Michael Shaner | Through the Shattered Lens

Welcome to Late Night Retro Television Reviews, a feature where we review some of our favorite and least favorite shows of the past! On Thursdays, I will be reviewing Highway to Heaven, which aired on NBC from 1984 to 1989. The entire show is currently streaming on Tubi and several other services!

This week, it’s a boxing episode.

Episode 4.3 “Fight For Your Life”

(Dir by Michael Landon, originally aired on September 30th, 1987)

I’m just going to say it. This episode is pretty bad.

The plot is simple enough. Jonathan and Mark are working as cornermen for boxer Morty “Sailor” Zadan (Michael Shaner). Morty coulda been a contendah, but instead his brother Jerry (Robert Miranda) always arranges for Morty to throw his fights. When Morty meets and trains a young fighter named Billy Ryan (Nick Garfield), he also starts an unlikely romance with Billy’s sister, Julia (Jennifer Parsons). The mob demands that Morty to fight Billy. They offer Billy money to throw the fight and Morty has to decide if he wants Billy to follow his example and become a bum.

As I said, it’s a simple plot but the execution is just terrible. Even by the admittedly generous standards of Highway to Heaven, the story and the dialogue is often corny and the performances are pretty much uniformly bad. At no point did I buy the romance between Morty and Julia. For that matter, I really didn’t buy the idea that Julia would be so excited about her younger brother pursuing a career that would mean getting beaten up every few weeks. By it’s nature, Highway to Heaven tends to be an old-fashioned show. But this episode really did feel like one of those old Warner Bros. B-movies from the 30s. Those movies, of course, hold up well as long as they star James Cagney, Humphrey Bogart, or George Raft. Unfortunately, none of those folks show up in this episode. Instead, we just got Micahel Shaner portraying a boxer who seems like he’d lose a game of tic tac toe against Lenny from Of Mice and Men.

Jonathan and Mark don’t do much in this episode. They spend most of the story as just observers. That said, this episode does end with Jonathan beating up a bunch of gangsters, smiling because they don’t have the same powers that he has. Keeping in mind that most gangsters probably do deserve to get beaten up, it still didn’t feel like proper angel behavior.

Welcome to the future. To quote Leonard Cohen, it is murder.

The police state of Soleil is engaged in perpetual war with the nation of Frodan. In Soleil, being rich means living a life of carefree decadence while the poor struggle to survive from day to day. Criminals are routinely executed on live TV and the government forces women to work as prostitutes, servicing only the rich and powerful. When Bone (Peter Nelson) and Helen (Sherilyn Fenn) meet, they break the law by falling in love. Desperate to escape to the legendary paradise of Frodan, Bone and Helen accept an offer from the mysterious Jason (David Carradine). If Bone and Helen agree to commit a series of crimes, Jason will help them escape Soleil. Bone and Helen soon become the two most wanted criminals in Soleil but Jason may not be what he seems.

David Carrdine’s performance is typically strange and Crime Zone has a few interesting ideas but the main reason to see the movie is because of the performance of a pre-Twin Peaks Sherilyn Fenn. As Helen, Sherilyn Fenn is sexy, tough, and always better than the material that she was given to work with.

Executive produced by Roger Corman, Crime Zone was an ambitious project that did not have the budget necessary to reach the heights of Blade Runner, Mad Max, A Clockwork Orange, or any of the other dystopian science fiction films that it tried to rip off. Crime Zone was filmed, on location, in Peru but that mostly for a budgetary reasons. Since almost the entire movie was shot on cramped and dark sound stages, it could have just as easily been filmed in West Baltimore. To its credit, Crime Zone has more on its mind than a lot of the movies that Corman executive produced in the 1980s but the main reason to see it will always be Sherilyn Fenn.