Film Review: 10 to Midnight (dir by J. Lee Thompson)

Posted on March 22, 2023 by Lisa Marie Bowman

The 1983 film, 10 to Midnight, opens with LAPD detective Leo Kessler (played by legendary tough guy Charles Bronson) sitting at his desk in a police station. He’s typing up a report and taking his time about it. A reporter who is in search of a story starts to bother Leo.

“Jerry,” Leo tells him, “I’m not a nice person. I’m a mean, selfish son-of-a-bitch. I know you want a story but I want a killer and what I want comes first.”

It’s a classic opening, even if Leo isn’t being totally honest. Yes, he can be a little bit selfish but he’s really not as mean as he pretends to be. He may not know how to talk to his daughter Laurie (Lisa Eilbacher) but he is also very protective of her and he wants to be a better father than he’s been in the past. He may roll his eyes when he discovers that Detective Paul McAnn (Andrew Stevens) is the son of a sociology professor but he still tries to act as a mentor to his younger partner. Leo may complain that the criminal justice system “protects those maggots like they’re an endangered species” but that’s just because he’s seen some truly disturbing things during his time on the force and, let’s face it, Leo has a point. When one of Laurie’s friends is murdered, Leo is convinced that Warren Stacy (Gene Davis) is the murderer and he’s determined to do whatever he has to do to get Warren off the streets. “All those girls,” Leo snarls when he sees Warren, his tone letting us know that his mission to stop Warren is about more than just doing his job.

Warren Stacy is handsome, athletic, and he has good taste in movies. (He’s especially a fan of Butch Cassidy and the Sundance Kid. Just don’t try to trick him by saying Steve McQueen played the Sundance Kid.) Warren is also a total creep, the type of guy who complains that a murder victim “wasn’t a good person,” because she trashed him in her diary. When Leo takes a look around Warren’s apartment, he finds not only porn but also a penis pump. (“It’s for jacking off!” Leo yells at Warren, enunciating the line as only Charles Bronson could.) Warren is also a murderer but he’s a clever murderer, the type who sets himself up with an alibi by acting obnoxiously in a movie theater. Warren strips nude before killing his victims, in order to make sure that he doesn’t leave behind any evidence. (This film was made in the days before DNA testing.)

Leo knows that Warren is guilty but, as both his gruff-but-fair captain (Wilford Brimley, naturally) and the D.A. (Robert F. Lyons) point out, he has no way to prove it. When Warren starts to stalk Laurie and her friends (including Kelly Preston), Leo decides that he has no choice but to frame Warren. But when Warren’s amoral attorney, Dave Dante (Geoffrey Lewis, giving a wonderfully sleazy performance), threatens to call McAnn to the stand, McAnn has to decide whether to tell the truth or to join Leo in framing a guilty man.

10 to Midnight is a violent, vulgar, and undoubtedly exploitive film, one that features a ham-fisted message about how the justice system is more concerned with protecting the rights of the accused as opposed to lives of the innocent. And yet, in its gloriously pulpy way, this is also one of Bronson’s best films. It’s certainly my personal favorite of the films that he made for Cannon.

Director J. Lee Thompson and Charles Bronson were frequent collaborators and Thompson obviously knew how to get the best out of the notoriously reserved actor. Bronson was not known for his tremendous range but he still gives one of his strongest performances in 10 to Midnight, playing Leo as being not just a determined cop but also as an aging man who is confused by the way the world is changing around him. Stopping Warren isn’t just about justice. It’s also about fighting back against the the type of world that would create a Warren Stacy and then allow him to remain on the streets in the first place. Interestingly, though Leo doesn’t hesitate when it comes to framing Warren, he is also sympathetic to McAnn’s objections. Unlike other Bronson characters, Leo doesn’t hold a grudge when his partner questions his methods. Instead, he simply know that McAnn hasn’t spent enough time in the real world to understand what’s at stake. McAnn hasn’t given into cynicism. He hasn’t decided that the best way to deal with his job is to be a “mean son of a bitch.” Bronson and Andrew Stevens, who had worked together in the past, have a believable dynamic. McAnn looks up to Leo but is also conflicted by his actions. Leo may be annoyed by McAnn’s reluctance but he also respects him for trying to be an honest cop. Their partnership feels real in a way that sets 10 to Midnight apart from so many other films about an older cop having to deal with an idealistic partner.

