Retro Television Reviews: Poochinski 1.1 “Pilot”


Welcome to 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 Poochinski, which aired on NBC in 1990.  The entire show is currently streaming on YouTube!

This week, we take a look at another one-episode wonder, Poochinski!

Episode 1.1 “Pilot”

(Dir by Will Mackenzie, originally aired on July 9th, 1990)

Detective Stanley Poochinski (Peter Boyle) is a veteran of the mean streets of Chicago.  He’s rude and crude but he’s also a good cop, one who is mentioned as having once caught a mad bomber.  I mean, I guess you have to be good at your job to capture someone who not only knows how to make bombs but who is also mad about it.

Poochinski shows his softer side when he comes across a bunch of teenagers taunting a stray English bulldog.  Poochinski pulls his gun and threatens to kill a 12 year-old.  That may sound extreme but it works!  (The 12 year-old, I should mention, was also holding a switchblade.)  Poochinski adopts the dog and starts to bring it to work with him, much to the consternation of Poochinski’s uptight and ambitious partner, Detective Robert McKay (George Newbern, a talented actor who somehow always seemed to turn up in stuff like this).  McKay dislikes the fact that the dog is flatulent and so is Poochinski.

However, Detective Poochinski is run down by two thieves during a pursuit.  As Poochinski dies, the dog runs over to him.  They stare into each other’s eyes.

Cut to Poochinski’s funeral.  Detective McKay attends with the dog.  After everyone else leaves, the dog starts to talk to McKay in Poochinski’s voice!

That’s right …. Poochinski has been reincarnated as a dog!  Except, of course, the dog was already alive when Poochinski died so I guess it’s not reincarnation.  I guess Poochinski’s soul just entered the dog’s body.  But what about the dog’s soul?  These are the unanswered questions that haunt me.

Probably because this was only a 21-minute episode and didn’t really have much time to spare, McKay quickly accepts that his partner is inhabiting the body of a dog.  McKay adopts the dog and names it Poochinski.  While McKay helps Poochinski come to terms with the fact that he’s now a dog, Poochinski gives McKay advice on how to flirt with the neighbor (Amy Yasbeck).  Working together, they also set out to catch the criminals responsible for Poochinski’s “death.”

Probably the creepiest thing about Poochisnki is that, half the time, the dog is played by a real dog.  But whenever Poochisnki starts talking, the real dog is replace by a terrifying rubber puppet that doesn’t even look like the original dog.  Watching the rubber dog talk, I couldn’t help but be reminded of that scene in Spike Lee’s Summer of Sam when the neighbor’s dog enters David Berkowitz’s house and orders him to “KILL!” while happily wagging its tail.

There was only one episode of Poochinski.  The pilot was not picked up for a series but it was still aired on NBC during the dog days of summer.  It’s easy to see why the pilot did not lead to more shows.  Poochinski says that he only wants to do two things: catch a criminal and lick himself.  He does both in the pilot so there really wasn’t much left for this devil dog to do, other than turn evil and taunt McKay into transforming into the Son of Poochinski.

(That said, I did smile at the fact that the police sergeant’s name was Sgt. Shriver.  But that’s just because I’m a history nerd who has spent way too much time reading about the Kennedy family.)

Some TV shows only need one episode and Poochinski was definitely one of them.

In the Line of Duty: Street War (1992, directed by Dick Lowry)


Street War, the fifth In The Line of Duty movie to be produced by NBC, takes place in Brooklyn.  Raymond Williams (Mario Van Peebles) and Robert Dayton (Michael Boatman) are two uniformed officers trying to keep the peace in the projects.  When Raymond is shot and killed in a stairwell, everyone knows that drug dealer Justice Butler (Courtney B. Vance) was responsible but no one can prove it.

The case is assigned to two detectives, Dan Reilly (Peter Boyle) and Victor Tomasino (Ray Sharkey).  Reilly is a veteran cop who is just a few months away from retirement.  Tomasino is the son of a “made man” who can’t understand why the drug lords in Brooklyn aren’t as interested in keeping the peace as the old Mafiosos were.

