Retro Television Review: Decoy 1.7 “Deadly Corridor”

Posted on October 9, 2025 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 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 to prison!

Episode 1.7 “Deadly Corridor”

(Dir by Teddy Sills, originally aired on November 25th, 1957)

A murder has occurred in the medium security wing of a woman’s prison. The Warden (Agnes Young) and the District Attorney (John Newton) asks Casey to go in undercover to discover who killed a prisoner. Casey will pretend to be a prisoner and only the Warden will know that she’s actually a cop. Casey won’t have her gun, her badge, or her usual backup. It’s a dangerous assignment but the medium security wing will be shut down if there’s another incident. The District Attorney starts to explain the importance of rehabilitation. Casey replies, “I’m a police woman, not a sociologist.” Casey accepts the assignment because that’s her job.

Casey’s in jail! She has a really nice cell. It comes with a dresser, a vanity mirror, a bed, a lamp, and a desk! She’s even allowed to wear makeup in prison. Sign me up! Casey comes to suspect that the murder was committed by the butch Taffy (Colleen Dewhurst) but instead, it turns out the killer was the mentally-fragile Lois (Lois Nettleton). Lois is a kleptomaniac and killed the other prisoner after she ratted Lois out to the warden and caused Lois’s sentence to be lengthened. Lois subsequently attacks Casey because she’s worried that Casey is also “a fink” and Lois doesn’t want to end up spending any more time in prison. She wants to be released in three months so she can finally visit the grave of her baby. (Awwww!) Unfortunately, by the end of this episode, it’s looking like Lois will be lucky to escape the electric chair.

This episode has all of the usual women-in-prison cliches but they were all handed in a way so as to not upset the 1950s television viewing audience. For instance, the episode never came out and said that Taffy was a lesbian but the way she stared at Casey and ordered her to “come and see me,” didn’t really leave much doubt. When Taffy beats up Casey, she’s establishing her dominance and reminding the viewer that no one can walk away from a fight in prison. When Casey snitches to the warden, it’s because she wants to get Taffy out of the way for 24 hours so that Casey can investigate the murder. Casey can get away with that because she’s a cop and she can always just go to the Warden and ask to be released from the prison. If Casey were an actual prisoner, being labeled a snitch (or a “fink” as they apparently put it back then) would be a fatal error.

This episode had its campy moments but Lois Nettleton and Colleen Dewhurst both gave excellent performances and the final confrontation between Casey and Lois was actually pretty suspenseful. To my surprise, this turned out to be a good episode.

October True Crime: Guilty Until Proven Innocent (dir by Paul Wendkos)

Posted on October 9, 2025 by Lisa Marie Bowman

This 1991 made-for-TV movie opens with a murder in a Brooklyn park. The year is 1979 and a group of teenagers are accosted by two men carrying guns. The men rob the teenagers of their drugs and guns. One person is killed. When the police arrive, almost everyone says that it was too dark to see anything. However, a 15 year-old named Jimmy O’Neill (Tristan Tait) says that he saw the faces of the men.

At the police station, the detective (Mark Metcalf) shows him a picture of a man named Billy Ferro (Zachary Mott) and Jimmy identifies him as one of the gunmen. The detective then produces a picture of a 19 year-old named Bobby McLaughlin (Brendan Fraser) and asks if Bobby was the other man. When Jimmy hesitates, the detective says that McLaughlin has been arrested with Billy in the past.

Of course, the truth of the matter is that, while Bobby has been arrested in the past, he’s never been arrested for anything as serious as murder and he’s never met Billy Ferro. The man who had been arrested in the past with Ferro was named Harold McLaughlin. The detective accidentally grabbed the wrong picture.