One of the most interesting things about the film is Leo’s relationship with his daughter, Laurie. Over the course of the film, Leo and Laurie go from barely speaking to bonding over liquor and their shared regrets about the state of the justice system. When McAnn first meets Laurie, she’s offended when McAnn suggests that she takes after her father. But, as the film progresses, she comes to realize that she and Leo have much in common. (To be honest, I related quite a bit to Laurie, especially as I’ve recently come to better appreciate how much of my own independent nature was inherited from my father.) Lisa Eilbacher and Charles Bronson are believable as father-and-daughter and they play off of each other well. The scenes between Laurie and Leo give 10 to Midnight a bit more depth than one might otherwise expect from a Bronson Cannon film. Leo isn’t just trying to protect his daughter and her roommates from a serial killer. He’s also trying to be the father who he wishes he had been when she was younger. He’s trying to make up for lost time, even as he also tries to keep Warren Stacy away from his family.

As played by Gene Davis, Warren Stacy is one of the most loathsome cinematic villains of all time. Warren’s crimes are disturbing enough. (Indeed, the surreal sight of a naked and blood-covered Warren Stacy stalking through a dark apartment is pure nightmare fuel.) What makes Warren particularly frightening is that we’ve all had to deal with a Warren Stacy at some point in our life. He’s the sarcastic and easily offended incel who thought he was entitled to a phone number or a date or perhaps even more. As I rewatched this movie last night, I wondered how many Warrens I had met in my life. How many potential serial killers have any of us unknowingly had to deal with? Warren tries to strut through life, smirking and going out of his way to let everyone know that he knows more than they do but the minute that Leo turns the table on him, Warren starts whining about he’s being treated unfairly. During his final, disturbing rampage, Warren yells that his victims aren’t being honest with him, blaming them for his actions. The film deserves a lot of credit for not turning Warren into some sort of diabolical and erudite supervillain. He’s not Hannibal Lecter. Instead, like all real-life serial killers, he’s a loser who is looking for power over those to whom he feels inferior and for revenge on a world that he feels owes him something. He’s a realistic monster and that makes him all the more frightening and the film all the more powerful. Warren is the type of killer who, even as I sit here typing this, could be walking down anyone’s street. He’s such a complete monster that it’s undeniably cathartic whenever Leo goes after him.

How delusional is Warren Stacy? He’s delusional enough to actually taunt Charles Bronson! At one point, Warren informs Leo that he can’t be punished for being sick. Warren announces that, when he’s arrested, he might go away for a while but he’ll be back and there’s nothing Leo can do about it. (The suggestion, of course, is that Warren will be back because he committed his crimes in California and all the judges were appointed by a bunch of bleeding heart governors. Warren may not say that out loud but we all know that is the film’s subtext. Some people may agree with the film, some people may disagree. Myself, I’m against the death penalty because I think it’s a prime example of government overreach but I still cheered the first time that I heard Clint Eastwood say, “Well, I’m all torn up about his rights,” in Dirty Harry.) How does Leo react to Warren’s taunts? I can’t spoil the film’s best moment but I can tell you that 10 to Midnight features one of Bronson’s greatest (and, after what we’ve just seen Warren do, most emotionally satisfying) one-lines.

The title has nothing to do with anything that happens in the film. In typical Cannon fashion, the film’s producers came up with a snappy title (and 10 to Midnight is a good one) and then slapped it onto a script that was previously called Bloody Sunday. Fortunately, as long as Bronson is doing what he does best, it doesn’t matter if the title makes sense. And make no mistake. 10 to Midnight is Bronson at his best.

Retro Television Reviews: Fantasy Island 2.14 “Séance/The Treasure”

Posted on March 21, 2023 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 Tuesdays, I will be reviewing the original Fantasy Island, which ran on ABC from 1977 to 1986. The entire show is currently streaming on Tubi!

This week, Eve Plumb and Leslie Nielsen visit Fantasy Island!

Episode 2.14 “Séance/The Treasure”

(Dir by Larry Stewart, originally aired on January 13th, 1979)

Tattoo is a horse thief! He claims that he just found the horse while wandering around the island but later, he comes across a wanted poster that has his picture on it and the declaration that Tattoo is wanted dead or alive. Mr. Roarke gets a good laugh out of that and even repeats the words, “Dead or alive,” as if he’s realizing that he’s finally found a way to get rid of his assistant. Fortunately, Mr. Roarke has a change of heart and, at the end of the episode, buys the horse for Tattoo. Awwwww!

