brtndr Reviews

Magnum, P.I.: Limbo (1987) Season 7, Episode 21

What a way to end a beloved series, well almost

[10/10 · 11 October 2023]

This is not only one of my favorite episode's of the original Magnum series but, television in general. I don't think there's ever been a series that concluded where the main character is caught between a state of life-and-death, and then visits all the other supporting characters to say his final goodbye's.

As a fan and weekly viewer of the series since 1982, this nearly final episode of Magnum PI was deeply moving for me. Like, saying a final goodbye to a long time friend that you grew-up with.

As for the episode itself, it's not only very touching and moving, that's aided by a really good soundtrack. It also contains a lot of action scenes, along with some light effective humorous moments. And, the ending scene almost brought tears to my eyes.(almost)

After 7-seasons, this episode was intended to be the final broadcast of the original Magnum PI series, but viewer demand brought it back at the last moment. The series eventually concluded a season later on a much more positive note for Thomas Magnum, but, not nearly as emotionally moving as this episode.

Definitely 10 out of 10 stars from me, and a must see episode for all the fans of the original Magnum PI series.

Side Note: I first saw this episode during summer re-runs of 1987, just after graduating from high school. Like most young people, I was overwhelmed with confusion and fear about what I was going to do with the rest of my life after school, this episode of Magnum somehow gave me a renewed appreciation for all the people in my life at the time, and some sense of temporary relief for what lies ahead in my future.

Return to Lonesome Dove (1993)

A lot better than I expected it would be

[7/10 · 20 February 2023]

I was surprised that I ended up liking this sequel to the much beloved classic mini-series "Lonesome Dove". Despite not having as many of the great characters and actors that the original series had. However, 'Return to Lonesome Dome' has a lot of new and interesting characters played by very good actors in William Peterson, Oliver Reed, Lou Gossett Jr., a young Reese Witherspoon and a very menacing Montana half-breed terrorist rustler played by Reginald Dorsey.

As for the returning characters who survived the original 'Lonesome Dove' series, Jon Voight takes over the reins of Tommy Lee Jones now classic character "Captain Woodrow F. Call". Now, I know it's hard to accept anyone but Tommy Lee Jones playing that role, but, I have to admit it that Jon Voight's performance as Woodrow Call is almost identical to that of Tommy Lee's, and Voight makes it a lot easier to just accept that someone else is playing that role.

Rick Schroder returns to play his character from the original series, Newt Dobbs. And, while following Woodrow's journey back to Montana from Texas is fun and exiting to watch, Newt's story line is not only the most interesting story of the series, but it's also the most satisfying, because it answers the question the original series left us with at the end. Which is, "What happened to Newt and the rest of the Texas rustlers in Montana?". Therefore, justifying the reason to even make a sequel to the classic original mini-series.

Also, a little of a side note, Rick Schroder co-starred with Jon Voight in the 1979 movie "The Champ". It was Schroder's first major screen appearance that included great performances by both Voight and 9-year old Ricky Schroder. And, it was both touching and fascinating to watch Voight and Schroder sharing the screen together again in "Return to Lonesome Dove" 14-years later.

Also, I can't end this review without mentioning the worst and most pointless and terribly cast character of the sequel, Agostina Vega played by Nia Peeples. Agostina is the tough female gun fighting Mexican child of Gus McCray, and she's out for revenge against Gus for abandoning her and her mother. But, Gus is dead so she decides to get her revenge on Captain McCall instead.

While Nia was a very attractive young woman back in 93', the problem is that she's only 5'2 and maybe 90lbs sopping wet. Not exactly an intimidating figure who looks like she could tough it in the Wild West on her own, no matter how good she supposedly is with a gun.

Plus, the character itself is just pointless and adds nothing to the overall story. It just seems like a cheap way to work a Augustus McCray story line into the series, without the Gus McCray character being present.

I'm rating "Return to Lonesome Dove" a 7-out of-10 stars. I would've rated it higher if it wasn't for that pointless Agostina character. But, there still enough good things about the sequel that far out weighs the bad, and I highly recommend seeing it at least once. Just don't expect it to be as nearly memorable and deeply moving as the original series.

Taxi: Hollywood Calling (1979) Season 1, Episode 21

When art immitates life, then immitates its own art immitating life

[10/10 · 14 November 2021]

Episode-21 of Season-1 is one of my absolutely favorite episodes of the many great episodes of the "Taxi" series. What makes this episode so special though is that not only is it hilarious from beginning to end, but it so closely mirrors how the show "Taxi" was created in the first place.

You see, the show "Taxi" all began with an article that appeared in a magazine about a young college student who was driving a cab in NY to pay the bills why he pursues his college degree. The eventual producers of "Taxi" read the article, then shortly afterwards found a NY cab company to occupy in order to do a little research and interview the cabbies. This became the basis for the TV series "Taxi".

The plot to this episode of "Taxi: Hollywood Calling" is essentially a comedic retelling of how the show "Taxi" was created, but with a little bit of a fictional twist.

The show begins with big time Directer/Writer Roger Chapman(played by Martin Mull) arriving at the Sunshine Cab Company with his Hollywood movie crew planning to make a slice of life movie about a bunch of cabbies working at a cab company.

Most of the employees at the cab company are excited and star struck by the opportunity to be the focus of a Hollywood movie, except for Louie and Alex Reiger. Louie's upset with the Hollywood production at the garage because he wants some big time kickback money that he hasn't had the opportunity to get his greedy little hands on, yet.

While Alex is just apathetic to the film crew being there because, he just wants to be left alone so he can continue being that anonymous working class cab driver quietly going about his life and job. However, director Roger Chapman has other plans for Alex and thinks he should be the basis for the main character of his movie, and wants to spend a lot of time with Alex to get to know him better and put his story on screen.

However, Alex strenuously refuses Roger's repeated attempts to befriend him to the point that Alex demands to speak to the Cab Drivers Union representative at the Sunshine Cab Company to force Roger to leave him alone. The problem is nobody knows who their union representative for the company is. So, after some quick checking of the records the cabbies soon discover that their union representative is some guy who died a few years ago.

In light of this realization, the cabbies decide to elect a new union representative, but nobody wants the job. So, they decide to re-elect the dead guy because he seems to be doing a pretty good job so-far. Out of options, Alex decides to quit resisting Roger's requests and get on board with the creative process of making a Hollywood movie.

Then, after Roger offers Louie the big kickback money he's been looking for, Louie is now 100% on board with the Hollywood train that has invaded his garage.

So, with everybody at the garage now happy and anxious to be apart of a Hollywood movie where Bobby is promised an acting role, while Tony is receiving a lot of special perks from Roger and his company, Louie getting a big paycheck that he doesn't deserve, and even Alex is now enjoying being apart of the Hollywood production.