Bobby, a high school drop-out who lives with his foster parents (played by Martin Sheen and Caroline Kava), is arrested and charged with second degree murder. It doesn’t matter that Bobby passes a polygraph because the results are not admissible in court. It doesn’t matter what Bobby has an alibi because the prosecutor portrays all of his friends as being a collection of stoners and losers. It doesn’t matter what Bobby has never even met Billy Ferro because Ferro isn’t going to help anyone out, even someone who he knows is being falsely convicted. Bobby is convicted of second degree murder and sent to prison.

For the next seven years, while Bobby tries to survive prison, his foster father attempts to prove his son’s innocence. With the police refusing to help, Bobby’s father is forced to launch his own investigation but it seems like no matter what he discovers, it’s not enough to get Bobby out of prison. Still, neither he nor Bobby gives up. Neither one will accept a system in which you’re guilty until proven innocent….

For most people who choose to watch this film, I imagine it will be because of that “Introducing Brendan Fraser” credit. Fraser gives a very good performance in this film, playing Bobby as basically well-meaning but directionless teenager who finds himself trapped in a nightmare. Of course, the majority of this film is Martin Sheen yelling about the injustice of it all. This is the type of crusader role that Sheen has played often. As was often the case when he was cast in films like this, there’s nothing subtle about Sheen’s performance but it’s not really a role that needs or demands subtlety.

Though this was made-for-television and, as such, is never quite as critical of the system as perhaps it should be (if anything, the film argues that one should trust the system to eventually do the right thing, even if it does so seven years too late), it still shows how one cop’s mistake can ruin an innocent’s man life. It’s all the more effective because it’s based on a true story. Of course, I immediately knew the cop shouldn’t be trusted because he was played by Mark Metcalf. Niedermeyer as a cop? That’s definitely not going to end well.

Horror Song of the Day: Ghostbusters by Ray Parker, Jr.

Posted on October 9, 2025 by Lisa Marie Bowman

Today’s song of the day is this 1984 classic from Ray Parker, Jr. Have you busted a ghost today?

Horror Film Review: Trilogy of Terror (dir by Dan Curtis)

Posted on October 9, 2025 by Lisa Marie Bowman

1975’s Trilogy of Terror is a true classic, a rare made-for-television horror film that could have just as easily and effectively been released in theaters.

As one can surmise from the title, it features three stories. Each story is directed by Dan Curtis and written by Richard Matheson. Each story also features Karen Black in the lead role, giving Black a chance to play not just one but four very different characters over the course of one film. One of the things that makes this film work so well is Karen Black’s totally committed performance. Sadly, Karen Black later expressed some regret about having appeared in the film because it led to her being typecast as a horror actress, which she definitely hadn’t been before. (One need only watch Karen Black in Five Easy Pieces, Nashville, or Family Plot to see what a good actress she was. Even in something like Easy Rider, where she had only a small role and very few lines, her talent is obvious.) As a result, Black was no longer considered for the big studio films that she had appeared in previously and instead, she spent the remained of her career appearing in low-budget horror films. That’s a shame because Trilogy of Terror really does show what a strong actress Black was.

The first segment features Black as Julie, a seemingly uptight teacher who somewhat surprisingly agrees to go out on a date with Chad (Robert Burton), a sleazy college student. Chad drugs Julie’s drink during their date and later undresses her and takes pictures which he then uses in an attempt to blackmail Julie into basically being his sex slave. Julie, however, turns out to have a big secret of her own and Chad discovers too late that he was the one who was being manipulated. This segment was the least interesting of the three stories but the ending was very satisfying. Anyone who has ever dated a “nice guy” who turned out to actually be a jerk will enjoy Julie’s revenge.

The second segment is enjoyably sordid, an over-the-top soap opera that I can’t talk too much about without spoiling the plot. Black plays Millicent, a repressed brunette, who is hatefully obsessed with her twin sister, blonde Theresa (Black again). Millicent fears that Therese is planning to corrupt and destroy her boyfriend, Thomas (John Karlen). Millicent explains to her therapist (George Gaynes) all of the terrible things that Therese has done. Of course, the truth turns out to be much more complicated. This story was entertaining and featured a surprisingly effective twist.