As for this week’s guests, Joe Capos (George Maharis) is a fisherman who has always wondered what it would be like to be a millionaire. Joe and his wife, Eva (Shelley Fabares), come to the island and find themselves set up in a house that looks exactly like the one where Joe grew up. One day, Joe goes out fishing and what should he find in his net but a gold statue of Triton blowing his horn! It’s a valuable artifact, one that could make Joe a millionaire if it is found to be authentic. Soon, Joe is surrounded by a bunch of people who are hoping to be on his good side when he becomes rich. He’s the most popular man on the island! Unfortunately, Joe is having so much fun being rich and popular that his neglected wife leaves him. Joe knows that the only way to get Eva back is to return the statue to the ocean but will he have the courage to give up wealth and fame for love?

Meanwhile, Eve Plumb plays — wait a minute, Eve Plumb? Just last week, Robert Reed was on the show, playing a method actor who thought he was a vampire. Now, the original Jan Brady has come to the island. I wonder if the entire Brady Bunch will eventually make it to Fantasy Island?

Plumb is playing Clare Conti, a young woman who suspects that her twin brother was murdered. In order to prove it, her fantasy is to have a séance and contact him. Her entire family comes to the Island for the séance, including Uncle Victor (Leslie Nielsen). This episode is Neilsen’s second appearance on the Fantasy Island and, again, he’s playing a very serious and a very somber character but, because he’s so deadpan about it, it’s hard not hear everything that he says as being a joke. It’s always great fun to see Nielsen playing humorless authority figures in the days before he became a comedy superstar. The only thing that would make this episode better would be if Nielsen turned out to be the murderer but sadly, he’s not. As for the rest of the fantasy, the séance scenes manage to strike the right balance between being creepy and being campy. Clare’s dead brother yells a lot but I guess that’s what you do when you’re trying to communicate from the beyond.

This was an enjoyable episode, featuring good performances from the guest stars and fantasies that were intriguing without demanding too much from the audience. This trip to Fantasy Island was more than worth it.

Film Review: Warrior of the Lost World (dir by David Worth)

Posted on March 21, 2023 by Lisa Marie Bowman

The 1983 Italian film, Warrior of the Lost World, opens with a long title card that explains that society has collapsed, due to radiation, disease, wars, and multiple bank bail-outs. The world of the future is a dangerous place, where the roads are ruled by dangerous scavengers. It’s a world where survival is not guaranteed and only those who are willing to fight will live to see another day and….

Well, look, I’ll be honest. It was a really long title card and, as anyone who knows me can tell you, I don’t have a particularly long attention span. I read about the radiation and the diseases and then I kind of zoned out. The important thing to know is that the film takes place in the future and that the film was made in the wake of the international success of The Road Warrior. In the early 80s, the Italian film industry briefly abandoned zombies to make movies about people driving cars through a post-apocalyptic landscape. In fact, I initially assumed that David Worth was a pseudonym for someone like Enzo Castelleri or even Umberto Lenzi. David Worth is actually a cinematographer who worked on a few Clint Eastwood films and who went to Italy to make his directorial debut with Warrior of the Lost World. After this film, Worth went on to direct Kickboxer and handful of others.

(One thing that’s always interesting about watching these films is discovering that people were speculating about the collapse of society long before 2023. It’s kind of nice to be reminded that people have always been panicking about something, even while society itself continued to survive and grow.)

Robert Ginty stars as The Rider, a man so tough that he doesn’t even need a name. The Rider and his motorcycle travel across the country. The Motorcycle can talk, though it’s screechy voice might make you wish that it couldn’t. It warns The Rider whenever there’s danger nearby. When a bunch of punk rock rejects attempt to attack the Rider, his motorcycle identifies them as being “dorks.” Later, when the Rider is looking at a woman who he has just saved from death, the Motorcycle orders, “Kiss the girl!” The Motorcycle has a weird quirk where it says everything three times. The Rider talks back to the Motorcycle but he always mumbles all of his lines, to the extent that it’s often difficult to really understand what he’s saying. It’s hard not to get the feeling that Robert Ginty couldn’t believe that he was actually having to pretend as if he was a heart-to-heart with a motorcycle.

(The Rider’s bike is actually named Einstein but, to me, it will always by The Motorcycle.)