When Justice leaves Brooklyn so that he can hide out with his family in South Carolina, Reilly and Dayton follow him down there and discover that people in South Carolina distrust the cops just as much as people in Brooklyn.  Meanwhile, back in Brooklyn, Justice’s second-in-command, Prince (Morris Chestnut), tries to keep an all-out war from breaking out.

Prince and Tomasino take turns narrating the movie.  Prince talks about the reality of trying to restart your life after doing time in prison while Tomasino complains that “the animals” have taken over the city.  (Because this was made for television, “Animals” is Tomasino’s go-to label for anyone he dislikes.  Anyone with any experience with the police will know what word he is actually thinking.)  While Chestnut gives a restrained and thoughtful performance, Ray Sharkey shouts his lines and snarls whenever he’s onscreen.  Though it’s not always evident in this movie, Sharkey started out as a talented actor who played small roles in several independent films before starring in The Idolmaker.  Unfortunately, Sharkey was also a heroin addict whose once promising career was derailed by a series of arrests and jail sentences.  He looks thin and tired in Street Wars and, one year after the film aired, he would die of complications from AIDS.

With Sharkey yelling his lines, it falls on Peter Boyle to play the voice of reason in Street War.  Dan Reilly is a cliché, the weary cop who still wants to make the world a better place and who is just a few days away from retirement.  But Boyle does a good job playing him and brings his own natural gravitas to the movie.

Dick Lowry, who directed the first three In The Line of Duty movies, returns for this one and he keeps the action moving.  Street War is significantly more violent than the previous movies, with even two children getting shot onscreen.  The story itself is a predictable and Tomasino’s casual racism can be hard to take (even if he does eventually called out about it) but, thanks to the performances of Boyle, Boatman, Chestnut, and Vance, Street War is an improvement on Mob Justice and an adequate entry in the series.

Street War would be followed by two movies about FBI sieges, The Siege at Marion and Ambush in Waco.  Since I’ve already reviewed both of those, I will be moving onto In the Line of Duty: The Price of Vengeance tomorrow.

Conspiracy: The Trial of the Chicago 8 (1987, directed by Jeremy Kagan)


The year is 1969 and, in an Illinois courtroom, 8 political radicals stand accused of conspiring to disrupt the 1968 Democratic Convention.  The prosecution is putting the entire anti-war movement on trial while the defendants are determined to disrupt the system, even if it means being convicted.  The eight defendants come from all different sides of the anti-war movement.  Jerry Rubin (Barry Miller) and Abbie Hoffman (Michael Lembeck) represent the intentionally absurd Yippies.  Tom Hayden (Brian Benben) and Rennie Davis (Robert Carradine) are associated with the Students for a Democratic Society.  Bobby Seale (Carl Lumbly) is one of the founders of the Black Panthers while David Dellinger (Peter Boyle) is a longtime peace activist.  John Friones (David Kagan) and Lee Weiner (Robert Fieldsteel) represent the common activists, the people who traveled to Chicago to protest despite not being a leader of any of the various organizations.  Prosecuting  the Chicago 8 are Richard Schulz (David Clennon) and Tom Foran (Harris Yulin).  Defending the 8 are two radical lawyers, Leonard Wienglass (Elliott Gould) and William Kunstler (Robert Loggia).  Presiding over the trial is the fearsome and clearly biased Judge Julius Hoffman (David Opatoshu).

Conspiracy: The Trial of the Chicago 8 is a dramatization of the same story that inspired Aaron Sorkin’s The Trial of the Chicago 7 but, of the two films, it’s Jeremy Kagan’s The Trial of the Chicago 8 that provides a more valuable history lesson.  By setting all of the action in the courtroom and recreating only what was said during the trial, director Jeremy Kagan and his cast avoid the contrived drama that marred so much of Sorkin’s film.  Kagan trusts that the true story is interesting enough to stand on its own.  Kagan includes documentary footage from the convention protest itself and also interviews with the people who were actually there.  While Kagan may not have had the budget that Sorkin did, his film has the authenticity that Sorkin’s lacked.  Kagan also has the better cast, with Michael Lembeck and Barry Miller both making Abbie Hoffman and Jerry Rubin into something more than the mere caricatures that they are often portrayed as being.

The Trial of the Chicago 8 was a film that Jeremy Kagan spent a decade trying to make.  When he first tried to sell the idea behind the film to CBS in 1976, Kagan had Marlon Brando, Walter Matthau, George C. Scott, and Dustin Hoffman all willing to work for scale and take part in the production.  CBS still passed on the project, saying that no one was interested in reliving the 60s.  It wasn’t until 1987 that Jeremy Kagan was finally able to revive the film, this time with HBO.  It actually worked out for the best because, with HBO, there was no need to try to come up with a “clean” version for the language that was used in the courtroom or in the interviews with the actual participants.  The defendants could be themselves.

Though it has been overshadowed by Sorkin’s subsequent film, The Trial of the Chicago 8 is the definitive film about what happened in the aftermath of the the 1968 Democratic Convention.

Scenes That I Love: Putting On The Ritz from Young Frankenstein


Since today is Peter Boyle’s birthday (he would have been 86), it seems only appropriate that today’s scenes that I love should come from 1974’s Young Frankenstein. Here, for your viewing and listening pleasure, are Gene Wilder and Peter Boyle….

Horror Scenes That I Love: Frankenstein and his Creation Put On The Ritz From Young Frankenstein


This scene from 1974’s Young Frankenstein is not only funny but kinda poignant and sad.  I mean, you can tell that the Monster (Peter Boyle) is trying so hard to do a good job and what does it get him?  Not only does the audience turn on him but even his creator (Gene Wilder) starts yelling at him.

I mean, considering that the Monster had only been alive for a few days, I think he deserves a lot of credit for handling the performance as well as could be expected!  To me, the true monsters in this scene are the theater patrons who apparently brought cabbages and other vegetables with them to the theater.  I mean, you don’t pack a salad unless you’re planning on using it.

The performers didn’t have a chance.

Enjoy!

 

Horror Scenes That I Love: Dr. Frankenstein and The Monster Dance In Young Frankenstein


Earlier today, my sister shared with us a look at Frankenstein through the ages. 

It seems only appropriate to follow that up with a look at the doctor and his creation putting on the ritz.

From 1974’s Young Frankenstein….

Dirty Boulevard: George C. Scott in HARDCORE (Columbia 1979)


cracked rear viewer

Cracked Rear Viewer: “Back in the day….”

Dear Readers: (groaning) “There he goes again. Another history lesson!”

CRV: “B-but it’s important to put things in their proper historical context!”

DRs: (sigh) “We guess you’re right. Sorry.”

CRV: (beaming) “No problem! Now, like I was saying…”

Back in the day, every major urban city, and many smaller sized ones, had what was known as a “Red Light District”, where sex workers plied their trade. These streets were loaded with sex shops, peep shows, massage parlors, strip joints, and Triple-X movie palaces, with hookers and drug dealers hawking their wares. New York City had its Times Square/42nd Street area, Boston had The Combat Zone near Chinatown, and Montreal the infamous St. Catherine Street. For Los Angeles, the action was on Sunset Boulevard, and it’s into this seedy milieu that writer/director Paul Schrader plunges George C. Scott in 1979’s HARDCORE, which isn’t about…

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A Movie A Day #355: F.I.S.T. (1978, directed by Norman Jewison)


Sylvester Stallone is Jimmy Hoffa!

Actually, Stallone plays Johnny Kovak, a laborer who becomes a union organizer in 1939.  Working with him is his best friend, Abe Belkin (David Huffman).  In the fight for the working man, Abe refuses to compromise to either the bosses or the gangsters who want a piece of union.  Johnny is more pragmatic and willing to make deals with ruthless mobsters like Vince Doyle (Kevin Conway) and Babe Milano (Tony Lo Bianco).  Over thirty years, both Johnny and Abe marry and start families.  Both become powerful in the union.  When Johnny discovers that union official Max Graham (Peter Boyle) is embezzling funds, Johnny challenges him for the presidency.  When a powerful U.S. senator (Rod Steiger) launches an investigation into F.I.S.T. corruption, both Johnny and Abe end up marked for death.

Obviously based on the life and mysterious disappearance of Jimmy Hoffa, F.I.S.T. was one of two films that Stallone made immediately after the surprise success of Rocky.  (The other was Paradise Alley.)  F.I.S.T. features Stallone in one of his most serious roles and the results are mixed.  In the film’s quieter scenes, especially during the first half, Stallone is surprisingly convincing as the idealistic and morally conflicted Kovak.  Stallone is less convincing when Kovak has to give speeches.  If F.I.S.T. were made today, Stallone could probably pull off the scenes of the aged, compromised Johnny but in 1978, he was not yet strong enough as an actor.  Far better is the rest of the cast, especially Conway, Lo Bianco, and Boyle.  If you do see F.I.S.T., keep an eye on the actor playing Johnny’s son.  Though he was credited as Cole Dammett, he grew up to be Anthony Keidis of the Red Hot Chili Peppers.

The box office failures of both F.I.S.T. and Paradise Alley led Stallone back to his most famous role with Rocky II.  And the rest is history.

 

A Movie A Day #198: Men of Respect (1990, directed by William Reilly)


That Bill Shakespeare really gets around.

Men of Respect comes to us disguised as a gangster movie but it is actually a modern-day version of MacBeth.  Mike Battaglia (John Turturro) is one of Charlie D’Amico’s (Rod Steiger) top lieutenants but he is upset because D’Amico has announced that his successor will be Bankie Como (Dennis Farina).  When Mike stumbles across a fortune teller, he is told that not only will he soon be in charge of the D’Amico crime family but that he will hold the position until the stars fall from the sky and that he will never be harmed by a “man of woman born.”  At the instigation of his ambitious wife, Ruthie Battaglia (played by Turturro’s real-life wife, Katherine Borowitz), Mike murders Charlie, Bankie, and everyone else who is standing in his way.  Even as D’Amico’s son (Stanley Tucci) starts to recruit soldiers for an all out war, Mike remains confident.  Even when one of this soldiers sees a fireworks show and says, “Jeez, it looks like stars from falling from the sky,” Mike remains cocky.  When his wife starts to complain that she can not get the blood stains (“the spot”) out of the linen, Mike is not concerned.  Why not?  “All these guys were born of a woman,” Mike says, “they can’t do shit to me.”

Turning MacBeth (or any of Shakespeare’s tragedies) into a Mafia film is not a bad idea but Men of Respect‘s attempt to translate Shakespeare’s language to 20th century gangster talk leads to some memorably awkward line readings from an otherwise talented cast.  By the time Matt Duffy (Peter Boyle) announced, in his Noo Yawk accent, that he was delivered via caesarean section, I could not stop laughing.  Even the scenes of gangland mayhem feel like second-rate Scorsese.  The idea behind the film is intriguing and there are a lot of recognizable faces in the cast but Men of Respect gets bogged down as both a Shakespearean adaptation and a gangster film.

A Movie A Day #147: Crazy Joe (1974, directed by Carlo Lizzani)


Crazy Joe (Peter Boyle) is a gangster with a chip on his shoulder and a self-taught intellectual who can (misquote) Sartre and Camus with the best of them.  Sick of being taken for granted, Joe and his brother, Richie (Rip Torn), attempt to challenge the Mafia establishment.  The mob sets Joe up and gets him sent to prison.  While doing time, Joe befriends a Harlem gangster named Willy (Fred Williamson).  Refusing to associate with the other Italian prisoners, Joe allies himself with the black inmates and even helps to start a riot over the prison’s inhumane conditions.  When he is released, Joe hits the streets of New York with a vengeance, now backed up by Willy and his criminal organization.

Crazy Joe is based on the life of Joey Gallo, who was briefly a New York celebrity, hobnobbing with actors like Jerry Orbach and writers like Norman Mailer before he was gunned down at Umberto’s Clam Shop in Little Italy.  Though the names were changed to protect the guilty, Eli Wallach plays Vito Genovese, Charles Cioffi plays Joe Columbo, and Luther Adler is Joe Profaci.  Fred Williamson’s character is based on the infamous Nicky Barnes.

Crazy Joe is a good and violent mix of the gangster, prison, and blaxploitation genres.  Despite wearing an unfortunate toupee, Peter Boyle is great at putting the crazy in Crazy Joe and Fred Williamson ups the coolness factor of any movie he appears in.  Keep an eye out for Henry Winkler, giving a very un-Fonzie performance as Joe’s right-hand man.