Retro Television Review: Dance ‘Til Dawn (dir by Paul Schneider)


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 1988’s Dance ‘Til Dawn!  It  can be viewed on YouTube.

It’s prom time and the seniors at Herbert Hoover High School are excited!  Patrice Johnson (Christina Applegate) is especially excited because not only did she organize the prom but she’s also the leading  contender to be elected prom queen.  She’s looking forward to having a wonderful night with her boyfriend, Roger (Matthew Perry).

Patrice is especially excited because her only real competition for prom queen, Shelley (Alyssa Milano), has broken up with her jock boyfriend, Kevin (Brian Bloom).  Shelley has declared that she will instead be attending a very mature and very fun college fraternity party.  Meanwhile, Kevin will be attending prom but he will be coming with Angela (Tracey Gold), who has a reputation for being a bit nerdy.  Kevin only asked Angela to prom because he was under the false impression that she’s easy but he soon finds himself falling for her for real.

Meanwhile, Shelley doesn’t really have a party to attend.  Instead, she decides to spend prom night avoiding her friends and watching an old movie at the town’s movie theater.  Shelley is convinced that no one from school will be at the theater.  Instead, she runs into nerdy Dan (Chris Young), who also came to the theater because he didn’t have a prom date.  Dan and Shelley end up having a fun time hanging out together.

While this is going on, all of the parents are having dramas of their own.  Patrice’s embarrassing parents (Cliff de Young and Mary Frann) relive their own youth.  Dan’s father (Alan Thicke) is convinced that Dan is not only the most popular kid at school but that Dan is also having a wonderful prom.  And Angela’s parents (Edie McClurg and Kelsey Grammer) are so paranoid about the idea of Kevin trying to sleep with their daughter that they actually sneak into the prom to try to keep them from getting too close.  Of course, they are mistaken for waiters and are immediately put to work.

I watched this two weeks ago, when I was still struggling to process the shock of Matthew Perry’s passing.  Unfortunately, Matthew Perry is not in much of the film and it’s not really until the end of the film that he really gets a chance to show any of the sardonic wit for which he was best known.  That said, Christina Applegate appears to be having fun as the snooty mean girl and she and Perry do make for a cute couple.  Actually, all of the couples in the film are cute, with Alyssa Milano and Chris Young especially making for an adorable couple.  This is a pleasant and, for many, nostalgic diversion, as long as you’re willing to accept that there is absolutely nothing go on beneath the film’s slick and occasionally colorful surface.  The humor is broad, the messages are obvious, and, as always, it’s amusing to watch Kelsey Grammer running around in a panic.

Dance Til Dawn doesn’t really bring anything new to the high school genre but it’s still worthy of the name of Herbert Hoover.

Live Tweet Alert: Join #ScarySocial for Unseen!


As some of our regular readers undoubtedly know, I am involved in a few weekly live tweets on twitter.  I host #FridayNightFlix every Friday, I co-host #ScarySocial on Saturday, and I am one of the five hosts of #MondayActionMovie!  Every week, we get together.  We watch a movie.  We tweet our way through it.

Tonight, at 9 pm et, Tim Buntley will be hosting #ScarySocial!  The movie?  2023’s Unseen!

If you want to join us this Friday, just hop onto twitter, start the movie at 9 pm et, and use the #ScarySocial hashtag!  I’ll be there tweeting and I imagine some other members of the TSL Crew will be there as well.  It’s a friendly group and welcoming of newcomers so don’t be shy.

Unseen is available on Prime!

See you there!

Retro Television Reviews: T and T 2.1 through 2.4 “Straight Line”


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 T. and T., a Canadian show which ran in syndication from 1987 to 1990.  The show can be found on Tubi!

This week, season 2 begins with a supesized episode.