The third segment is the one that everyone remembers. Amelia (Karen Black) lives alone in a high-rise apartment and has recently purchased, as a present for her anthropologist boyfriend, a wooden fetish doll in the form of a misshapen aboriginal warrior with pointed teeth and a spear. The doll comes with a scroll that explains that the doll is inhabited by the spirit of a Zuni hunter and that the only thing keeping the doll from coming to life is the gold chain adorning the doll. Of course, the chain eventually falls off and Amelia finds herself being pursued through her apartment by a viscous doll that is obsessed with killing her. This is the simplest and the scariest of the Trilogy of Terror’s three stories. It’s easy to say that it’s just a doll until it pops out of nowhere and stabs Amelia in the ankle. This story ends on a properly dark note and that final image of Karen Black is haunting.

For a fifty year-old film, Trilogy of Terror holds up remarkably well. Watch it and witness just how good an actress Karen Black truly was.

Trilogy of Terror (1975, dir by Dan Curtis. DP: Paul Lohmann)

Horror Film Review: The Creation of the Humanoids (dir by Wesley Barry)

Posted on October 9, 2025 by Lisa Marie Bowman

Oh, how I love this oddity from 1962.

The Creation of the Humanoids takes place in the 23rd Century. A nuclear war has wiped out 92% of the human population. The radiation has caused many of the survivors to become sterile. The birth rate has plummeted to 1.4% and humanity is at risk of slowly dying out. The majority of the remaining humans have dealt with this news by becoming lazy and decadent. They live in luxurious apartments and they basically refuse to do anything themselves. Instead, all of the work is done by blue-skinned androids, the Humanoids that some dismissively refer to as being “clickers.” The Humanoids were not designed to have human emotions or thoughts but some appear to be developing them. The Order of Flesh and Blood want to destroy the Humanoids, especially when they hear rumors that a Humanoid has been created who is indistinguishable from an actual human. The Order of Flesh and Blood fears that the Humanoids are plotting to take over the world and replace humanity and …. they’re right!

Of course, the film suggests that might not be such a bad thing. The majority of the humans that we meet in The Creation of the Humanoids don’t seem to have much interest in continuing on with their lives. Having destroyed most of their civilization with a pointless nuclear war and now being unable to conceive, they seem to be content to laze about and wait for the end to come. Ironically, the only humans that seem to care about the future of their race are a bunch of fanatics. The Humanoids may move and speak stiffly but at least they’re making plans for the future and seem to actually care about the world in which they exist.

The Creation of the Humanoids was made for a very low-budget and with only the most rudimentary of sets. The luxury apartments all look very similar and very simple and yet that adds to the sense of ennui that runs through the entire film. The same can be said of the costumes, which are largely made up of jumpsuits and Confederate army caps that were reportedly rented from a local costume store. The drab costumes capture the feel of a society where being creative or imaginative is no longer rewarded and any sign of free thought is considered to be a threat. It’s the type of society that always seems to follow as a result of the empty promises of Marx and Coca-Cola. Fortunately, the film’s producers did pay extra so that the film could be shot in color, the better to highlight the blue tint of the Humanoids and the darkness outside of the city. They also wisely hired veteran cinematography Hal Mohr, who brings some visual flair to the project. Realizing that the film was extremely talky and that it featured characters who didn’t move around a lot, Mohr used creative camera angles and old-fashioned “glamour” lighting to give the film an interesting look. The film ultimately becomes a work of pop art and it’s not a surprise that Andy Warhol described Creation of the Humanoids as being his favorite film.

I like the film too. The stilted but philosophical dialogue, the atmosphere of ennui, the casting of Plane Nine From Outer Space’s Dudley Manlove as a Humanoid, and the moment when Dr. Raven (Don Doolittle) breaks the fourth wall to speak directly the audience, it all adds up to something that is wonderfully bizarre and thoroughly unforgettable.