In light of all this, you wold be left to believe that things are finally going to work out for the cabbies this time. But, wait.... not so fast, this is "Taxi" the TV show after all, where nothing ever seems to work out for the employees at Sunshine Cab Company at the end of the show.

The show seems to almost always end in some tragic disappointing way for the cabbies. With the magic of getting a lot of comedy out of those tragic resolutions, and this episode ends in one of the most tragic and hilarious conclusions of the series.

I highly recommend this episode of "Taxi" whether you're a fan of the series or not. 10 out of 10 stars from me.

I Dream of Jeannie: Jeannie, My Guru (1968) Season 4, Episode 12

Jeannie, You Be Trippin'!

[10/10 · 26 March 2021]

If you're a fan of 'I Dream of Jeannie' like I am? Then, this episode is a must watch. It's very funny and a very original script. Because, let's be truthful my fellow Jeannie fans, there were way too many "Tony goes on a date or escorts a beautiful actress, and Jeannie gets jealous" scripts. However, after General Schaeffer's hippy-dippy daughter blackmails Major Nelson into taking her and her hippy boyfriend (Harold) into their home, this episode, in the immortal words of Monty Python "Is something completely different".

Also, Barbara Eden looks absolutely adorably gorgeous in everyone of her scenes in this episode. It always amazes me how as the series and Mrs. Eden grew older together, she became more-and-more beautiful with every proceeding year. It's like, Barbara started the series in 1965 as a pretty young woman who could do comedy, then by 1966-70 she became this gorgeous bombshell who could do crazy out of this world slapstick. This episode is halfway through the fourth season when Mrs. Eden (IMHO) was at her most beautiful comedic self.

I think one of the interesting aspects of this particular episode is that by the end Jeanie, Tony and boyfriend Harold are all in badly need of rest, supposedly due to exhaustion or because they're lost in some permanent state of transcendental thought. However, it's kind of implied that they're all extremely tired due to all the partying, and trippin' out with their new hippie squatters, without actually showing characters behaving like drugged out crazy bohemian's. The hippies are just sort of drugged out on their own thoughts and emotions of the moment. Okay, whatever Boomer, I'm not buying that one cause' it's not that hard to figure out what you're all really drugged out on.

Death Valley Days: Head of the House (1958) Season 7, Episode 1

A Really Bad Representation of Historical Events

[3/10 · 7 January 2021]

The only thing factual about this episode of "Death Valley Days" is that there were 7-children named Sager who were left orphaned after both parents died during their long hard grueling journey west along the Oregon Trail in 1844. But that's it. Everything else regarding the retelling of this historical event is pure fiction.

For example, a historical fact that's always omitted from the TV version of events is that the oldest daughter (9-yr old Catherine Sager) leg was crushed when her dress accidentally caught on an anvil while leaping out of the moving wagon. She was thrown under the wagon where her leg was run over breaking her leg in several spots.

The entire wagon train consisting of 300-people and 72-covered wagons came to a collective halt as a surgeon was summoned from Fort Laramie, Wyoming 50-miles ahead of the wagon train to repair the child's broken leg.

As a result of this unfortunate accident, Catherine was forced to travel the rest of the slow journey while confined entirely to riding inside their Ox-Wagon that was inducing symptoms resembling sea sickness due to the motion. And, that all happened before both of the Sager parents later died of Camp Fever(Typhus) leaving all 7 of their children orphaned in the middle of the unsettled western frontier.

The surgeon from Laramie remained with the Sager's wagon team for the remainder of the trip to attend to Catherine's injured leg and later to provide medical care for both parents while they slowly died from Typhus.

Yet, despite all the tragic hardships the 7-Sager children were forced to endure they all survived the 2,000 mile journey from St. Peters, Missouri to the Whitman Station in Wallah Wallah, Washington where all 7-children were quickly adopted by Dr. Whitman and his wife and raised as their own children.

Unlike the "Death Valley Days" version of events, the orphaned children never separated from the wagon train. They never had much trouble with the local Indian tribes (except for a few cattle rustling Indians) and all the Sager children managed to survive due to the extraordinary unselfish care and concern they received from many of the emigrant families within the wagon train. That included one family giving the children their last pieces of bread that they had toward the end of the trip.

While, I'll always appreciate "Death Valley Days" for at least informing me of the existence of this very interesting part of American history regarding the 7-orphned children along the Oregon Trail. Therefore, giving me at least a direction to start doing my own research into the subject.

However, I can't help be reminded that this episode of "Death Valley Days" was originally broadcasted in 1958. That's a long time before you could simply sit down at a computer and quickly fact check all the absolute fictitious hogwash, while this episode of "Death Valley Days" was being shown on your 12-inch TV screen.

Instead, it could take possibly days to find out the "real" story regarding the Sager Orphans if a person became interested. So, most people probably didn't even bother with all the hassle and just let this completely phony tale of a fascinating and awe inspiring event of American history become the new narrative.

I later checked out a TV movie made in 1974 about the Sager Orphans hoping it would provide a much more accurate depiction. Unfortunately, it was almost the exact same retelling of the "Death Valley Days" fairy tale episode back in 58'. Except, it was stretched out over the coarse of 2-hrs instead of 30-minutes. So disappointing.

I don't see why they never just tell the actual story of the Sager Orphans? It's an amazing part of American history all by itself, that doesn't need Kit Carson suddenly showing up to jazz up the story a little bit. Might as well include Billy the Kid and Batman to the historical events. Along with special appearances by King Arthur and Elliot Ness while they're at it.

The Big Valley: The Invaders (1965) Season 1, Episode 16

Yvonne Takes a Bubble Bath(OH MY!!)

[7/10 · 7 January 2021]

Which is the main reason to watch this episode. I mean, that is one sexy bubble bath. Unfortunately, it only occupies a few minutes of the shows 60-minute runtime. However, fear NOT dear reader, Yvonne Craig always looks adorably sexy through out this entire episode. Whether she's in the tub or out.

Which is a bit of a problem for this episode and her role in it. Because, while John Dehner(Daddy Cade) is very convincing as the dirt poor matriarch of his nomadic illiterate family, along with the other actors chosen to play his 3-proverbial "chip off the old block" sons of Cade's dumber than dirt rotten family.

However, Yvonne(Allie Kay) being cast as the only daughter and female of this same clan is just WAAAY too movie star attractive, intelligent and visually mesmerizing to convince anyone that she's related to Daddy Cade's ignorant dirt poor family.

OH, they tried to make Yvonne look more convincing by covering her with dirt and rubbing dried mud on her face while providing her with a worn out dress to wear. Courtesy of the studio costume department. But, their efforts couldn't hide her adorable pretty face, gorgeous figure and those electrifying exotic eyes that she had.