After the Rider crashes into a wall, he’s nursed back to health by a bunch of old people who are trying to organize a rebellion against the evil Prossor (Donald Pleasence), who rules the State of Omega. Prossor has kidnapped the rebellion’s leader, Prof. McWayne (Harrison Muller, Jr). The old people want The Rider to accompany McWayne’s daughter, Natasia (Persis Khambatta), to Prossor’s city. The Rider whines about being asked but eventually agrees to do so. I’m not sure why The Rider agrees to help because The Rider seriously never stops complaining about how inconvenient the whole journey is. While The Rider does manage to rescue McWayne, Natasia gets left behind so, of course, the Rider has to do it all over again. Fortunately, it turns out that the Omega army isn’t quite as competent as everyone claims that they are. In fact, outsmarting Prosser is so easy that you can’t help but wonder why no one bothered to it before.

Warrior of the Lost World is not necessarily a good movie but, when watched with a group of friends and with the right snarky attitude, it is a fun movie. The action and the plotting is just so over-the-top and ridiculous that it’s hard to look away from the screen and Robert Ginty seems so genuinely annoyed by every little thing that happens that it’s hard not to wonder if maybe The Rider read the script before heading off to confront Prossor. An extended sequence is devoted to everyone singing the Rebellion’s national anthem, the great Donald Pleasence rants like a pro, Fred Williamson has a largely pointless cameo, and the film features what appears to be a 20-minute kiss between The Rider and Natasia. (The Motorcycle watches.) If you can’t have fun while watching Warrior of the Lost World, I just don’t know what to tell you.

Music Video of the Day: River by Miley Cyrus (2023, dir by Jacob Bixenman)

Posted on March 21, 2023 by Lisa Marie Bowman

Today’s music video of the day comes to us from Miley Cyrus. It pretty much looks and sounds like almost every other music video that’s come out over the past few months but the familiarity is the point. We’re not living in an age of risk takers, especially when it comes to music.

Enjoy!

Retro Television Reviews: Hang Time 4.3 “Let Them Play” and 4.4 “Lend A Helping Hammer”

Posted on March 20, 2023 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 Hang Time, which ran on NBC from 1995 to 2000. The entire show is currently streaming on YouTube!

Season 4 continues! Will Coach K ever figure out how to step into Coach Fuller’s shoes? Will the team ever come together? Will Julie and Mary Beth ever graduate? Let’s find out!

Episode 4.3 “Let Them Play”

(Dir by Patrick Maloney, originally aired on September 19th, 1998)

Another big game is coming up but the majority of the team doesn’t want to play it! It turns out that one of their rival teammates is HIV+ and, as a result, high schools across Indiana have been refusing to play them. When Coach K puts it to a team vote, only Michael argues that they shouldn’t cancel their upcoming game. Even St. Julie votes to cancel the game.

However, Michael then brings the HIV+ positive player down to The Stadium, the oddly sterile restaurant where everyone hangs out. The team discovers that their rival is just like them and almost all of them change their minds about playing. The only one who doesn’t now want to play is …. JULIE! Julie tells Michael that she doesn’t feel safe playing against a player with HIV, especially since she’ll be the one guarding him in the game. “C’mon, Julie,” Michael says, “we need you in this game!” And Michael’s correct because, if there’s anything we’ve learned from Hang Time, it’s that Julie is the only good basketball player in Indiana. Maybe that’s why she’s been allowed to stay at the high school for an extra year….

Despite the players changing their minds, the school board says that the game still cannot be played. As a way to protest, the teams decide to play an “unofficial” game. When a member of the school board comes by the gym to complain, Julie sees that it’s the same member of the board who always says that a girl shouldn’t be allowed to play basketball! Julie decides that she will play, once again proving that the best way to get Julie to do anything is to make it all about Julie.

This is one of those episodes that probably would have worked much better with the “old” cast. I imagine if this episode had aired during the previous season, Danny would have been the one arguing that the team should play and that would have been totally in character for him. Turning Michael into a social crusader with a conscience goes against everything that we’ve learned about Michael up until this point. As well, we still don’t know any of the new players so it’s a bit hard to know how to react to their feelings about playing against someone who is HIV positive. Are they prejudiced or are they just worried? Are they homophobic or are they just uneducated about how HIV is transmitted? And, finally, it’s hard not to notice that Dick Butkus has a bit less gravitas than Reggie Theus when it comes to discussing whether or not HIV can be transmitted through playing basketball. This episode came across as being well-intentioned but heavy-handed.