The Creation of the Humanoids (1962, dir by Wesley Barry)

Guilty Pleasure #86: The Horror at 37,000 Feet (dir by David Lowell Rich)

Posted on October 9, 2025 by Lisa Marie Bowman

I imagine that it should go without saying that, if you’re on an airplane and you’re flying high above the ground, the last thing that you want to deal with is a bunch of angry ghost druids.

And yet, that’s exactly what happens in this made-for-TV horror film from 1973.

The ghost druids are upset because two architects (played by Roy Thinnes and Jane Merrow) have traveled to England, specifically so that they can supervise the deconstruction of ancient druid altar. Now, they’re flying the pieces of the altar back over the ocean so that the altar can be reconstructed in the United States. The spirits of the ancient druids aren’t happy about being moved so they start doing everything they can to make the journey difficult.

First, they attempt to freeze the plane. When that doesn’t work, they decide to rip it in half. One of the passengers, Mrs. Pinder (Tammy Grimes), suggests that maybe the druids will settle down if they’re offered a sacrifice. When the druids reject an offer of a doll, the passengers start to wonder if maybe the spirits would be happier with a human sacrifice.

Although some of the passengers are reluctant to buy into the whole sacrifice thing, a few of them do start to come around. For instance, there’s a perpetually angry businessman who is played by Buddy Ebsen. Once he realizes that the druids aren’t going anywhere, he has no problem with the idea of a human sacrifice. There’s also a cowboy played by Will Hutchins. If sacrificing a human is what he has to do to have another chance to ride the range, that’s what he’s going to do. Paul Winfield plays a distinguished doctor who tries to keep everyone calm while Chuck Connors is stuck in the cockpit, trying to keep the plane in the air while his passengers and crew debate the ethics of human sacrifice.

And then there’s William Shatner.

Shatner plays a former priest who has lost his faith. From the minute he gets on the plane, he starts drinking and he doesn’t stop for almost the entire movie. It doesn’t matter what’s happening on the plane, Shatner always has a glass in his hand. Playing a character who never has anything positive to say, Shatner smirks through the entire film. Shatner delivers all of his lines in his standard halfting and overdramatic fashion and it’s something of a wonder to behold. Shatner has said that The Horror At 37,000 Feet may be the worst movie in which he ever appeared and just one look at his filmography will show why this is such a bold statement.

The Horror at 37,000 Feet is definitely a film of its time. The plane comes complete with a swinging cocktail lounge, William Shatner wears a turtle neck, and all of the flight attendants wear boots and miniskirts. Everything about this film screams 1973. It’s an incredibly silly but undeniably fun movie. With a running time of only 73 minutes, the pace is fast and the druids don’t waste any time getting down to business. The film’s on YouTube so check it out the next time you’ve an hour and 13 minutes to kill.

Previous Guilty Pleasures

A Blast From The Past: A Trip To The Moon (dir. by Georges Melies)

Posted on October 9, 2025 by Lisa Marie Bowman

Let’s celebrate October by taking a trip to the moon with classic film that came out 123 years ago?

Directed and written by Georges Melies, A Trip to The Moon is often cited as the first sci-fi film and the image of the capsule crashing into the eye of the man in the moon is one of the most iconic in film history. Seen today, the film seems both charmingly innocent and remarkably ahead of its time.

For me, it always takes a minute or two to adjust to the aesthetic of early films. We’ve grown so used to all the editing tricks that modern filmmakers use to tell their stories that these old silent films, with their lack of dramatic camera movement and obvious theatrical origins, often take some effort to get used to. Still, the effort is often worth it.

Here then is Georges Melies’s 1902 science fiction epic, A Trip To The Moon.

October Positivity: Hidden Secrets (by Carey Scott)

Posted on October 8, 2025 by Lisa Marie Bowman

2006’s Hidden Secrets takes place over the course of one very long weekend.