After Daddy Cade and his 3-sons ambush Heath Barkley(Lee Majors) using their old Buffalo hunting rifles, Cade calls an audible and instead of murdering and robbing the unconscious Heath, he instead plans to pose as Heath's rescuer in hopes of acquiring a reward from the Barkley's. Predictably, Yvonne immediately crushes hard on Heath upon first sight and after arriving at the Barkley estate she takes a strong personal interest in Heath's recovery while he's completely unaware that Yvonne's family are the ones who ambushed him.

This would later become a common theme in the Big Valley series, where one of the Barkley sons (usually Heath) would find themselves in a desperate situation involving a nefarious family or gang, and there was always at least one pretty young lady around to assist the Barkley men (usually Heath) to aid and comfort them. But, I believe this was the first episode where that particular theme was used in the series.(But don't "quote" me on that)

Anyway, needless to say, Yvonne successfully conspires against her own family to help Heath save the Barkley's after Barbara Stanwyck(Victoria Barkley) refuses Cade's self-delusional marriage proposal. Daddy Cade then decides to murder Victoria and her family as a consequence for turning down all that he had to offer her. Like the dirty smelly buckskin off his back.

This results in Heath killing Cade and his entire family with the exception of Yvonne of coarse. And, what is Yvonne's reward for saving Heath and the Barkley's at the expense of her father and brothers lives?

Maybe she would get a marriage proposal from the piece of eye candy that she would do anything for. Even if it resulted in the killing of her entire family in hopes that she could live the rest of her days as the dutiful wife of Heath Barkley and the mother of his children.

NOPE! Nothing like that for Yvonne. Just a new dress and a fancy buggy ride out of Stockton was all she received for saving the life of her object of love and affection. Which she seemed perfectly okay with, and wasn't heart broken at all. Thanks Allie, and good luck with your future career as a saloon girl.

As a big fan of "The Big Valley" series as a whole I'm actually giving this episode 7 out of 10 stars. For, despite my many criticisms of this episode I actually really enjoyed the ominous dramatic tension lurking just beneath the surface of Daddy Cade's interaction with the Barkley family.

Dehner's performance as Daddy Cade always provided a sense of danger to the unsuspecting Barkley's of his true intentions, and you definitely didn't want to get on Daddy Cade's bad side. Another terrific yet convincingly subtle performance by John Dehner carries this show from start to finish, even if the last 5-minute conclusion to the story is ridiculously unrealistic. But, you could say the same about almost every Western TV drama of that era.

But the biggest reason I would strongly recommend watching this episode at least once, is Yvonne Craig. Although, she was terribly miscast for this particular part, she was always a delightful sight to watch do stuff on screen, and her bubble bath scene was worth the price of admission alone.

The Beverly Hillbillies: The Giant Jackrabbit (1964) Season 2, Episode 16

The episode that made The Beverly Hillbillies into a legendary TV sitcom

[10/10 · 7 August 2020]

On January 8, 1964 there were two very big TV programs being broadcasted that same night. The first one was an episode of The Beverly Hillbillies titled "The Giant Jackrabbit" on CBS. Which was followed by then President LBJ's first State of the Union Address since the assassination of JFK, that would be broadcasted on all three networks ABC, NBC and CBS simultaneously .

A majority of the American public put aside what they normally would do for that night to see and hear their new president address the tragedy of the nations great loss from Capitol Hill and to find out for the first time what their new presidents vision for America was moving forward.

However, the public would have to wait until 10:00 PM est before they could get the answers to their question, leaving 2-hours of normal Wednesday night prime time broadcasting to watch before the highly anticipated State of the Union Address began.

One of the shows being broadcasted that Wednesday night at 9 o'clock est on CBS was an episode of The Beverly Hillbillies called the "The Giant Jackrabbit". And, for what ever reason, 60 percent of the TV viewing public all decided to tune in simultaneously to watch Granny mistakenly identify a kangaroo for a giant 5-foot jackrabbit, and go to battle with it. Which made that episode of The Beverly Hillbillies the most watched TV show ever broadcasted at that time.

While many programs like Super Bowls, MASH final episode, Who Shot JR cliffhangers and TV movies like "Roots" have since eclipsed the 1964 broadcast of "The Giant Jackrabbit" in total ratings. However, that episode of The Beverly Hillbillies still remains the top rated 30-minute sitcom broadcast of all time to this day. And, probably always will be considering the saturation of the TV market today.

And, the thing about it is, is that "The Giant Jackrabbit" is an absolute hilarious episode from beginning to end. So you can just imagine 60 percent of the public while anxiously waiting LBJ to address the greatest tragedy of their life time thus far, were rolling over with laughter at Granny mistake a kangaroo for a giant jackrabbit just an hour before the new president takes the stage on Capitol Hill.

The greatest comedic broadcast in TV history quickly followed by one of the most tragic State of the Union speeches in history, all within a span of an hour. WOW! What a crazy night of TV viewing that must have been.

In short, you have to watch this episode of The Beverly Hillbillies. If for nothing else to laugh out loud, and to be experience a little American history too.

The Beverly Hillbillies: Lafe Lingers On (1964) Season 2, Episode 18

Lafayette 'Lafe' Crick returns to try again to get Jed's money(and for some more ratings gold)

[9/10 · 6 August 2020]

In the previous episode "The Girl from Home" Lafe first appears to The Beverly Hillbillies lineup after pulling up in his beaten down country car to the front step of the Clampett's mansion. Once inside he's cheerfully greeted by the family as a dear old friend from back home while Jethro is still at school in his attempts to finish the 6th grade.

Later, Lafe informs Jed in private that Jethro has been sending love letters to his daughter and promising to marry her. This comes as a surprise to Jed because Jethro has never mentioned to him or anyone that he was in love with Lafe's daughter. But, being an honorable country folk, Jed reassures Lafe that he will make sure that Jethro lives up to his promises.

Of coarse all of this was a lie concocted by Lafe in order for his daughter to marry into the Clampett's money. Lafe's con job was eventually discovered after his daughter dropped the dime on him to Jed. So, Jed and Lafe's daughter trick Lafe into calling off the wedding, and the episode ends with everyone dancing together in the mansions foyer.

However, unfortunately for Granny and the Clampett's that would not be the last time they would have to endure Lafe's presence and his scheming duplicitous ways. Why?

Glad you asked. Well, "The Girl from Home" was the first episode that had the good fortune of following The Beverly Hillbillies now classic episode "The Giant Jackrabbit", which became the highest rated show in TV history at the time, and is still the highest rated 30-minute sitcom to this day. And, millions of Americans returned the next week to watch "The Girl from Home" episode, which became the 4th highest rated TV show of the decade.

While "The Beverly Hillbillies" were the #1 rated show since it's debut a year and a half earlier and always enjoyed high ratings, averaging 57-million viewers an episode. They were now riding a tidal wave of unprecedented TV popularity halfway into the second season. And when you're riding a ratings tsunami like that, why change direction mid-stream. So, Peter Whitney immediately returned in "Lafe Lingers On" to play Lafeyette 'Lafe' Crick for the second time in a follow up episode to "The Girl from Home".