The B-plot features Mary Beth encouraging Kristy to write an angry letter to the art teacher who gave her a C on an assignment. As played by Amber Baretto, Kristy put so much joy into writing her letter that it was fun to watch. I laughed

Episode 4.4 “Lend A Helping Hammer”

(Dir by Patrick Maloney, originally aired on September 19th, 1998)

Nick Hammer gets his first storyline as a member of the Tornadoes! When he falls for Taylor, the new waitress at the Stadium, he’s shocked to discover that she and her family live at a homeless shelter. On Saved By The Bell, when Zack liked a girl who was without a home, he arranged for her and her father to live at his house. (And, much like the tenants of H.H. Holmes, they were never seen, heard from, or mentioned again….) Nick, however, convinces the Coach that, instead of using the money raised at the school dance to buy new uniforms, the money should be donated to Taylor and her family. Of course, Nick also accidentally announces that Taylor is homeless to the entire school.

This was another episode that probably would have worked better with the old cast. It’s easy to imagine it as being another Danny storyline. Nick goes out of his way to help someone in need, which is nice, but we don’t really know Nick so we don’t know if his behavior is unusual or if he just does this for everyone that he meets. It was a well-intentioned episode but it did seem to suggest that the best way to deal with homelessness is to have a bunch of wealthy friends. Everyone goes out of their way to help Taylor but everyone else at the shelter just kind of gets ignored.

In the B-plot, Kristy is using a lot of slang. Julie says that it’s because Kristy recently read a book by Queen Latifah. In the C-plot, the Coach makes the team take a ballet lesson to make them more flexible. “Ballet!” I excitedly exclaimed, when the idea was first brought up. Unfortunately, the ballet scene is really short and the entire team has terrible form.

So far, Hang Time Season 4 has yet to escape the shadow of the past. Hopefully, next week will be better for the Tornadoes and their new coach.

Film Review: Heroes (dir by Jeremy Kagan)

Posted on March 20, 2023 by Lisa Marie Bowman

The 1977 film, Heroes, tells the story of Jack Dunne (a young Henry Winkler).

Jack spent four years fighting in Vietnam. Since returning to America, he has struggled to adjust to civilian life. Though he’s mentally blocked out much of what happened in Vietnam, he’s haunted by nightmares, When we first meet him, he’s a patient at a mental health facility in New York City. He has big plans, though. He wants to open up a worm farm in Eureka, California. He’s convinced that he can make a ton of money selling worms to fisherman and he wants all of the old members of his unit to join him in the venture. After Jack escapes from the hospital, he boards a bus heading for California.

He also meets Carol (Sally Field), who is supposed to be getting married in four days but who has decided to board a bus and take an impromptu vacation instead. When Carol is told that the bus is already full and she’ll have to wait for the next one, Jack bribes the ticket agent to get Carol on the bus. Once on the bus, Jack makes himself into a nuisance, continually bothering the driver (Val Avery) and embarrassing Carol. (In the film’s defense, it’s later established that Jack isn’t just being a jerk for fun. The driver’s uniform makes Jack nervous. That said, it’s hard not to feel bad for the driver, who is just doing his stressful job to the best of his ability.) Carol and Jack do eventually strike a tentative friendship. They’re linked by the fact that they’re both trying to escape from something.

At a diner, Jack tells her that he served in Vietnam.

“I protested the war,” Carol says.

“I fought it,” he replies.

Carol eventually joins with Jack in his quest to track down the three people who he expects to go into business with. One of them is missing. One of them never returned home from the war. And the third, Ken (Harrison Ford), is living in a trailer and raising rabbits for a living. Ken is also a stock car racer, though he eventually admits that he rarely wins. In fact, he seems to spend most of his time drinking and shooting off the M16 that he keeps in his car’s trunk. Meeting Ken sends Jack spiraling into depression but, with Carol’s help, Jack is finally starts to come to terms with the reality of what happened to him and his friends in Vietnam.

