When it’s time to broker a peace between the Tattaglia and the Corleone families, Barzini is the one who sits at the head of the table. When it’s time to determine how the drug trade will be divided, Barzini is the one who offers up the “sensible” solution. Barzini keeps calm. He knows how to deal with volatile people. He just wants to make sure that peace is restored and everyone gets a fair cut of the profit. “We are not communists,” he says.

It’s after that meeting that Vito Corleone finally realizes that everything that has happened, from the nearly successful attempt on his life to the exile of Michael to the death of Santino, was Barzini’s doing. Barzini perhaps a got a bit too clever for his own good. By so coolly and efficiently brokering the peace, Barzini revealed that was far more clever than the “pimp” Philip Tattaglia. Whereas Tattaglia was too crude to put together a coalition against the Corleones, Barzini was just the type of pitiless manipulator who could convince a group of otherwise powerful people to sign away their own futures. Perhaps he was a communist after all.

Of course, most viewers (and readers) will have figured out that Barzini is the main bad guy long before Vito does. From the first minute that we see Barzini at the wedding reception at the Corleone Compound, we know that he’s a sinister figure. While everyone else at the wedding is being emotional, sentimental, and delightfully Italian, Barzini watches without a hint of emotion. Indeed, the only time we see any real emotion from Barzini is when he smirks at Vito’s funeral.

After his goons unsuccessfully attempt to assassinate Don Vito, Sollozzo famously tells Tom Hagen that “the Don was slipping.” And it’s hard not to feel that Sollozzo had a point. Consider Vito Corleone’s track record in The Godfather. He failed to teach Sonny the basics of being a good Don. He promoted Tom Hagen to consiglieri despite the fact that Tom was viewed as being an outsider by the other Families. When it came time to send someone undercover to investigate the Tattaglias, he gave the job to Luca Brasi despite the fact that everyone knew there was no way that Brasi would actually betray Vito. He stopped to buy fruit, despite not being accompanied by his bodyguards. Worst of all, Vito somehow missed that it was Barzini all along. Vito was slipping. He got complacent. He failed to see how the world was changing and how the old honor system was being discarded. That allowed him to be victimized by Barzini.

Fortunately, Michael was there to take charge. Unfortunately, for Barzini, Al Neri was also there to put on his policeman’s uniform and wait for Barzini to exit from his latest meeting. Barzini took several bullets to the back. Barzini’s driver was caught in the cross-fire. I’ve always felt bad about that. I mean, the driver was just asking why he had been given a parking ticket and Neri shot him. If nothing else, we can see why Neri didn’t make it as a cop.

Barzini and Vito had a lot in common. They were both diplomats who could use violence when necessary. It’s perhaps not a surprise to learn that, before he was cast as Barzini, Richard Conte was one of the many actors considered for the role of Vito Corleone. How different would the film have been with the sinister Conte — as opposed to the likable Brando — in the lead role?

Luckily, Coppola made the right decision. Just as Brando was the perfect Vito, Richard Conte was the perfect Barzini.

Villain of the Day

Film Review: Brainstorm (dir by Douglas Trumbull)

Posted on May 25, 2026 by Lisa Marie Bowman

It’s hard to imagine that someone could overact while playing a corpse but Louise Fletcher somehow manages to do just that in 1983’s Brainstorm and I think we owe her some respect for that. The underrated Fletched won an Oscar for playing Nurse Ratched in One Flew Over The Cuckoo’s Nest and she appeared in a handful of other films that I’ve liked (Strange Behavior, the 2012 restoration of Once Upon A Time In America) but, now that I’ve watched Brainstorm, I will always think of her playing a dead character with the biggest, hammiest facial expression ever on her otherwise lifeless face.

In Brainstorm, Fletcher plays Dr. Lillian Reynolds, a chain-smoking scientist who is always upset about something. When Lillian isn’t lighting a cigarette or yelling, “You sold me out!,” she’s clutching her chest and taking her heart pills. Working with her partner, Dr. Michael Brace (Christopher Walken), Lillian has developed a brain-computer interface that allows people’s brain waves to be recorded on tape so that others can then experience what they experienced. In practice, this looks like putting on a helmet and then seeing what appears to be a home movie. What fun! Lillian thinks that the interface can be used to change and save the world. Dr. Brace thinks he can use the interface to discover why his marriage to Karen (Natalie Wood) fell apart. Their associate, Hal (Joe Dorsey), thinks he can use it to experience his friend screwing the babysitter over and over and over again. Meanwhile, Alex Taber (Cliff Robertson) thinks that it can be used as a military weapon.

(Hal is probably the one who comes the closest to what people would actually use this technology for.)

Lillian is not happy about her technology being turned over to the military. She gets upset about it over and over again. Eventually, she suffers one of the most overdramatic heart attacks ever recorded on film. Before she dies, she hooks herself up to the machine and records her dying vision. Michael becomes obsessed with seeing what Lillian saw as she entered the afterlife. Unfortunately, the mean military folks have the tape so it looks like Michael is going to have to unleash some chaos. I can’t think of any other film that mixes Christopher Walken having a beatific vision with a bunch of slapstick humor featuring an out-of-control robot and a bunch of soap bubbles.