In this episode, Lafe's daughter has returned back home to the hills in his car, so Lafe finds Miss Hathaway and tells her that he is Jed's BFF from way back home, and immediately follows that load of malarkey up with a hard luck story. Always wanting to please the Clampett's, Miss Hathaway gives Lafe a lift back to the front step of the Clampette's mansion. Meanwhile, Granny is totally trashing Lafe in front of the entire family in the kitchen, yelling about what a no good lazy, shifty, lying, worthless person Lafe is. But, Granny says all this about Lafe in some really creative ways.

Too lazy to even knock on the door, Lafe is discovered resting on the Clampett's doorstep by Elly May and her chimp. When asked what he's doing there, Lafe claims to have walked all the way from his hotel to the Clampett's and is now broke, tired, hungry, thirsty and in need of help. But, doesn't want to be a burden to the Clampett's. Once inside, Lafe continues his hard luck story to the rest of the family and Jed, Jethro and Ally May decide to take him into their care, despite Granny's intense hatred for Lafe.

What started out as a small con job to get free room and board at the Clampett's mansion using a hard luck story, quickly turns into a possible bank robbery soon after convincing Mr Drysdale that he's an extremely hard worker and cons Mr. Drysdale into giving him a job as a night watchman at his bank.

Later, Lafe reports for duty at the bank to start his new career as a bank robber, but is informed that a large percentage of Clampett's money isn't actually kept at that bank and the little that is kept there is in the bank vault and can't be opened at night under any circumstance. Disappointed with this bit of new information Lafe decides to try and steal Jed's money by some other means.

This is a really funny episode of The Beverly Hillbillies mainly due to Irene Ryan and Peter Whitney as Lafayette 'Lafe' Crick. Peter's comedic performance is so incredibly layered that it's worth watching this episode just to watch his performance.

Example, when Mr. Drysdale ask Lafe when is the soonest he can start work as a night guard at his bank. Lafe answers with a big menacing grin on his face "How about tonight?". But, despite Lafe's very maniacal response it's also very funny at the same time, Both in the way he says it and because while we know what's really going on Lafe's mind, Mr. Drysdale has absolutely no clue and believes Lafe is as solidly honest as Jed Clampett.

I give this episode 9 out of 10 stars and I hope IMDB keeps it available for free viewing on their website so more people get a chance to see this episode and the two episodes that preceeded it. With, "The Giant Jackrabbit" being a must see.

The Beverly Hillbillies (1962–1971)

Hillbillies Invade Beverly Hills

[10/10 · 6 August 2020]

The late great George Carlin once said that there are basically two types of comedy, 1) where the comedy is derived from being a victim of society (i.e. Charlie Chaplin). Or, 2) where the comedy comes from victimizing society (i.e. The Marx Brothers). And both George Carlin and The Beverly Hillbillies fall into the later of those two dynamics.

Like the Marx Brothers at the Opera, or at the Casablanca, or at an elitists University, the dirt poor Hillbillies turned multi-millionaires overnight invade Beverly Hills armed with only their shotguns and their down home simple ways. But, it's their simple ways that prove to be far more disruptive to the snobbish generational wealthy elites of Beverly Hills than their shotguns. Cause' "The Beverly Hillbillies" can't adapt to the cultural norms of Beverly Hills so it's the Beverly Hills folk that has to adapt to their mountain ways. And, Granny ain't going to give an inch either, or she'll shoot yuh'(seriously she will).

A comedic genius of a show (in the Marx Brothers sense of genius comedy) that truly broke the mold in its time of westerns and nuclear family shows that dominated the airways back then. The Beverly Hillbillies combined both the serious westerns and the fake nuclear family programming and turned them over on their collective heads.

As a result, episodes of The Beverly Hillbillies are still among the highest rated shows in TV history. And, "The Jackrabbit" episode of Season-2 is still the highest rated 30-minute sitcom ever televised, as of the year 2020. Sixty percent of the American population with television sets tuned in to watch that episode, and the following episode was the 4th highest rated show of that decade. Look it up if you don't believe me.

However, beyond the ratings success of The Beverly Hillbillies, what it comes down to is that the show was laugh out loud funny. It was hilarious back in the sixties, and it's still hilarious today. There was never a show like it when it debut in 1963, and they'll probably never will be a show like it again.

Beach Patrol (1979 TV Movie)

Baywatch meets Chips and the Mod Squad(but in a really good way)

[8/10 · 30 June 2020]

What happens when you combine some hit TV shows together like, "Chips" with a little bit of "The Mod Squad" and add a whole lot of "Baywatch", 10-years before Baywatch was first broadcast. You get a surprisingly good 1979 TV movie "Beach Patrol". And, here's the thing, the one 2-hr episode of "Beach Patrol" was better than any episode of "Chips", "The Mod Squad" or "Baywatch" that I've ever seen.

However, because the TV movie was never picked up for a series it remains a forgotten little gem of a potentially fun and exciting series the public will forever be denied. Oh well.... at least we have the 2-hour TV movie.

While the main cast includes four 20-something beach patrol officers and two 40-something detectives, the shows main focus is on the life and work of two young male and one female beach patrol officers. Alah, "The Mod Squad". But, instead of sporting all the coolest and hippest plain clothes attire and hair styles of their era. The three dress in traditional LA officer clothing and patrol the beaches in dune buggies. Alah, "Chips".

Among the three young handsome and sexy featured patrol officers is a barely recognizable beardless, blonde haired 27-year old Jonathan Frakes of "Star Trek: The Next Generation" fame. A fairly decent actor even back then, and definitely the best of the entire cast. While I didn't think there was a "BAD" actor among the main cast, they were however like most young actors, rather average and uninteresting to watch. But, you could see that a young Jonathan had more training and a little special something that the others just didn't possess that made him stand out before crowd.

Another member of the fab three beach patrol officers is Jan Plummer (played by Christine De Lisle). Who bared a strong resemblance to a young Farrah Fawcett, before Farrah became the glamorous pop-culture phenomenon by the mid-late 70's. Christine also came across as an intelligent mature young woman that reminded me a little of Kate Jackson's TV persona.

However, Christine's acting was often a little too wooden and/or flat, and as a result you just never connected emotionally with her character. Also, while Christine bared a strong resemblance to arguably the most glamorously beautiful actresses of her time, Christine's attractive looks didn't explode off the screen like a Farrah Fawcett or a Peggy Lipton's did. Like her acting, Christine's beautiful features just sat flat on the screen. A genetic lottery winner to passively observe, but oddly your senses were never over whelmed by her on screen beauty. I guess the camera just didn't love her like it did Farrah. Tough break kid.

The third beach patrol officer is Earl 'Hack' Hackman (played by Rick Hill) and this character needed to be recast if the show ever got picked up for a series. Not because Rick Hill was a bad actor or anything, but because his character and his looks were almost identical to that of Jonathan Frakes. And, there was NO contrast of character or styles like Starsky & Hutch or Bo and Luke Duke for example. And it makes for a pretty lousy cop buddy team when the two buddies are carbon copies of each other. And, since Jonathan is the better of the two actors, well.... sorry Rick, but Richard Hatch is now available after the cancellation of "Battlestar Galactica". Good luck with the rest of your career.

The movie begins with our attractive young patrol officers cruising a California beach and interacting with the colorful quirky beach bums who reside there. That is until Jan Plummer recognizes a known drug kingpin operating in the area. The drug trafficking king pin who looks like Ron Jeremy after a 3-day cocaine binge with an unidentifiable European accent is a ruthless stereotypical TV drug kingpin of 1970s TV. So watch out Beach Patrol. I believe he was played by Michael V. Gazzo of "Godfather II" fame, but don't "quote" me on that.

Anyway, our fun loving Beach patrolling Mod Squad do some investigating to see if the drug dealing king pin is back in action. The king pin goes all Al Capone in response to prevent them from discovering his operation, and the fun loving beach patrollers are suddenly transformed into the "Untouchables". Doing battle with the drug kingpin and his henchmen.

It's actually a pretty fun journey and you generally like all the characters, and the movie concludes with a really well shot and well performed dangerous action scene involving hitmen in a helicopter vs. our two male officers in a dune buggy. It was a really well done action scene. Especially, for a TV movie in the late 70's. I mean, like Grindhouse theater "Dirty Harry, Crazy Mary" level of action and stunts.

While the show needed a little retooling if it was ever picked for a series, the movie premier had a lot more good material than bad and should've been picked up and given at least a chance to find an audience. It was a lot better than most of the TV programming at that time.

Moonlighting: The Lady in the Iron Mask (1985) Season 2, Episode 2

Dressed to Kill(with suspense and witty dialog)

[9/10 · 3 April 2019]

Moonlighting's 2nd episode of season-2 "The Lady in the Iron Mask" will always be my personal favorite despite the fact that the series would eventually create even better shows than this excellent one. Why?

Well, mainly because, I believe it was the first episode of "Moonlighting" that I ever saw, and was absolutely hooked on the show for the next 3-seasons. I was 17-yrs old at the time and had a car, so I was far more interested in maintaining an active teenage social life than anything that was playing on TV.

However, after watching this episode of "Moonlighting", I became a huge fan of the show and couldn't wait to see what wild, crazy, creative mystery romance the writers were going to come-up with from week-to-week.

What I remember most about this episode is that the show begins with Maddie Hays (Cybil Sheppard) breaking-up a fist fight between two male workers shortly after arriving to work at her "Blue Moon' detective agency. Only to discover later David Addison (Bruce Willis) inside of his office sitting at his desk counting piles of money. David is not only aware of the two employees beating each others brains out in the next room, but he's laying bets down on who is going win the fight.

Both David and Maddie banter back-and-forth like Doris Day and Cary Grant for a few minutes over David running a Fight Club office pool out of Maddie's place of business. When suddenly the show takes on a much more intense darker -and kind of creepy - tone after a young woman wearing a veil so thick that it masks her entire face walks into David's office and offers them $5,000 to find her ex-lover who is responsible for destroying her now permanently hidden face.

The mysterious woman claims she just wants David and Maddie to find him so she can give him a message of personal forgiveness, and to let him know that she will always love him. However, shortly after David and Mattie locate the man that completely destroyed the creepy woman's face, the two discover from a local TV news broadcast that the same man has been killed.

So, naturally David and Mattie immediately realize that the woman who hired them to find her ex-lover wasn't being honest about her real motivations for wanting to locate him. That her intentions where not one of forgiveness and unconditional forever love, but to find and murder her ex-lover for what he did to her, and she used David and Maddie to do the long and difficult work of finding the man.

Upon this discovery, the two bickering detectives set out together - at first - to gather enough evidence that will eventually convict the veil covered vengeful woman for murder of her ex-lover. Later however, David and Maddie get into another argument where Maddie expresses her dissatisfaction with having to work with David at her business. David is angry and hurt. So, they both decide to split-up and solve the murder separately, using their own independent methods.

Which later, and with great hilarity, both David and Maddie unaware end-up using the exact same method as the other to secretly gain entry into the woman's hotel room in order to find evidence that will convict the woman of murder. Both David and Maddie disguise themselves as the woman by dressing-up in black dresses with heavy veils covering their faces, so the hotel desk clerk will mistakenly give them a key to the room of the murderess.

Fortunately, there are two hotel clerks working the front desk that night and one clerk gives Maddie the first key, then later another clerk gives David another room key while David is dressed in high heels and a black dress, with a phony wig and refuses to speak to avoid being revealed as a man dressed in women's clothing.

There's also a hilarious scene earlier where a man in the hotel elevator makes a pass at David while he's dressed like the mysterious woman. David responds to the guys advances by punching him out.

Later, David and Maddie accidentally run into each other while hiding inside the closet of the woman's hotel room, then immediately discover that both of them are dressed exactly alike.

What follows after their accidental discovery on one another is one freak'n hilarious madcap conclusion. I mean, just imagine John McClain chasing Hans Gruber down the hallway of a cheap hotel at the end of "Die Hard"..... while both McClain and Gruber are wearing high heels, black dresses and carrying purses. Imagine that, and you have maybe the funniest conclusion to any detective TV series ever. Actually, 'Moonlighting' would go on to have even funnier ending chase scenes in future episodes, but this one was one of their best.

Finally, the show ends on a sweet and romantic note. With both David and Mattie back at the Blue Moon detective agency, sitting alone in their separate offices, each trying to find the words to apologize to one another for the argument that caused them to break-up and go their separate ways on the case.

Suddenly, Maddie appears outside the open door of David's office while he's stretched out on the couch. Maddie cautiously enters the room and with a soft sexy voice tells David that she's pleased to have him as her business partner. Then she leans over and kisses David gently on the cheek. Maddie then slowly turns away to return to her own office, leaving David to ponder over what just happened between them. David Addison then flashes a big smile of satisfaction across his face. End Scene.(roll credits)

Like I said at the beginning of this review, EP-02 of SEA-02 of "Moonlighting" was the 1st episode I ever saw of the series having already missed the first 8-episondes of season-1, including the pilot movie. Then missing the 1st episode of the 2nd season.

While, maybe this wasn't the best episode of the series, it certainly was one of their top 10, maybe even top-5 episodes. And, it certainly was the episode that first made me a huge fan of the series. I give it 9 out of 10 stars.