Heroes was one of the first films to sympathetically portray the plight of Vietnam veterans struggling to adjust to life back in the United States and it certainly deserves a lot of credit for its good intentions. (Indeed, it’s implied that a part of Carol’s concern from Jack comes from her own guilt over how the anti-war movement treated the returning soldiers.) That said, the film itself is an awkward mix of drama and comedy. The first half of the film, in which Henry Winkler comes across like he’s doing a manic Al Pacino impersonation, is especially uneven. Winkler and Field are both naturally likable enough that the film remains watchable but, during the first half of the film, most viewers will never buy their relationship for a second. It’s hard to believe that the driver wouldn’t have kicked Jack off the bus as soon as he started to cause trouble and the other passengers often seem to be unrealistically charmed by Jack’s behavior. If I’m on a crowded bus and some dude insists on walking up and down the aisle and taunting the driver, I’m probably going to get off at the first stop and refuse to get back on. Traveling with a bunch of strangers is already nerve-wracking enough without having to deal with all of that.

Not surprisingly, things improve once Harrison Ford shows up. This was one of Ford’s last character parts before he was cast as Han Solo in Star Wars. (Heroes, however, was released after Star Wars, which explains why Ford is mentioned prominently in the trailer despite having a relatively small role.) Ford gives a strong performance as the amiable but ultimately self-destructive Ken. Ford plays Ken as someone whose quick smile is a cover for the fact that his entire life is a mess. Whereas Jack wears his emotions on his sleeve (and Winkler never stops projecting those emotions), Ken is someone who has repressed his anger and his sadness and Ford gives an internalized and controlled performance. Perhaps not coincidentally, Winkler calms down a bit when he’s acting opposite Ford and, as a result, his own performance starts to improve.

After the meeting with Ken, Jack starts to realize that it’s not going to be as easy to start his business as he thought. Jack starts to come down from his manic high and, even more importantly, Henry Winkler stops overacting and instead, starts to dig into the sadness at the heart of Jack’s life. During its second half, the film finally settles on being a drama and Heroes becomes a much stronger story as a result. Even Jack and Carol’s relationship seems to make more sense during the second half of the film. Things end on a note of cautious optimism, which also acknowledging that life can never go back to what it was before the war.

Today, if anyone watches Heroes, it’s probably going to be for Harrison Ford. (I imagine the presence of Harrison Ford is the reason why it’s currently available on Netflix.) It’s a bit of an uneven film, one that feels as if it should have been stronger than it actually was. Still, it’s a worthwhile time capsule of 1977 and America’s struggle to come to terms with the Vietnam War. Today, we’re still struggling to come to terms with what happened in Iraq and with the botched withdrawal from Afghanistan and, again, it seems like the country is too busy trying to move on to take the time to take care of its veterans. It’s sad that so many people only seem to care about the soldiers who fight in popular wars. Heroes was a plea to America not to forget its veterans. It’s a plea that still needs to be heard.

Music Video of the Day: If You Come To Me by Atomic Kitten (2003, dir by Si & Ad)

Posted on March 20, 2023 by Lisa Marie Bowman

The next time someone tells you that music was generic and predictable in the early aughts …. well, don’t try to refute their case with Atomic Kitten.

This video was shot in front of a greenscreen. There’s no plot but there is a lot of dancing and personally, I think that’s a good thing. Back in 2003, there was really no need to pretend that the song and the video were meant to do anything other than sell the group and score a spot on the soundtrack of the next Lizzie McGuire movie.

Personally, I like Atomic Kitten because of their name.

Enjoy!

Retro Television Reviews: The Weekend Nun (dir by Jeannot Szwarc)

Posted on March 19, 2023 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 the made-for-television movies that used to be a primetime mainstay. Today’s film is 1972’s The Weekend Nun! It can be viewed on YouTube!

By day, Marjorie Walker (Joanna Pettet) is a probation officer who, some might say, cares just a little too much.

By night and on the weekends, she’s Sister Mary Damian, a nun who has taken the three vows of poverty, chastity, and obedience.

Mother Bonaventure (Ann Sothern) isn’t sure that she’s happy about Sister Damian working as a probation officer. And the tough and cynical Detective Chuck Jardine (Vic Morrow) certainly isn’t happy when he discovers that the reason why Marjorie has never invited him into her home for a drink is because she lives at a convent. But Marjorie is determined to make a difference, especially in the life of a troubled teen runaway named Audree (Kay Lenz).

Now, this may sound like the premise of a socially relevant sitcom and, indeed, The Weekend Nun is one of those titles that might lead some to expect wacky hijinks and an intrusive laugh track. However, The Weekend Nun is not only loosely based on a true story but the film also takes itself very seriously. From the minute that Sister Damian agrees to take part in a program that would allow her to work a real job during the day while returning to the convent at night, she’s exposed to the harsh realities of the world. She goes from being sheltered to dealing with distraught parents, drug addicts, teen prostitutes, and violent criminals. Because Captain Richardson (James Gregory) doesn’t want anyone to feel uncomfortable, he hides the fact that she’s a nun. Of course, this leads to be people like Chuck Jardine wondering why Marjorie is so shocked when she witnesses the thing that he has to deal with a day-to-day basis.