Today, if Brainstorm is known for anything, it’s as the film that Natalie Wood was shooting when she died. One popular theory about the circumstances surrounding Wood’s death is that she was having an affair with Christopher Walken. Watching the two of them in this film should disabuse anyone of that notion as the two of them have absolutely zero chemistry as a couple. (For the record, I think Wood’s death was an accident and that a lot of self-styled Internet sleuths owe Robert Wagner an apology.) If there’s anything that this film should be known for, it should be that it features a large number of Oscar nominees and winners and they all end up giving absolutely lousy performances. Even the usually wonderful Christopher Walken seems to be playing someone imitating himself. Watching this film, I was never quite sure why anyone was actually doing anything.

Director Douglas Trumbull was best known for designing the Stargate sequence in 2001: A Space Odyssey and, not surprisingly, Brainstorm’s vision of the afterlife is actually pretty effective. One gets the feeling that Trumbull was more comfortable with the special effects than he was with the human actors.

I have to admit that I always smile a little at films where scientists are shocked — shocked, I tell ya! — to discover that their technology is going to be used for military purposes. Why did they think the government was funding them in the first place? Lillian seems to believe that her technology will be used to allow people to experience what it’s like to ride a roller coaster. That’s what IMAX is for.

Join #MondayMania For Deadly Sorority

Posted on May 25, 2026 by Lisa Marie Bowman

Hi, everyone! Tonight, on twitter, I will be hosting one of my favorite films for #MondayMania! Join us for 2017’s Deadly Sorority!

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!

Scenes That I Love: Cillian Murphy in 28 Days Later

Posted on May 25, 2026 by Lisa Marie Bowman

Today, we wish a happy birthday to Cillian Murphy!

Two years ago, Murphy won the Oscar for his role in Oppenheimer. However, before playing the lead role in Christopher Nolan’s epic, Cillian Murphy been an intriguing cinematic presence for over two decades. I first became aware of him after watching Danny Boyle’s 2002 classic, 28 Days Later. Here he is, showing what he can do without even uttering a word of dialogue, in a haunting scene from that film.

4 Shots From 4 Films: Special Bob Gale Edition

Posted on May 25, 2026 by Lisa Marie Bowman

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, the Shattered Lens wishes a happy birthday to screenwriter Bob Gale! It’s time for….

4 Shots From 4 Films Written By Bob Gale

I Wanna Hold Your Hand (1978, dir by Robert Zemeckis, DP: Donald M. Morgan)

1941 (directed by Steven Spielberg, DP: William A. Fraker)

Used Cars (1980, dir by Robert Zemeckis, DP: Donald M. Morgan)

Back to the Future (1986, dir by Robert Zemeckis, DP: Dean Cundey)

Monday Live Tweet Alert: Join Us for Lavalantula!

Posted on May 25, 2026 by Lisa Marie Bowman

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 Lavalantula!

If you want to join this watch party, just hop onto Mastodon, pull up Kid Cannabis on YouTube, start the movie at 8 pm et, and use the #MondayActionMovie hashtag!

Enjoy!

Late Night Retro Television Review: Degrassi: The Next Generation 2.18 “Dressed in Black”

Posted on May 24, 2026 by Lisa Marie Bowman

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, Ashley is back with Jimmy. But for how long?

Episode 2.18 “Dressed in Black”

(Dir by Gavin Smith, originally aired on January 19th, 2003)

This episode of Degrassi features one of my favorite opening scenes. Ashley, in full goth mode, sings a depressing and rather overwrought song to Jimmy, who she is finally dating again. Jimmy listens and is obviously struggling to appear interested. After Ashley finishes, Jimmy tells her that it was a great song. Ashley asks him if he really understood it. Jimmy nods. Ashley says that she’s going to sing another one. Jimmy gets a panicked look on his face….

While Ellie has always been the character to whom I’ve related (we’re both reheads!), I have to admit that I was probably more like Ashley in high school. I wrote my share of emo poetry and I always made sure to ask my friends whether or not they got what I was truly trying to say. One reason why I would ask was that I really wasn’t sure what I was trying to say.

Anyway, this episode features Ashley and Jimmy back together for a short time. Unfortunately, Jimmy wants to bring back the old Ashley while Ashley wants to be the new Ashley. Ashley also has a pretty obvious crush on Craig, who captures her attention by discussing how Shakespeare was actually a misogynistic creep. For their English class, Jimmy and Hazel and Craig and Ashley are instructed to reinterpret Taming of the Shrew for a modern audience. Jimmy and Hazel come up with a silly love story, complete with Hazel doing a cheer. Craig and Ashley interpret the play as a harrowing portrait of domestic abuse.

At the end of the episode, Ashley gives Jimmy a poem and breaks up with him. I once did the same thing in high school. I still feel kind of bad about it. I worked way too hard to make it rhyme.

Meanwhile, after sitting through a sex ed class, Toby and JT buy condoms. Spinner finds out and, seeing as how Toby is dating Spinner’s adopted sister, he is not amused. Spinner tells Toby that there’s already too much pressure on young women to be sexually active. Wow, that’s a good message but also totally out-of-character for Spinner!

This storyline …. eh. Toby’s storylines were always kind of boring, largely because Toby never got to do much other than try to hide in the hallways. I’m glad he’s no longer pining over Emma but still, he’s not a particularly interesting character and the writers never seemed to really know what to do with either him or Kendra.

This episode is a lot more interesting if you know that Ashley and Craig are eventually going to become a couple and that Craig’s going to end up on the streets after trying to kill Joey during a manic episode. And let’s not even talk about the fact that Ashley is going to eventually steal Jimmy’s music and use it to launch her own career. As a stand-alone episode, it’s a bit blah but it definitely foreshadows the show that Degrassi is going to become.

Lisa Marie’s Week In Review: 5/18/26 — 5/24/26

Posted on May 24, 2026 by Lisa Marie Bowman

Here’s what I watched this week:

Films I Watched:

Assault on Dome 4 (1996)
Brotherhood of Justice (1986)
The Crash (2026)
The Incredibly Strange Creatures Who Stopped Living and Became Mixed-Up Zombies (1964)
Killer Workout (1987)
Molokai: The Story of Father Damien (1999)
The Sandlot (1993)
A Teacher’s Obsession (2015)
The Vessel (2016)

Television Shows I Watched:

1st & Ten,
Bardo: A Night In The Life
Baywatch,
Burning Love
CHiPs,
Crime Story,
The Cult Behind The Killer: The Andrea Yates Story
Decoy,
Degrassi: The Next Generation,
Dr. Phil
Election Coverage
Family Lockup
Freddy’s Nightmares,
George Gently
Good Times
Hollywood Demons
Homicide: Life On The Street
Hulk Hogan: Real American
Hunter,
Indianapolis 500
Kyōryū Sentai Zyuranger
The Love Boat,
Muscles & Mayhem: The Untold Story of American Gladiators
Pacific Blue,
Saved By The Bell
Saved By The Bell: The New Class,
St. Elsewhere

Live Tweets:

4 Scenes From 4 Films:

Scenes I That I Love:

Songs Of The Day:

Music Videos of the Day:

Artworks of the Day:

Links From Last Week:

News From Last Week:

Links From The Site:

I wrote about the villainous Klaus Wortmann!
Arleigh reviewed First Blood, Gone In Sixty Seconds, The Chaser, Night Patrol, Initial D, and Obsession!
Brad shared “This Week In Charles Bronson” and reviewed Bootleggers!

Click here for last week!

Retro Television Review: Homicide: Life On The Street 5.11 “The Documentary”

Posted on May 24, 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 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, Brodie reveals his film!

Episode 5.11 “The Documentary”

(Dir by Barbara Kopple, originally aired on January 3rd, 1997)

On December 31st, the detectives are gathered in the squad room and waiting for the big ball to drop in New York. The phones have not rung all night but, as Munch keeps reminding everyone, that is soon going to change. Brodie comes in with a VHS tape and shows the detectives the documentary that he’s filmed about them. Finally, we learn why Brodie has been filming random corners of the station for the past few episodes.

I have to admit that I was expecting this to be a clip show and there is one lengthy montage that is made up of scenes taken from previous episodes. But, for the most part, the documentary is all new footage. We watch as Bayliss and Pembleton investigate a murder committed by a mortician who didn’t want people to learn that he was dressing up the dead and posing with them. (Yikes!) All of the detectives take a turn explaining how the Miranda rights work, with their dialogue lifted pretty much intact from the David Simon book that inspired the show. In a parody of Homicide’s signature visual style, the same clip of Lewis and Kellerman walking into a bar is shown three times in a row. At one point, Lewis, Kellerman, and Brodie chase a suspect and run into a Barry Levinson-led film crew that is filming a show called Homicide. “Real cops don’t yell ‘freeze,'” Brodie tells Levinson.

It’s a clever episode, made all the more so by the reactions of the detectives watching themselves on screen. Pembleton confesses to Bayliss that it’s hard for him to watch footage of himself before his stroke because Pembleton doesn’t recognize the young and angry detective that he used to be. All of the detectives object to footage of them joking about their job. As the documentary ends, Giardello asks for the original copy for “safe keeping.” Brodie reveals that he already sold the documentary to PBS. “You can’t show us joking about dead people!” Munch says. “It’s an invasion of privacy!” Bayliss says. Brodie starts to defend himself but then the ball drops, the new year begins, and the phones start ringing.

This was a good ensemble episode. If, for some reason, you only wanted to watch the later episodes of Homicide, this would be a good one to start with because the documentary re-introduces us to everyone. Funny, dramatic, and eventually quite emotional, this episode was Homicide at its best.