The death of their friend Chris has reunited a group of acquaintances, who gather for the funeral and then end up staying with Chris’s sister, Sherry (Tracy Melchior), for the weekend. The men gather on her roof and hammer tiles. The women …. well, for the most part, the women are just portrayed as being catty and judgmental.

For instance, Rhonda (Autumn Paul), who is married to Christian book author Harold (Gregg Brinkley), is offended that Gary (John Schneider) is doing stem cell research and is a Jewish agnostic who spends most of his time challenging Rhonda’s super-strict interpretation of the Bible. Interestingly enough, considering that this is a Pureflix film, Rhonda is not portrayed in a positive light and Gary usually gets the better of her in their arguments. Rhonda even apologizes at the end for being so judgmental. Of course, since this is a Pureflix film, Gary still ends up converting.

Pastor Jeremy (David A.R. White) is dating reporter Rachel (Staci Keanan). Rachel suspects that Jeremy is still in love with his ex-girlfriend, Sherry. Rachel is correct. You have to feel bad for Rachel, who certainly deserved better than she got in this movie. Jeremy and Rachel end up sharing a bed at Sherry’s house, which freaks Jeremy out because he’s all about abstinence.

Michael (Corin Nemec) is a gay Christian who practices celibacy and whose main function seems to be to offer people advice.

Anthony (Sean Sedgwick) is a rough and tumble guy who shows up with his latest girlfriend, Sally (Rachael Lampa), and who takes her out dancing for her birthday, even though Rhonda says that Christians shouldn’t dance.

The film follows these characters over the weekend, basically doing a Big Chill sort of thing. Rhonda judges everyone. Gary is sarcastic. Jeremy is torn between Sherry and Rachel. The night of dancing for Sally’s birthday turns into an extended scene where Anthony, Jeremy, and Harold take to the stage and perform a song. It all wraps up with everyone confessing their fears during a church service and I have to admit that I felt sorry for all the people at the church who probably didn’t have the slightest idea why one group of people suddenly hijacked the service to discuss their own problems.

As far as PureFlix films go, this one was well-made and it actually did have some potential. No one was completely right and no one was completely wrong. The main message seemed to be accept and love one another. That said, it also had some fairly serious flaws. John Schneider doesn’t give a bad performance but he was still miscast as a Jewish abortionist. I love Corin Nemec and he gave one of the better performances in Hidden Secrets but the film used his character to promote the destructive “ex-gay” movement and it’s difficult not to be bothered by that. And finally, the resolution of Sherry/Jeremy/Rachel love triangle left me feeling that Jeremy was essentially a terrible, self-absorbed person. I don’t think that was what the film was going for but, regardless….

Hidden Secrets is an uneven film, to say the least. At its best, it made me miss some of my old friends. It’s been a while since we’ve all gotten together. Hopefully, when we next see each other, it won’t be at another funeral.

Late Night Retro Television Review: 1st & Ten 1.13 “Super Bull Sunday”

Posted on October 8, 2025 by Lisa Marie Bowman

Welcome to Late Night Retro Television Reviews, a feature where we review some of our favorite and least favorite shows of the past! On Wednesdays, I will be reviewing 1st and Ten, which aired in syndication from 1984 to 1991. The entire series is streaming on Tubi.

This week, season one comes to an end with the Championship Game!

Episode 1.13 “Super Bull Sunday”

(Dir by Bruce Seth Green, originally aired on February 17th, 1985)

The Bulls make it to the Championship Game!

And lose!

In fact, they lose in spectacular fashion. We don’t actually see much of the game but we do see the aftermath. We learn that star running back Carl Witherspoon set a record for fumbles. Star quarterback Bob Dorsey set a record for interceptions. The offensive line set a record for letting their quarterback get sacked. Coach Denardo blames himself but Diana announces to the press that the Bull will be back next year so …. “LOOK OUT!”

Admittedly, the big game only took up about 5 and a half minutes of screentime. Most of this episode centered around a dumb plot to trick Diana into selling the Bulls to the Japanese so that her ex-husband (remember him?) could swoop in and buy back his team. It was a pretty dumb plan that fell apart easily but, at the very least, it appears that it finally led to Diana firing her duplicitous general manager, Roger Barrow (Clayton Landey), something she should have done at the start of the season.

But let’s give the show some credit. It would have been really easy to just have the Bulls pull off another last-minute victory. Instead, season one ended with the agony of defeat and the actors actually did a really good job of playing up their depression. It can’t be easy make it to the Championship Game and fail.

So, that’s it for season one. It wasn’t really that good of a season but maybe I would feel differently if I was a football fan or if I was a dude. This is very much a guy-centered show. Next week, we’ll start season 2!

The Unominated #21: Southern Comfort (dir by Walter Hill)

Posted on October 8, 2025 by Lisa Marie Bowman

Though the Academy of Motion Picture Arts and Sciences claim that the Oscars honor the best of the year, we all know that there are always worthy films and performances that end up getting overlooked. Sometimes, it’s because the competition too fierce. Sometimes, it’s because the film itself was too controversial. Often, it’s just a case of a film’s quality not being fully recognized until years after its initial released. This series of reviews takes a look at the films and performances that should have been nominated but were, for whatever reason, overlooked. These are the Unnominated.

1981’s Southern Comfort takes place in 1973. While America tries to wind down its presence in Vietnam, a squad of nine National Guardsmen take part in war games in the Louisiana bayous. The squad is led by the ineffectual Sgt. Crawford Poole (Peter Coyote) while other members include the trigger-happy Lonnie Reece (Fred Ward), the weed-smoking Tyrone Cribbs (T.K. Carter), the cowardly Private Simms (Franklyn Seales), and the tightly-wound Coach Bowden (Alan Autry). Poole may be in charge but most of the members of the squad seem to look up to the laid-back and friendly Private Spencer (Keith Carradine). The newest member of the squad is Charles Hardin (Powers Boothe), a sober-minded transfer from Texas who doesn’t seem to get along with anyone but Spencer.

With the exception of Poole and Hardin, no one takes the weekend maneuvers seriously until they find themselves lost in the bayou and it becomes obvious that Poole has no idea what he’s doing. When they come across some canoes that belong to some Cajun trappers, they decide to “borrow” them. When the trappers protest, Reece fires his weapon at them. Reece’s gun is loaded with blanks but the trappers don’t know that. They fire back, killing Poole.

The national guardsmen now find themselves lost and being stalked by the trappers, a largely unseen force that always seems to attack out of nowhere. The men have no idea where they are. The trappers, on the other hand, have lived in the swamps their entire lives. The guardsmen bicker and argue over the best way to respond. Some want to fight back and some just want to get back to civilization. One-by-one, the men are picked off until only two remain.

Though the film is a somewhat heavy-handed metaphor for the Vietnam War, Southern Comfort is still a deeply affecting and suspenseful mix of horror and action. Director Walter Hill keeps the action moving at a quick pace and the film, which was shot on location and featured scenes shot during an actual Cajun celebration, perfectly captures the languid yet ominous atmosphere of the bayous. As soon as the men see those canoes unattended, we know that they’re going to steal them and that they are making the biggest mistake of their lives. Keith Carradine and Powers Boothe both give powerful performances in the lead roles and the members of the supporting cast — especially Alan Autry and Fred Ward — make a strong impression as well. I especially liked the performance of Brion James, who has a small role as a one-armed Cajun who is more crafty than he looks.

Being a mix of horror and action, it’s probably not a shock that Southern Comfort was ignored by the Academy. At the very least, I would have found room for Ry Cooder’s original score and Andrew Laszlo’s haunting cinematography.