And, indeed, the film’s biggest flaw is that Marjorie is often portrayed as being ridiculously naïve. The film acts as if spending time in a convent is somehow the equivalent of spending a decade hiding out in a bomb shelter or something. (Speaking as a Catholic school survivor, nuns are usually some of the least naïve people around.) Marjorie is portrayed as being such a wide-eyed innocent that it’s hard not to wonder why she was hired to work as a probation officer in the first place. Of course, Marjorie quickly gets an education on just how dangerous and unforgiving life on the streets can be and she soon has to make a choice between being a nun or being a probation officer. Will she give her life to God or will she potentially give it to Vic Morrow?

Joanna Pettet overplays Marjorie’s innocence but that’s more the fault of the script than anything else. James Gregory, Vic Morrow, and Ann Sothern are all believable as the authority figures in Marjorie’s life and Kay Lenz has a few good scenes as the teenage runaway who Marjorie tries to save. Beverly Garland has a small but brief role as Lenz’s horrifically unconcerned mother. It’s a well-acted film, regardless of any other flaws.

The Weekend Nun is not perfect but it’s still preferable to The Flying Nun. It’s a sincerely heartfelt film, one that’s earnest in a way that can seem a bit quaint but which is still likable when watched today. For better or worse, there’s not a hint of snark to be found.

Music Video of the Day: Come On Over by Jessica Simpson (2008, dir by Liz Friedlander)

Posted on March 19, 2023 by Lisa Marie Bowman

Today’s music video of the day is both wholesome and rebellious. It’s wholesome because it’s a Jessica Simpson video. It’s rebellious because it’s Jessica finally calling the shots over her own life.

Take that, Nick Lachey!

Seriously, this feels like a nice revenge video. It came out two years after Jessica and Nick divorced and it finds Jessica back on the ranch and waiting for a better lover and, even more importantly, doing it all on her own terms. This is the type of video that Jessica’s management never would have allowed to happen in the days before she married Nick. As such, this is not just a video about inviting over your lover. This is a video growing up, maturing, and embracing what makes you happy.

Enjoy!

March Positivity: This Is Our Time (dir by Lisa Arnold)

Posted on March 18, 2023 by Lisa Marie Bowman

The 2013 film, This Is Our Time, opens with a college graduation and a voice-over from Ethan (Shawn Culin-Young), who explains that everyone goes through four stages when they go to college. The first stage is being excited about getting away from home and being on you own. The second and third stages are about settling down, choosing your major, and maybe meeting the person with whom you want to spend the rest of your life. The fourth stage is all about looking forward to graduation and finally getting to enter the real world.

This Is Our Time follows the story of five friends as they discover what comes after the fourth stage. For two of them, it’s making a living as corporate workers and being pressured to behave unethically. For two others, it’s marriage and a new life working as missionaries in India, ministering to the needs of leprosy sufferers and their children. For Ethan, it means giving up his dream of being a writer and working as a waiter at his father’s bar. But, as Ethan warns us in his narration, one of the five is not going to be alive in a year. The movie follows the friends as they deal with death and try to learn how to live.

Some of the acting is a bit stiff and the attempt to capture the feel of corporate America feels rather comical. (Erik Estrada glowers his way through the role of a dishonest executive.) But, at the same time, the film does end with a message from the founder of Embrace a Village, which actually does provide support for people dealing with Leprosy and the guy is so sincere that it kind of makes you feel guilty for all the snarky thoughts that you had while watching the movie. Whatever else you might want to say about the film, the intentions are good and there’s something to be said for that.

Add to that, Eric Roberts is in the film. Roberts plays Ethan’s father and he brings a lot of genuine emotion to the role. The scene where he breaks down behind the bar in response to having gotten some bad news is well-done. Roberts is kind of famous for accepting almost any role that’s offered to him and he’s said that he hasn’t actually watched the majority of the films in which he’s appeared. Who knows if Roberts actually watched this film but, regardless, his performance was definitely the highlight.

Previous Eric Roberts Films That We Have Reviewed: