Lifetime Film Review: I Killed Him In My Sleep (dir by Katie Boland)


Kelty Crawford (Abigail Breslin) is thirty years old and troubled.  She’s the epitome of almost every Generation Z cliche imaginable.  Haunted by a terrible accident and various guilt and mental issues, she currently has few career prospects, little money, and an upcoming wedding that is going to cost her a fortune.

She’s also having trouble sleeping.  She sleepwalks and, when she does wake up, she’s doing strange things like eating the toothpaste straight out of the tube.  Both to make some extra cash and to try to find out what is at the root of her sleepwalking, Kelty agrees to take part in a sleep study that is being conducted by the rather shady Dr. Baylour (Michael Eklund).  Baylour gives her a shot of a powerful drug.  Kelty falls into a deep sleep and she immediately has dreams about killing a man that she doesn’t know.

During her waking hours, Kelty is shocked to sees a news story about how the body of the man she dreamed of killing has recently been discovered.  Kelty fears that she killed the man in her sleep.  Kelty is also shocked when Dr. Baylour vanishes without paying her for taking part in his sleep study.  Hey, Dr. Baylour — she’s got a wedding to pay for!

I had high hopes for I Killed Him In My Sleep.  Abigail Breslin, who was just ten years old when she was nominated for an Oscar for her performance in Little Miss Sunshine, has developed into a good actress and she especially seems to be well-cast as people who are dealing with dark secrets.  The film’s premise sounded intriguing.  It sounded like I Killed Him In My Sleep would embrace the melodrama, much in the same way that Doug Campbell and Eric Roberts did with the Stalked By My Doctor series.  (Remember Stalked By My Doctor: A Sleepwalker’s Nightmare?  That was a classic!)  And, to give credit where credit is due, this film did feature one twist that actually did take me by surprise.

And yet, with all that in mind, I Killed Him In My Sleep fell flat for me.  A lot of it is because, instead of fully embracing the melodrama and cheerfully celebrating the excess that goes along with it, the film moves very slowly and seems to take itself very seriously.  With its muted cinematography and its overly talky characters, this is a film that tries so hard to be naturalistic that it instead ends up feeling even more fake than usual.  Abigail Breslin is a good actress and she probably does about as well as anyone could have with this role.  Unfortunately, her dialogue sounds more like a series of social media posts than an actual human being.  Kelty may not be a typical Lifetime heroine but that she’s also just not that interesting.

That said, the plot had potential and the nightmare scenes were well-directed.   The film captured the feeling of waking up disorientated and not being quite sure what you’ve just spent the last few hours doing.  A few nights ago, I dreamt that I had a job at a retirement community and that I did so well that everyone living there was happier than they had ever been.  That was a nice dream and far better than killing people.

Retro Television Review: Baywatch 2.8 “Thin Or Die”


Welcome to Retro Television Reviews, a feature where we review some of our favorite and least favorite shows of the past!  On Saturdays, I will be reviewing Baywatch, which ran on NBC and then in syndication from 1989 to 2001.  The entire show can be viewed on Tubi.

This week, Mitch rescues a dog and Shauni and Eddie rescue an outsider.

Episode 2.8 “Thin or Die”

(Dir by Douglas Schwartz, originally aired on November 4th, 1991)

Mitch rescues an adorable dog that is swimming in the middle of the ocean!  Awwww!

The dog is so cute!  But Mitch has a date that night and the dog seems to be determined to ruin it.  Can Mitch adopt the dog?  Actually, didn’t Mitch already adopt a dog?  Didn’t almost this exact same thing happen during the first season?  Seriously, whatever happened to the first dog!?

Fortunately, the dog helps Mitch track down its owner.  It turns out that she’s being held hostage on her own boat.  This, of course, allows for a minor action sequence.  One thing that I always find interesting about Baywatch is that the lifeguards were apparently also cops.  Garner Ellerbee may have been actual badge-carrying cop but he still didn’t do anything without asking a lifeguard to accompany him.

While Mitch is dealing with the dog situation, Eddie and Shauni are having relationship issues.  When Shauni claims that she and Eddie don’t have anything in common, Eddie decides to ask out Nicole, the woman who works at his message service.  (Apparently, message services were an early 90s thing.)  Eddie has never met Nicole.  He just knows that he digs her sultry voice and apparently, he’s sick of Shauni always yelling at him.  Hey, remember when Eddie and Shauni got engaged?  The show just kind of forgot about that.

Nicole (Melinda Reimer) shows up on the beach and she’s fat!  I don’t include the exclamation mark to be cruel.  I include it because that’s how the show presents her weight issue.  Not only is Eddie kind of cheating on Shauni but he’s also doing it with a fat girl!  Feeling insecure on the beach, Nicole later tries to walk into the ocean.  Can Eddie and Shauni help her realize that she shouldn’t give up hope?  Of course, they can!  That said, it’s pretty safe to say that Nicole will never show up on another episode of Baywatch.  You do have to feel a bit sorry for actress Melinda Reimer, who gives about as good a performance as anyone could with a Baywatch script.  That said, the show definitely makes clear that the main lesson is that you should never judge anyone solely by their voice.  Because they might be fat.

This episode was basically two half-baked stories mashed together.  Yes, there was the hostage situation.  And there was Nicole’s weight problem.  But despite all of that, there really wasn’t any drama.  Everything played out a low-key, laid-back pace.  This was an episode that understood the assignment: Come up with just enough of a story to justify your existence but mostly just feature hot people on the beach.

The TSL Grindhouse: The Student Nurses (dir by Stephanie Rothman)


When my mom was dying in 2008 and then when my Dad was in hospice care in 2024, I learned just how important nurses were.

While the doctors that I dealt with were often brusque and overworked, the nurses were the ones who always took the time to answer my questions.  While the doctors took an attitude of, “Death happens,” the nurses were the ones who were willing to show compassion.  They were the ones who seemed to understand the pain that both myself and my sisters were going through.  The nurses were the ones who seemed to care.  Even when it comes to something simple like getting my ADHD prescription renewed, I always feel more relaxed when I’m dealing with a nurse than dealing with a doctor.

(Don’t get me wrong.  I understand why doctors so often avoid a personal connection with their patients.  As Doctor Warshaw (Richard Stahl) puts it in 1970’s The Young Doctors, “mourning is reserved for loved ones.”  It may sound cold but it’s the truth.)

When my Dad was in home hospice, we had a nurse the came by the house every day.  She was cool and professional but still always seemed to care.  She was also a chain-smoker and there were more than a few days that I stepped outside with her.  She always had an extra cigarette for me.  Usually, I don’t smoke because I have asthma but, at that time, I was so stressed that the calming effect of smoking made the risk worth it.  Knowing that the nurse would always arrive early in the morning helped me deal with a very difficult time.  At a time when everything felt like it was spinning out of control, the nurse was someone upon whom I could depend.  After my father died, I struggled to adjust to a lot of things, including the absence of the nurse.  I discovered I missed the nurse’s professional presence.  I missed talking about my feelings while burning a cigarette down to its filter.

In short, I have a lot of respect for nurses.  They have a difficult job, one that I certainly could not do.  But I’m thankful for all that they’ve done for me, my family, and other people’s families.

With all that in mind, I watched 1970’s The Student Nurses earlier today.

The Student Nurses tells the story of four women who are studying to be nurses while working at the local hospital.  Phred (Karen Carlson) is introduced when she’s attacked by a crazed patient.  Later, she falls for a doctor named Jim (Lawrence P. Casey).  Sharon (Elaine Giftos) grows close to a terminally ill patient (Darrell Larson) and discovers the wisdom of Dr. Warshaw’s admonition about mourning.  Priscilla (Barbara Leigh), who is regularly admonished for the length of her skirt and for never wearing a bra, meets a charismatic drug dealer named Les (Richard Rust).  Les is all about dropping the acid on the beach but he’s not about sticking around when his girlfriend gets pregnant.  And finally, Lynn (Brioni Farrell) meets a Latino political activist named Victor Charlie (Reni Santoni) and discovers that some people just aren’t rich enough to go to the hospital.  When Victor shoots a cop during a raid on his headquarters, Lynn is forced to make a difficult decision.

The Young Nurses is almost legendary because of its status as a politically-themed exploitation film.  It’s a Roger Corman production so there’s a lot of nudity.  But director Stephanie Rothman used the genre to explore themes of class conflict and feminism.  All four of the nurses are portrayed as being strong and independent women who have sex because they want to and who feel no shame about their decisions.  For a 1970 film, that was a big deal.  Interestingly, considering the film’s reputation, it’s actually fairly even-handed when it comes to the differing worldviews of the nurses.  One of the nurses decides that she wants to serve in the Army Nurse Corps, even if that means going to Vietnam.  Another ends up bragging about the gun that she’s carrying in her glove compartment, just in case anyone tries to stand in the way of the revolution.  The film treats both of their decisions with respect.  The important thing, the film seems to be saying, is that all of them are in control of their own future.

It’s an exploitation film, make no doubt about it.  Today, we might talk about the film’s politics and its feminist subtext but I kind of doubt that’s what made the film a box office success in 1970.  That said, Stephen Rothman brings some imagination to even the film’s most exploitive scenes.  When Priscilla drops acid on the beach, Rothman slowly introduces more and more people to the scene, leaving us to wonder, just as Priscilla does, whether they’re real or their just a part of her trip.  All four of the lead actresses are well-cast and fans of great character actors will probably enjoy seeing Reni Santoni playing someone other than a cop or a doctor.

Finally, like so many exploitation films, The Student Nurses is a true time capsule.  The music, the clothes, the groovy slang, this is a film that proudly announces that it was made in 1970.  We may not have time machines but at least we have the movies.

I have no idea if The Student Nurses is a realistic portrayal of what it was like to be a student nurse in 1970.  That said, it’s an entertaining film and, in its grindhouse way, a tribute to the nurses who do so much.

 

The Films of 2026: Stepfather (dir by Chris Stokes)


At first glance, Darnell (Taye Diggs) appears to be a nice and charming guy.

He appears to have a good job.  He’s confident.  He’s seems to be all about family.  He’s the guy who tells his stepdaughter’s boyfriend to look him in the eyes because “that’s showing respect,” but he somehow manages to do it without coming across as being a complete jerk.  Darnell spends a lot of time talking about the correct way to show respect and how to act like a man and his wife, Asia (Tamar Braxton), appreciates it.  Her ex-husband, Tim (TJ Shaw), was irresponsible and hurtful.  Her teen daughter, Melanie (Jessica Jarrell), is going through that rebellious phase and Asia is happy to have someone who can back her up when it comes to being a parent.  And Darnell …. well, Darnell is all about family.  In fact, one might even say that he’s a bit obsessed with finding the perfect family….

Of course, Darnell’s name isn’t really Darnell.  He’s used many different names over the years and he’s been a part of many different families.  Though Darnell might seem nice and polite on the surface, he regularly has fantasies where he loses control.  When he’s alone, he talks to his other personalities.  He also remembers how he murdered his last family and went on the run.,..

Stepfather, as you already guessed, is an uncredited remake of the classic 1987 thriller, The Stepfather.  Taye Diggs steps into the role that was previously played by Terry O’Quinn, Robert Wightman, and Dylan Walsh.  (Wightman played the role in Stepfather III while Walsh took over for the 2009 remake that literally no one remembers.)  Is this latest version of Stepfather any good?

Define good.

I say that because this is a Tubi original and I think you can very much argue that, when compared to other Tubi originals, Stepfather isn’t bad.  The film is in focus.  You can hear the dialogue.  The pacing sometimes feels a bit off and the scenes of two detectives searching for Darnell often feel like filler but, for what it is, Stepfather is an entertaining film.  I watched it on Friday while it was raining outside and I enjoyed it.  It can’t really compare to the original film because the original film was as much a satire as it was a thriller.  The remake does have a few moments where Darnell’s attempts to be a “perfect father” seem to comment on all the psychobabble about “respect” that was sold by the television shows that Darnell probably watched as a youth.  But, for the most part, Stepfather is a straight-forward thriller.  There aren’t a lot of surprises, especially if you’re someone who has watched a lot of Lifetime films.  But the film still holds your attention.

Not surprisingly, the strongest thing about the film was the memorably unhinged performance of Taye Diggs.  If the original film was made all the more effective by Terry O’Quinn’s initial blandness as the title character, this version wastes no time in establishing that Darnell is a bit unstable.  After murdering his previous family, he dances.  When he meets Asia in a grocery store, he delivers every line like a charming wolf on the hunt.  When he argues with his other personalities, Diggs does a good job of establishing each personality as an individual character.  Diggs shows what a good actor can do with familiar material.

Stepfather is available on Tubi.

 

Late Night Retro Television Review: Freddy’s Nightmares 2.17 “Interior Loft Later”


Welcome to Late Night Retro Television Reviews, a feature where we review some of our favorite and least favorite shows of the past! On Fridays, I will be reviewing Freddy’s Nightmares, a horror anthology show which ran in syndication from 1988 to 1990. The entire series can be found on Tubi!

This week, a loft sees a lot of action!

Episode 2.17 “Interior Loft Later”

(Dir by Ken Wiederhorn, originally aired on February 4th, 1990)

The loft from last week’s episode returns!

The loft is now home to sculptor Alex McFain (Robert F. Lyons).  Alex spends most of his time sitting and sleeping in a bath tub and complaining about the fact that his work doesn’t make him much money.  When his wife, Fabina (Fabiana Udenio) accidentally kills one of Alex’s models, Alex comes up with a brilliant plan.  He’ll fake his own death so his work will become valuable!

At first, the plan works.  The only problem is that Alex can no longer leave the loft.  With Fabina constantly going outside to sell his work, Alex starts to worry that she’s having an affair with another man.  It tuns out that he’s half-right.  Fabina is having an affair but it’s with another woman.  Alex is shocked but he’s then killed by decorative sword that falls off of the ceiling.  Now, his work will be really valuable!

Months later, Fabina’s former boy toy, Art (Dean Fortunato), shows up at the apartment and discovers that it is now occupied by Stacy (Leslie Bega) and Gina (Tory Polone).  Art moves in with them and proceeds to seduce both of them.  He tells one that he’s an environmental activist being pursued by a cartel of fishermen.  He tells the other that he’s being chased by the mob.  When Stacy and Gina compare notes, it’s bad news for both Art.

Freddy doesn’t do anything in either one of these stories, other than introduce them.  Both stories follow the familiar pattern where anything overly dramatic that happens is ultimately revealed to be a dream.  Neither story is all that interesting but Robert F. Lyons does his best to bring some life to his role of the sculptor pretending to be dead.  As has so often been the case with the second season, this episode isn’t great or even memorable but it’s still a hundred times better than the majority of the first season.

Retro Television Review: St. Elsewhere 3.24 “Cheers”


Welcome to Retro Television Reviews, a feature where we review some of our favorite and least favorite shows of the past! On Fridays, I will be reviewing St. Elsewhere, a medical show which ran on NBC from 1982 to 1988.  The show can be found on Daily Motion.

This week, season 3 comes to an end.

Episode 3.24 “Cheers”

(Dir by Bruce Paltrow, originally aired on March 27th, 1985)

It’s Easter at St. Eligius and, of course, everyone is a bit depressed.  While the patients in the Children’s Ward prepare for the annual Easter egg hunt (and are told about the magic Golden Egg), a man who dresses like Jesus is attacked by a bunch of vagrants and wheeled into the Emergency Room.  Meanwhile, Dr. Craig is shaken to learn that his mentor, Dr. David Domedion (Dean Jagger), is suffering from dementia and Dr. Auschlander worries about his wife as she undergoes heart surgery.

And yet somehow, Dr. Westphall still manages to be the most depressed person in the hospital.

I have to admit that, over the course of this season, I’ve grown a bit frustrated with Dr. Westphall and his nonstop depression.  At least one terrible thing has happened to every character on the show but they’ve all managed to continue on with their lives and their careers.  Dr. Westphall is selling his house and, as a result, he’s spent a year having an existential crisis.  Dr. Asuchlander is terminally ill and he still manages to smile occasionally.  I realize that I’m probably being too hard on Westphall but seriously …. cheer up, old man!  People love you!

This rather dark and depressing episode features an odd moment when Westphall, Crag, and Auschlander go to a neighborhood bar and talk about life.  Their conversation is serious but the bar is Cheers, which was the setting of a popular sitcom of the same name in the 80s.  (Dr. Frasier Crane first appeared on Cheers, though he’s sadly not present in this episode.)  While the doctors wrestle with their misery, the bar regulars make jokes.

Barmaid Carla (Rhea Pearlman) gives them a hard time when she discovers that they work at St. Eligius.  In fact, the entire bar seems to groan at the hospital’s name.

Bar regular Norm (George Wendt) is also Auschlander’s former accountant.  Norm apologizes for losing Auschlander a good deal of money.  Then Norm goes back to drinking.  Maybe don’t hire an alcoholic to be your accountant.

Postman Cliff (future PIXAR regular John Ratzenberger) tries to get free medical advice.  The doctors aren’t in the mood.

It’s an odd scene but there’s still a definite charm to it.  It’s as if the show’s writers were acknowledging how difficult it can be to take Westphall’s nonstop glumness and they were puncturing his self-absorption a little by having the cast of another show attempt to steal the spotlight from all of his problems.  This episode seems to be saying, “There’s a world outside of St. Eligius and it’s full of day drinkers.”

Still, the scene is ultimately about Dr. Westphall.  At the end of it, he announces that he’s done with being a doctor.  He’s going to retire.  He’s going to leave St. Eligius and presumably find a new group of people to depress.  Well, good for him.

The episode ends with Westphall leaving the hospital, perhaps for the last time.  As he leaves, he spots and picks up the Golden Easter Egg.

Hey, Westphall, that egg is for the kids!

Next week, we start a new season!

 

Song of the Day: Profondo Rosso by Goblin


In honor of Daria Nicolodi’s birthday, today’s song of the day comes from Dario Argento’s Deep Red!

Deep Red features the first collaboration between Argento and Goblin and the score remains a classic.

Here’s Goblin performing Profondo Rosso on Italian television in 1975.

Late Night Retro Television Review: Hunter 1.9 “High Bleacher Man”


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 Hunter, which aired on NBC from 1984 to 1991.  The entire show is currently streaming on Tubi and several other services!

This week, Hunter gets another bad assignment.

Episode 1.9 “High Bleacher Man”

(Dir by Arnold Laven, originally aired on December 7th, 1984)

Hunter and McCall have finally arrested Elton Gavin (Michael Baselon), a murderous punk who has been causing mayhem all over Los Angeles.  Unfortunately, Gavin works out a deal.  For immunity, he’ll turn on gangster Nate Demarest (Richard Romanus).  With Demarest eager to kill the informant, Hunter finds himself assigned to protect Gavin until Gavin can testify.

The problem, of course, is that Gavin is a sociopath.  Hunter doesn’t want to protect Gavin.  He doesn’t want Gavin to get immunity.  He certainly doesn’t want to see Gavin back out on the streets.  When Hunter learns that McCall once investigated Demarest for killing a federal agent, he asks her to reopen the case.  If they can get Demarest on that charge, then there won’t be any reason to give Gavin immunity.

Poor Hunter and McCall.  They always get the worst assignments.  This was pretty much a standard episode of Hunter but the chemistry between Fred Dryer and Stepfanie Kramer was fun to watch.  In the middle of all the action and the bullets, Dryer and Kramer were actually a pretty good comedy team.  It’s fun to listen to them talk.

As I watched this episode, I suddenly remembered that Hunter’s father was a gangster and therefore, one would think that Hunter would have more contacts in the world of organized crime than he does.  Hunter’s mob background is one of those things that the show sometimes seems to forget about.

The other thing that occurred to me as I watched this episode is that, in 1984, John Amos probably had one of the easiest jobs in television.  He played Dolan, Hunter and McCall’s captain.  As far as I can tell, his role consisted of showing up at the end of each episode and yelling at Hunter for taking unnecessary risks.  That was pretty much it.  Amos just had to be annoyed for two-minutes every week.

Of course, it didn’t matter how much Dolan got annoyed,

Hunter got results!

Retro Television Review: Decoy 1.35 “Tin Pan Payoff”


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 Decoy, which aired in Syndication in 1957 and 1958.  The show can be viewed on Tubi!

This week, Casey goes undercover!

Episode 1.35 “Tin Pan Payoff”

(Dir by David Alexander, originally aired on June 9th, 1958)

After songwriter Chick Williams is found murdered in his apartment, the only clue that the police have going for them is a vinyl record spinning on Chick’s record player.  (Welcome to 1958!)  The singer on the record is Sally Masters (Ellen Parker), a local nightclub performer.  The police figure out that it’s a “demo record.”  Sally is the number one suspect so Casey goes undercover as a music agent and discovers just how cutthroat the business can be.

This episode was a whodunit.  It turns out that Chick cheated and betrayed a lot of people in his life.  It seems like the entire city of New York has a motive but, since this is Decoy, Casey quickly narrows it down to four suspects.  Casey going undercover as a music agent was actually more interesting than the mystery itself, if just because Casey got to dress up and hang out in one of those wonderfully atmospheric New York nightclubs.  She also learned about how DJs like Jerry Lynch (Lee Bergere) can make someone a star and also how even successful songwriters like Chick Williams occasionally employed “a ghost writer.”  Watching Decoy, it’s hard not to feel that the best thing about Casey’s job is that she has an unlimited wardrobe and she gets to investigate every single facet of New York society.

Like a lot of the later Decoy episodes that I’ve seen, this episode isn’t quite as gritty as the earlier episodes.  There’s less emphasis on Casey as a tough cop and more on Beverly Garland looking glamorous undercover.  That said, Casey still gets the job done and takes a few minutes to speak directly to the audience.  One thing I appreciate about Casey is that she doesn’t let her own feelings get in the way of doing her job.  At a time when women were often portrayed being too flighty or emotional to be trusted in a position of authority, Casey always got results.