Episodes 2.1 through 2.4 “Straight Line”

(Dir by George Mihalka, originally aired on October 24, 1988)

Straight Line, the second season premiere of T & T, is one story that is told over the course of four, 30-minute episodes.  According to both Wikipedia and the IMDb, all four of those episodes aired on October 24th, 1988.  To me, that would seem to suggest that Straight Line originally aired as a made-for-TV movie and that it was later split up into four episodes for syndication.  It’s something that happens with a lot of shows, especially when it comes to season premieres.  Straight Line was also apparently released, direct to video, as a stand-alone film in 1990 and you have to wonder how many people ended up renting it without realizing that they were spending their money on a super-sized episode of T & T.

The second season begins with some changes to the opening credits.  Most of the supporting cast — including Decker, Aunt Martha, Sophie, and Detective Jones — no longer appear in the opening credits.  (Decker and Aunt Martha do appear in the episodes but both David Nerman and Jackie Richardson are credited as being “guest stars.”)  Instead, it appears that there are now only three regular members of the cast — Mr. T, Alex Amini, and Sean Roberge as a new character named Joe Casper.  (Roberge previously appeared during the first season, playing a character named Fabian.)

Joe Casper is a teenager who is in a bit of trouble.  He’s gotten involved with a neighborhood gang known as The Future and when the Future disrupts a campaign event for a reverend who is seeking to become Toronto’s first black mayor, it leads to a bomb going off and killing Joe’s mother.  Distraught by what’s happened, Joe attempts to jump off a bridge but T.S. Turner (who was at the rally) approaches Joe and says, “Take it easy, little brother,” and that’s all Joe needs to hear to turn himself into the police.  Joe is going to need a good lawyer so T.S. calls Amy, who rushes over the police station and….

OH MY GOD, WHAT IS AMY WEARING!?

Amy explains that she was at a banquet when T.S. called but still, I would probably put on a coat or something before heading over to Toronto’s dirtiest police station.

Anyway, Amy is able to keep Joe out of jail.  Joe is sent to a juvenile rehabilitation center that is run by Dr. Hammel (Kenneth Welsh).  Dr. Hammel is an ally of the preacher who is running for mayor and everyone thinks that Dr. Hammel is a good and devoted social activist.  Of course, the audience automatically knows that Dr. Hammel is the bad guy because he’s played by Kenneth Welsh, who I imagine is best-known in America for playing the totally evil Windom Earle in Twin Peaks.

T.S. investigates The Future and discovers that there started out as a neighborhood watch before being transformed into a bunch of Neo-Nazis.  He also discovers that Dr. Hammel is the one who is behind the organization.  T.S. and Amy have to expose Hammel and they better hurry because the preacher running for mayor has been assassinated and Hammel has just announced that he’s running for mayor of Toronto!

This all may sound pretty exciting but the second season premiere is actually a bit dull.  The main problem is that, as opposed to the first season, T.S. doesn’t get to do much in the episode.  He’s rather subdued and there’s none of the quirkiness that made the character so memorable during the first season.  He doesn’t talk about his love for cookies.  He hardly calls anyone, other than Joe, “brother.”  There’s not even a scene of him hitting a punching bag.  It’s disappointing!  As well, he and Amy were separated for the majority of the show, which kind of goes against the whole idea of them being T and T.  Instead, the majority of the episode was devoted to introducing Joe.  The episode ended with Joe, tears streaming down his face, walking away with T.S. and apparently renouncing his former affiliation with The Future.  Since Joe is in the opening credits now, I assume he’s going to become T.S.’s ward for at least the next few episodes.

Hopefully, the next episode will features T.S. acting more like T.S.  Otherwise, this is going to be a long season.

Live Tweet Alert: Join #FridayNightFlix For Hercules!


As some of our regular readers undoubtedly know, I am involved in a few weekly live tweets on Twitter and Mastodon.  I host #FridayNightFlix every Friday, I co-host #ScarySocial on Saturday, and I am one of the five hosts of #MondayActionMovie!  Every week, we get together.  We watch a movie.  We tweet our way through it.

Tonight, at 10 pm et, #FridayNightFlix has got 1983’s Hercules, starring Lou Ferrigno and Sybil Danning!

If you want to join us this Friday, just hop onto twitter, start the movie at 10 pm et, and use the #FridayNightFlix hashtag!  It’s a friendly group and welcoming of newcomers so don’t be shy.

Hercules is available on Prime and Tubi!  See you there!

Film Review: Pain Hustlers (dir by David Yates)


I had high hopes for Pain Hustlers, largely because it featured some of my favorite actors and actresses.  Chris Evans, Emily Blunt, Andy Garcia …. how can you go wrong with that cast, right?

Unfortunately, when I watched the film, it only took a few minutes for me to lose interest.  The film opens with black-and-white interview clips of Liza Drake (Emily Blunt) and Pete Brenner (Chris Evans), in which they both claim to be the only one who can tell the true story of how a failing pharmaceutical firm became a powerhouse by bribing doctor to prescribe Fentanyl.  For lack of a better term, I refer to this as the I, Tonya approach though it perhaps would be better to name it after director Adam McKay, whose superficial but slickly made films are often mistaken for being important political statements.  It’s a style of filmmaking that may have once been exciting but now, it’s so overused that it’s come to feel a bit like a cliché.

As for the film itself, it opens with Liza working as an exotic dancer and living in a run-down motel with her daughter, Phoebe (Chloe Coleman).  A chance meeting with pharmaceutical salesman Pete Brenner leads to Liza getting a job as a sales rep despite the fact that she’s a high school drop-out who previously served time in jail for drug trafficking.  (Pete writes up a fake resume for her and lists her as being PHD, which Pete says stands for, “poor, hungry, and desperate.”)  After a rocky start, Liza is able to convince Dr. Lydell (Brian D’Arcy James) to start prescribing a powerful painkiller that was developed for cancer patients.  Of course, people get addicted to the drug and many overdose but it doesn’t matter because Liza, Pete, and Dr. Lydell are all getting rich.  The unstable head of the company, Dr. Jack Neel (Andy Garcia), is happy as long as the money keeps rolling in and as long as everyone takes off their shoes at work because he’s worried about the floors getting dirty.

As I said at the start of the review, the film attempts to take an I, Tonya-style approach to the material, mixing conflicting narrators with moments of dark humor and sudden melodrama.  Unfortunately, David Yates is exactly the wrong director for this film.  Yates is best-known for his work with the Harry Potter franchise.  Yates did a wonderful job directing the last few of the Harry Potter films but, as a director, his tendency is to be a crowd-pleaser and Pain Hustlers fails precisely because Yates always pulls back before the film can get too dark or subversive.  This is the type of film where, during the final fourth of the film, everyone starts acting in ways totally contrary to everything we’ve previously learned and seen about them so that the film can end on a traditional note of good vs evil.  Watching previously amoral characters suddenly and unconvincingly developed a conscience, I found myself thinking about Martin Scorsese’s The Wolf of Wall Street.  One reason why The Wolf of Wall Street worked is because Jordan Belfort remained an unrepentant crook through the entire film, even after all of his schemes fell apart.  Scorsese has the courage to the let the audience make up their own mind about Belfort.  Scorsese understood that suddenly having Belfort (or Henry Hill in Goodfellas or Ace Rothstein in Casino) develop a sense of right and wrong would not only feel unnatural to the character but it would also undercut the effectiveness of the story he was trying to tell.  For lack of a better term, it would feel fake.  It would feel like pandering to those who demands a cut-and-dried, easy-to-digest message.  That’s a lesson that Pain Hustlers missed, to its detriment.

It’s just not a very good film, which is a shame when you consider the amount of talent involved.  Of the cast, Chris Evans is the only one who really makes much of an impression, playing Pete as someone who might not be smart but who definitely understands how to charm enough people to get by.  Poor Emily Blunt is sabotaged by an inconsistent script while Andy Garcia is pretty much wasted as Dr. Neel.  Seriously, can we make an effort to write more decent roles for Andy Garcia?  He’s such a good actor and he keeps getting wasted in these small, pointless roles!

Pain Hustlers was a disappointment for me.  It happens.

Monday Live Tweet Alert: Join Us For T-Force and Support Your Local Sheriff!


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.

Tonight, for #MondayActionMovie, the film will be 1994’s T-Force!  Selected and hosted by Rev. Magdalen, this movie is yet another thing about cyborgs!  So, you know it has to be good!

Following #MondayActionMovie, Brad and Sierra will be hosting the #MondayMuggers live tweet.  We will be watching 1969’s Support Your Local Sheriff!  It’s on Prime.

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 T-Force on YouTube, start the movie at 8 pm et, and use the #MondayActionMovie hashtag!  Then, at 10 pm et, switch over to Twitter and Prime, start Support Your Local Sheriff, and use the #MondayMuggers hashtag!  The live tweet community is a friendly group and welcoming of newcomers so don’t be shy.   

Retro Television Reviews: Terror In The Sky (dir by Bernard L. Kowalski)


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 Terror In The Sky!  It  can be viewed on YouTube.

On a flight heading from Minneapolis to Seattle, several passengers suddenly start to get ill.

Luckily, there’s a doctor on the plane.  Sporting sideburns and wearing a turtleneck, Roddy McDowall is quite chic in the role of Dr. Baird, the dedicated medical professional who comes to realize that the passengers are suffering from food poisoning.  As Dr. Baird explains it to head flight attendant Janet Turner (Lois Nettleton), everyone who had the chicken for dinner is about get severely ill.  Uh-oh …. both of the pilots had the chicken!

Is there anyone on the plane who has any flying experience?  George Spencer (Doug McClure) flew a helicopter in Vietnam but, as George explains, it’s an entirely different type of flying all together.  George has no confidence about his ability to land the plane but he’s the only chance the passengers have.

On the ground, gruff Marty Treleavan (Leif Erickson) has been summoned to the airport so that he can help to talk George through the landing.  Marty explains what all of the instruments do to George.  He tells George that he needs to stay in the air for a few hours so that he can get comfortable with the plane.  But the people on the plane are getting more ill and George says that he might be ding things up a little but he’s going to land this plane!

Does this sound familiar to anyone?

As I watched this film last night, I found myself saying, “Oh my God, this is just a serious version of Airplane!”

And actually, it is.  Terror In The Sky was based on Zero Hour, the 1957 film that also served as the basis for Airplane!  (The directors of Airplane! even bought the rights to Zero Hour so that they freely borrow whatever they wanted to from the film.)  Indeed, much of the dialogue in both Zero Hour and Terror In The Sky also shows up in Airplane!  Even the musical cues in Terror In The Sky and Airplane! are similar.

Terror In The Sky is not a bad film.  It’s an efficient made-for-TV film that features several made-for-television veterans, including Keenan Wynn and Kenneth Tobey.  Doug McClure grimaces heroically in the role of George Spencer and Roddy McDowall is as likable as ever as the doctor who hates to fly.  It’s a very earnest movie about a group of people doing everything that they can to save hundreds of lives.  They’re doing the right thing!

But it’s also totally impossible to take the film seriously because you spend the entire movie waiting for Roddy McDowall to say, “Don’t call me Shirley,” or for Leif Erickson to say that he picked the wrong week to stop sniffing glue.  Every moment and every line makes the viewer think of something funny from Airplane!

Personally, I think they bought their tickets.  They knew what they were getting into.  I say …. well, you get the idea.

And yes, I did rewatch Airplane! as soon as I finished up Terror In The Sky.

Film Review: You Are So Not Invited To My Bat Mitzvah (dir by Sammi Cohen)


You Are So Not Invite To My Bat Mitzvah is a well-acted, well-written, and sweet-natured coming-of-age film, featuring Sunny Sandler as Stacey Friedman, a Hebrew school student who is eagerly looking forward to both her Bat Mitzvah and the party after while also dreading the prospect of that party being ruined by her well-meaning but kind of embarrassing parents (Adam Sandler and Idina Menzel).

Stacey believes that the party, the first major event of her adulthood, will determine the rest of her life and therefore, it’s important that it be a huge party with a wonderful entrance video and at least one celebrity guest.  Her older sister (a wonderfully deadpan Sadie Sandler) tells her not to get her hopes up.  Her father tells her to stop obsessing on her party and concentrate on what it means to be Jewish.  Stacey can only watch in horror as her parents invite their dry cleaner to the ceremony and her mother insists on buying her a dress that Stacy says makes her look like the woman who takes sick kids out of the classroom.

Still, Stacey knows that no matter what happens, she’ll always have her BFF, Lydia Rodriguez Katz (Samantha Lorraine), at her side.  Except that, in the weeks leading up to her Bat Mitzvah, Stacey discovers that Lydia is dating Andy Goldfarb (Dylan Hoffman), the inarticulate soccer player that Stacey has had a crush on for years.  Of course, as Lydia points out, every girl at the school has had a crush on Andy for years.  In a moment of anger, Stacey announces, “You are so not invited to my bat mitzvah!”

As I said, it’s a sweet and very sincere movie, one that celebrates friendship and family.  It’s not particularly shocking that Andy turns out to be a middle school jerk but everyone’s had a crush like Andy Goldfarb and, if they’re lucky, everyone had had friends like Stacey and Lydia.  In the end, the message here is that friendship is more important than some boy who can barely speak in complete sentences and that being adult means thinking about more than just your own concerns.  It’s a good message.  This film acknowledges its debt to John Hughes by having Stacey’s father take her to a festival of Hughes’s film and, like the best of those films, You Are So Not Invited To My Bat Mitzvah is a teen comedy with heart.

Also, like the best of John Hughes’s films, it’s full of memorable characters.  It’s tempting to roll your eyes when you see just how many people involved in this film are named Sandler but everyone gives such a good performance that you quickly forget about any charges of nepotism.  We all know that Adam Sandler has made a lot of bad films over the years but he seems to finally be at a point in his career where he’s no longer embarrassed by the fact that he can actually be a good actor.  Sunny Sandler is likable and relatable as Stacey and easily carries the film’s emotional moments while Sadie Sandler’s deadpan delivery is one of the movie’s highlights.  Idina Menzel, who also played Adam Sandler’s wife in the far different Uncut Gems, is perfectly cast as Stacey’s overbearing but loving mother and Sandler’s real-life wife, Jackie Sandler, is well-cast as Lydia’s mother.  Samantha Lorraine makes both her friendship with and her anger at Stacey feel real and poignant.  Sarah Sherman is great as the quirky but ultimately quite wise rabbi.  Even Luis Guzman shows up and is responsible for some of the film’s funniest moments.

If I had seen this film two months ago, I probably would have said that it was a simply a well-made and very likable coming-of-age film.  Seeing it today, at a time when Jews are being told not to enter certain neighborhoods and to hide any external signs of their religion and their cultural background, You Are So Not Invited To My Bat Mitzvah feels very relevant.  At a time when anti-Semitism is being mainstreamed and posters of abducted Jewish children are being ripped off walls and people are openly chanting the most vile of words, You Are So Not Invited To My Bat Mitzvah feels almost defiant.  It is a film about people who proudly and unapologetically Jewish and, when Stacey reads from the Torah at her Bat Mitzvah, it’s not just the prelude to a party or a chance for her to realize that her friendships are more important than the Andy Goldfarbs of the world.  It’s a religious ceremony, it’s a cultural tradition, and it’s a proud and triumphant declaration of identity, one that defies all of the hateful bigots.  In these troubled times, You Are So Not Invited To My Bat Mitzvah is a film that takes on an entirely new importance.

Live Tweet Alert: Watch American Gothic with #ScarySocial


 

As some of our regular readers undoubtedly know, I am involved in a few weekly live tweets on twitter.  I host #FridayNightFlix every Friday, I co-host #ScarySocial on Saturday, and I am one of the five hosts of #MondayActionMovie!  Every week, we get together.  We watch a movie.  We tweet our way through it.

Tonight, for #ScarySocial, Deanna Dawn will be hosting 1988’s American Gothic!

If you want to join us on Saturday night, just hop onto twitter, start the film at 9 pm et, and use the #ScarySocial hashtag!  The film is available on Prime.  I’ll probably be there and I imagine some other members of the TSL Crew will be there as well.  It’s a friendly group and welcoming of newcomers so don’t be shy.

Documentary Review: Sly (dir by Thom Zimmy)


Now streaming on Netflix, Sly is a documentary about the life and career of Sylvester Stallone.

The documentary opens with Stallone watching as all of his belongings in his Hollywood mansion are packed in boxes so they can be shipped to his new home in New York.  As I listened to Stallone talk about how you sometimes have to return to your roots to discover who you truly are, it occurred to me that Stallone is one of those people who is never not playing a role.  Even when he’s not Rocky Balboa or John Rambo or any of the other characters that he’s played in the movies (or, less frequently on television), he’s still playing Sylvester Stallone, the bigger-than-life movie star who has been an inescapable part of the American pop cultural landscape for longer than I’ve been alive.  Watching Stallone talk about what it’s like to go, overnight, from being an unknown to being a celebrity, I never doubted his sincerity but I was always aware of how carefully chosen his words seemed to be.  Sylvester Stallone lets the audience in but he’s still careful about how much he reveals about himself.

The same can be said of the documentary, which largely focuses on Rocky, Rambo, and The Expendables, with a little Lords of Flatbush, F.I.S.T., Paradise Alley, and Cop Land trivia tossed in as well.  Stallone admits that he’s not proud of all of the films that he’s made, citing Stop!  Or My Mom Will Shoot! as his biggest regret.  (Arnold Schwarzenegger pops up to brag about how he was smart enough to turn down the script when it was originally sent to him.)  That said, there’s not much attention given to Stallone’s films with Roger Corman or for the films that he did for Cannon.  Sorry, there’s no Over The Top trivia.  There are a few clips from Cobra and Rhinestone but not much more.  If you’re looking for a documentary about the B-movies of Sylvester Stallone, this is not it.  (Interestingly enough, even films like Demolition Man — which was one of Stallone’s better non-Rocky and non-Rambo films — are also glossed over.)  Beyond talking his troubled relationship with his father, mentioning his love for daughters, and a moment where he gets noticeably emotional while talking about his late son, there’s not much information here about Stallone’s private life.  And again, it’s not that Stallone owes anyone any of that information.  At one point, Stallone says that he hasn’t had a moment of privacy since the release of Rocky and he’s probably right.  He’s earned the right to keep some things private.

Also interviewed in the documentary are Frank Stallone, Quentin Tarantino, film critic Wesley Morris, director John Herzfeld, and Talia Shire.  Frank comes across as a lot more genuine here than he did in his own documentary while Talia does the best job of understanding the appeal of Rocky.

This is a documentary that will probably best be appreciated by people who are already fans of Stallone.  Stallone doesn’t attempt to win over his doubters but, having been a star for nearly 50 years, Stallone can definitely argue that his doesn’t owe his doubters any effort.  Watching the documentary, it became clear to me that Stallone is one of those pop cultural figures who it is impossible not to love.  Everything about him, from the rough Hell’s Kitchen childhood to his decision to write a movie for himself to his decision to move into the director’s chair, is pure Americana.  There’s a reason why Rocky Balboa often appears with an American flag.

(That said, I still think that Stallone’s best performance was in First Blood and, in this documentary, Stallone gets genuinely emotional as he discusses when he discusses why he felt it was important for Rambo to survive the end of the film.)

He’s a survivor and he’s confident enough to admit that he got a bit arrogant after the success of Rocky.  Stallone still has that confidence that borders on arrogance but he’s aging well and it’s hard not to feel that he’s earned the right to brag on himself.  (It helps, of course, that he’s become a better actor as he’s aged.)  Stallone may not totally open up but he still has his movie star charisma.  When he talks, you listen.  When he moves, you watch.  We’ll miss him when he’s gone.