PS: As of today and for the last few years, this episode along with entire seasons of 'Moonlighting' are available on a certain website where you can post videos and the sites name begins with the word "You". Can you guess the website that I'm referring to?

Dallas: Reel Life (1989) Season 12, Episode 26

Sue Ellen's Last Payback(and Linda Gray's last episode)

[8/10 · 21 September 2016]

At the conclusion of the 12th season of Dallas, Sue Ellen not only manages her own local movie studio, but she also has completed her seminal feature length autobiographical film that chronicles her 20-year long marriage to JR Ewing. Needless to say, JR doesn't come off looking too good by the end of Sue Ellen's feature film.

However, just prior to showing JR the movie she made which totally trashes him (and not without good reason) a rather dark, and short and kind of creepy looking guy who seems to be the full-time movie studio parasite asks Sue Ellen to completely abandoned her current life and family in Dallas and come live with him in London. Sue Ellen eagerly accepts the offer from the full-time movie studio parasite, then spends her last few days in Dallas tieing up a few loose ends before taking the London plunge with Mr Creepy Guy. First, she says goodbye to John Ross while having lunch at an upscale restaurant. Then later Sue Ellen ends her busy day by using her "Tell All" film to blackmail JR.

After JR and Sue Ellen watch their 20-year long "dysfunctional" marriage being played out before them on the big screen during a private screening at Sue Ellen's movie studio, JR threatens Sue Ellen with legal action to prevent her from ever releasing her autobiographical film to the general public. Sue Ellen responds by reassuring JR that her film will be locked away in a vault and never released to the public... IF! JR dedicates himself to becoming a better person in general. Which includes being a good father to John Ross, and to treat his new young hot trophy wife (Cally Ewing) a lot better than he treated her.

Then, Sue Ellen triumphantly rises to her feat and proudly walks out of the theater with Mr Creepy guy. Who apparently has been waiting quietly in the darkened theater by the exit for God only knows how long. Leaving a stunned JR sitting alone in the theater visibly upset that Sue Ellen got the last victory in their final showdown together. A rather intensely dramatic moment in an otherwise silly and unintentional self-parodying episode.

In other less significant story lines to conclude the 12th season of Dallas, Bobby's latest main squeeze April Stevens (played by Sharee J Wilson) is getting a series of disturbing phone calls from an anonymous man. Bobby then moves April from her apartment into the Southfork Ranch for her protection. However, April continues to receive harassing phone calls after moving to the Ranch from the same anonymous stranger. The episode ends without revealing the identity of the man who is harassing April over the phone, forcing the audience to wait until next season to find out who the mysterious caller is, and what he wants with April.

Finally, Cliff Barnes attempts to track down the location of his ex-girl friend Afton Cooper (played by Audrey Landers) to possibly reignite their ancient relationship. But, Cliff ends-up getting beaten and rolled by Afton's alcoholic ex-husband and his grifter girlfriend at a flop house in New Orleans.

I give this episode 8-out of-10 stars purely because it's Linda Grey's last episode as Sue Ellen after 12-years on the original series of 'Dallas'. Despite having a lot of scenes that are unintentionally campy and laughable.

Taxi: Out of Commission (1981) Season 3, Episode 12

Never a contender

[8/10 · 17 April 2015]

Of the 5 years that 'Taxi' was on the air, season three (in my humble opinion) is its greatest season. And, of the 20 episodes of 'Taxi' that aired in the 3rd season, Taxi's EP12: 'Out of Commission' is one of the best episodes of their greatest season.

The episode was written by Sam Seder, who would later write for the great animated series 'The Simpsons'. And in Sam's episode of Taxi, Tony Banta is forced to retire by the NY boxing commission after his latest fight ends abruptly with Tony getting knocked out 20-seconds into the first round.

As a result, Tony is at a loss and doesn't know what to do with the rest of his life after getting the word that his big dreams of fame and fortune as a prize fighter are officially over. Left with no other means to obtain great success in the world, Tony decides to risk his life by getting back into the boxing ring by any means necessary. Which includes creating a false identity as a Mexican boxer.

Tony's friends and coworkers at the garage eventually discover his ploy to continue his dream of being a boxing champ someday, so Alex quickly rushes-off to find Tony before the start of his first match as a Mexican boxer. Will Alex convince Tony that it's not worth risking his life to pursue his dreams of boxing glory? Or, will Tony ignore Alex's desperate pleas and continue his failed boxing career as a Mexican fighter? Sorry, no spoilers here. You have to watch this great episode of Taxi to find out.

Alias Smith and Jones: Six Strangers at Apache Springs (1971) Season 2, Episode 7

One Fun Main Plot vs Two Poor Sub-Plots(who's going to win?)

[6/10 · 4 November 2013]

The show opens with Smith and Jones deciding to bed down for awhile in the one horse town of Apache Springs. An ex-mining town that's long past its gold rush boom days, and is now just a few shades above a ghost town that has far more lost, and way-ward tumble weeds, than it has merchants and customers. However, before the boys can even get a room, they're quickly approached with a financial proposition inside of the towns hotel and saloon, by a local hard drinking elderly frontier woman, and possibly insane, Caroline Rangely (played by Carmen Mathews) who delightfully steals every single scene that she appears in.

Interested by the opportunity of a huge financial pay day, our two protagonists mosey on up to the hotel bar, and poor themselves a couple of mugs from Caroline's pitcher of morning beer (hey, it's noon somewhere in the world) to discuss more specifically what the possibly insane drunken woman wants them to do for payment, and why.

Eagerly, the wild eyed woman soon begins to narrate a interesting and colorful yarn that started two years ago when she, and her late husband, collected thousands of dollars worth of gold dust from one of Apache Springs old abandoned gold mines. However, they were forced to stash it away in the nearby hills after suddenly being attacked by the Chiwacawa Indians who had recently relocated to the same area after escaping from their reservation, and have remained there ever since.

As it turns out, Caroline's husband was killed in that Indian attack, and she's been unable to return to the hills to retrieve her hidden gold dust out of fear of the Indian tribe. After some contentious haggling between Caroline and the two guys over the percentage of recovered gold dust she's willing to offer, Smith & Jones eventually come to terms with the crazy frontier lady over dinner and a bottle of bourbon. I believe Smith and Jones had a little dinner to go along with their whiskey, while Caroline focused solely on bourbon consumption.

The next morning, Caroline provides them with a map locating several sacks of gold that's sporadically hidden in the nearby hills, and it's off we go to recover lost gold while being harassed by the local renegade Indians.

While the main plot of this episode, and the colorful Caroline are enjoyable to follow along with. Unfortunately, the show gets really bogged down with its 2nd sub-plot involving a young catholic woman that Kid Curry(Ben Murphy) tries to financially assist and advise. Kid Curry's new friend, the young Sister Grace, also recently just arrived in Apache Springs with very little money, and is struggling to pay for room and board while attempting to start a new congregation after becoming disillusioned by the corruption of her last Mission.

What ever potential interest there might have been for the audience in Sister Grace's story line? It immediately died out while listening to her drone on to Kid Curry about the unfortunate reasons that she's currently stuck in the one horse town, and her unrealistic hopes of ever starting a successful congregation in Apache Springs that's practically abandoned by day, only to later erupt into a wild and ruckus drinking, fighting and gambling scene for the local ranch hands at night.

As soon as Sister Grace begins talking with Kid Curry, the whole "trying to rediscover her faith" story line appears to be completely tact on, and doesn't posses a single connective thread to the main story to justify its existence. But, that doesn't stop Kid Curry from advising Sister Grace that she's not a very talented soul saver after just meeting her. And, to put aside delivering the wild west from its own evil ways for awhile, move back to Boston, and to just "have a good time" while she's still young enough to enjoy it. Sort of the, "Tune in, turn on and drop out.", Timothy Leary approach to the problem. This poorly written and under developed story line makes our hero, Kid Curry, seem like he's temporarily freelancing as the Devil's advocate, after a hard day of taking gold from the land of dispossessed renegade Indians.

In the 3rd, and far more organically interesting sub-plot (that never really gets resolved) Smith and Jones are temporarily joined on their golden journey into Indian country by Edward Fielding, who's there to negotiate the fairest terms of a possible surrender and relocation for the local renegade Indian tribe to try and avoid the inevitable blood shed that a military action would cause.

Unfortunately, this story line isn't given the time it deserves, and we're never given much information about how Edward's negotiations with the Indians are progressing or failing, other than Edward suddenly appearing in a few scenes to mildly complain about being shot by the Indians. So, we're left to assume that the times Edward wasn't shot by the Indians was considered a successful pow-wow. Although, it's kind of hard to tell because, Edward doesn't seem to mine very much about getting shot by the Indians.

While the main plot of recovering gold in the hills occupied by renegade Indians for the colorful Caroline makes the episode worth watching. But, overall, I give the episode 6 out of 10 stars, for having too many sub-plots, where the 2nd one about the young Sister Grace needed to be completely tossed out the window, so to allow us more time to follow the 3rd story line about the Indian negotiations.

In closing, episode 7 of season 2, is one of the weaker episodes of the otherwise strong remaining few months that Peter Duel and Ben Murphy continued to star together. The entire episode is currently available on IMDb and YouTube if you're interested in checking it out for yourselves.

Saturday Night Live: Dyan Cannon/Leon & Mary Russell (1976) Season 1, Episode 20

Dyan Cannon makes it fun to watch

[7/10 · 3 September 2013]

While there really are no memorable, or "Classic", comedic skits and musical performances in this episode, there are a few skits worth mentioning here like "Anita Bryant attempts to pitch Florida orange juice while being held hostage in Beirut" is probably the best of the show.

A close second is Dan Aykoryd and Dyan advertising pickle jars filled with water that famous people have bathed in. And as crazy as that may have sounded in the 70's, I'm pretty sure there's an actual market today for "Bathwater of the Stars" that's available for purchase over the internet.

In fact, while writing this review, I Googled, "Celebrity Bathwater", and one of the top links was an article posted by the Bleach Report where recently, the 2012 London Olympic swimmer, Mo Farah, is selling his bathwater on the most popular auction website on the internet. I can't mention "specifically" the site, or this review will not be posted on IMDb. But, it's not that hard to guess which one it is.

However, while Mo Farah is the only celebrity that I currently know of who is selling their bathwater for profit. I personally think that there is an endless amount of potential in the "Bathwater of the Stars" market, early on, until all the YouTube and Reality TV celebrities eventually get into the new bathwater market, and wind-up driving down the value of the celebrity bathwater as an investment business for the general public to buy and resell at a profit.(but I digress)

While the episode as a whole definitely had some problems that needed to be ironed out before show date, I think that the best reason to watch this particular episode is Dyan Cannon, who appears to be having a lot of fun working with the crew and cast members. And, reminding us why she was always the very talented and likable co-star for over 50 years in TV and movies. And not just another Hollywood blonde bombshell for a few years before disappearing into the has-been celebrity abyss.

Saturday Night Live: Raquel Welch/Phoebe Snow, John Sebastian (1976) Season 1, Episode 18

5 Music segments, and none of them are any good

[4/10 · 3 September 2013]

The opening of the show, where Lorne Michaels offers the Beattles $3,000 dollars to reunite and perform on SNL is a classic, and by far the best part of this entire episode. Then it's all down hill after that.

However, one surprising thing about this episode of SNL is that Raqhel Welch opens the show by doing a cover of Karen Carpenter's "Superstar". I didn't even know Raquel Welch could sing until I saw the 18th episode of the 1st season of SNL. And now, I'm absolutely convinced that Requel Welch can't sing. While Raquel's singing isn't horrible to-listen-to. However, her singing voice is very average at best, and instantly forgettable.

On top of that, Pheobe Snow was one of the 2-musical acts booked on the show that night, along with John Sebatian of 'The Loving Spoonfull'. I found Pheobe Snow's singing and song writing so annoyingly awful that even Yoko Ono would walk out of the room. Pheobe Snow was introduced by Raquel as an extremely talented musical genius just before Pheobe's 1st performance. But, does anyone remember hearing a single song by Pheobe Snow on the radio in the 70's, or any other decade? I sure don't.

John Sebatian later performed his hit single at the time "Welcome Back". Which would've been easily the best musical performance of the entire episode. However, unfortunately due to sound problems with his microphone at the beginning of the song, John's live performance seemed uninspired after the rough start.

As for the comedy sketches themselves, other than a running joke about trying to con Raquel Welch into undressing in front of the cameras. Which was pretty funny. The rest of the sketches for the night reminded me of bad high school talent show routines.

Two skits in particular standout in my mind because they at least had a pretty good creative idea behind them like, "One Flew Over the Hornets Nest", a parody of the now classic film "One Flew Over the Cuckoos Nest" involving the 'Killer Bees'. And, a sketch called, "Howard Hughes New Golden Bra for Jane Russell", featuring Raquel Welch of coarse. However, neither of these 2 sketches ever panned out comedicly, and ended-up once again coming off as rather amateurish in execution by the end.

In my opinion, there's a reason why no skits from the 18th episode of Season-1 are ever included in the Best of SNL broadcasts or DVD releases, because there are no skits or musical performances in this episode worth remembering, other than that awesome opening bit with Lorne Michaels.

Saturday Night Live: Madeline Kahn/Carly Simon (1976) Season 1, Episode 19

One of the better episodes from season 1

[7/10 · 2 September 2013]

After watching Episode-19 from season-1 with the late Madeline Kahn guest hosting, you can see that the original cast and crew from the 1st season of SNL were still struggling a bit to find enough usable material to keep an audience entertained for a full hour-and-a-half on a live late night variety show.

Which makes any episode from the first season interesting to watch whether the episode was good, or not-so-good. Because it's interesting to watch a creative transformation take place that would eventually set a new standard for variety television.

And, of the many hits and misses of the 1st season I think the 19th-episode of Season-1 is definitely one of the best. After Madeline's really annoyingly unfunny opening monologue, the most memorably best parts of EP19, are skits like "Wilderness Comedian" with John Belushi. And, Gilda Radner as Babah' Wawa' interviewing Madeline Kahn as Marlene Dietrich. Another terrific skit was "The slumber party", along with "Impoverished Families in Namibia". Followed by Madeline Kahn singing "I feel Pretty", as the, "The Bride of Frankenstein"

Unfortunately, all these terrific skits that I just mentioned all happened within the first 30-minutes of the show. Which left a pretty big gap between the really strong beginning of the show, and the really strong ending. The middle 40-minutes isn't very good.

The last two skits were the best of the show however. And, maybe even two of the best the original cast ever did. In the 1st sketch of the final 2, Madeline Kahn and John Belushi turn the movie Chinatown into a light hearted musical. Which is followed by Madeline Kahn portraying a drunken Pat Nixon writing about Tricky Dicks last days in the White House.

Interestingly, the best skits of EP19-SE1 all have John Belushi either starring in them, or making some type of contribution. Which is a little surprising because Belushi was a minor player for the 1st season of SNL. But, in this episode Belushi is the show.

To begin the show, John Belushi's 'Wilderness Comedian' was great, He was like a cross between Grizzly Adams and Shecky Greene, and a great parody of popular movies and TV programing of the 70's, that were often about people leaving their urban lives behind them, and starting a new life in the great untamed wilderness. Then, by the end of the show, Belushi was just as great impersonating Henry Kissinger in a understated "straight man" performance to Dan Aykroyd's hilarious Richard Nixon impersonation.

Great episode to watch of SNL's 1st season. And, if you're a John Belushi fan? Then, you will absolutely love this episode of season-1.

Jaws 2 (1978)

The Shark Is Bigger This Time

[2/10 · 23 August 2013]

Before there were Mega Cinemaplexes, we had to stand outside in the hot summer heat for hours just to get the chance to watch a disappointing sequel like JAWS 2. I think for this reason alone, I have been far too harsh in my criticism of JAWS 2 over the years.

And, I'm happy to report today that the memories of the anger and disappointment that I experienced that day has diminished enough now that I can provide a unbiased and objective review of this movie for what it was, instead of what I thought the movie ought to be.

I can finally put behind me, once and for all, my first summer movie blockbuster disappointment that left me permanently cynical of the movie industry, and temporarily sunburned at a very early age.(I was 9 years old at the time)

First, allow me to demonstrate just how far I've come since then by admitting that JAWS 2 was probably the best of the JAWS sequels. Which admittedly is like saying that a kick in the rear is a lot better than a punch in the face. Or, as in the case of JAWS 4, a hammer to the head for that matter. Not much of a compliment to heal the pains of yesteryear, but it's a start anyways.

Unlike the future sequels, JAWS 2 at least started out promisingly enough by continuing the storyline of Chief Brody and his family. And, even made a decent attempt (early in the film) of recapturing a sense of terror from the unseen ocean depths that the original movie magnificently accomplished.

However, JAWS 2 started going horribly wrong when the audience first sees the shark far too early in the movie. Maybe it was impossible for the sequel to recreate that first big scream moment when we first see the shark? But, to show the shark so early, without much build up either, leaves the audience feeling that this isn't the movie they paid to watch.

This idea to show the shark so early proves to be such a major failure for the movie, that it makes you grateful (truly grateful) that the shark in the original JAWS broke down, forcing Spielberg to use the eye of the camera, and by proxy the imagination of the audience as the substitute for the actual shark. Big difference.

Eventually, Chief Brody becomes the lone person attempting to prove that the mystery of the sudden strange deaths and disappearances on the island is the result of another giant shark in the area. Strangely, no one believes Brody that another giant shark is terrorizing the islanders again, and the town counsel becomes convinced that Brody is suffering from some type of giant great white PTSD, or something. Despite the fact that the island was terrorized by a giant great white just three years ago.

The final resolution to the story eventually develops into a teenagers-in-jeopardy movie. In a 70's exploitation flick kind of way. Strangely, the teenagers are being slowly terrorized at sea by a giant shark that has over the coarse of two movies (by my count) already taken down three boats, a Killer Whale and a helicopter. But, can't seem to figure out a way of dealing with these teenagers in tiny broken sail boats for some reason, who have no means of defending themselves.

I mean c'mon! What is the shark waiting for? Is the shark just biding his time, cruelly toying with its intended victims until he makes his final move? What ever the case maybe, the sudden uncharacteristic behavior of the mass murdering giant shark towards the teenagers destroys any sense of suspense and intrigue for the audience. And, you actually end up rooting for the Shark to just attack the teenagers to get the whole thing over with, so we don't have to spend anymore time with these people.

After the movie, I remember walking past a long line of people waiting outside in the hot summer heat in anxious anticipation of seeing the sequel to JAWS for the very first time. Just as I had done only a few hours ago. Somebody waiting in line asked me as I was passing them, "How was the movie?". I turned and replied, "The shark is bigger this time!". Admittedly, it's not exactly a ringing endorsement, but at least it was one good thing I could say about the movie at the time.

The Wanderers (1979)

A Brilliant and (dare I say?) Important Film

[10/10 · 19 August 2012]

From the very beginning of Philip Kaufman's "The Wanderers", you're immediately transported in an orgasmic explosion of music into New York's Bronx borough of 1963. Just before the audience is introduced to some of the most original colorful characters in cinematic history, whose personal perceptions of the world are limited to the prism of their ethnocentric gang affiliations that rule their urban jungle environment.

In contrast to George Lucas' semi-autobiographical movie 'American Graffiti', that re-created his young life filled with hot rods, cruising the main street and drag racing in a small California town in 62'. Philip Kaufman adaptation of Richard Price's semi-autobiographical novel 'The Wanderers' re-creates the atmosphere of the gritty street gang life of Bronx, NY in 1963.

While George Lucas' American Graffiti enjoyed far more recognition and success than Philip Kaufman's 'The Wanderers' ever did. These two great independent films could serve as bookmarks to one another, with American Graffiti in 1973 being the main inspirational source that launched the whole 50's & 60's nostalgic retro entertainment for the rest of the 70's. While 79's 'The Wanderers' marks the end of the 50's nostalgia era. With one film about the lives of high school kids in 62' on the west coast, and the other about the daily lives of high school kids in 63' on the East coast. Both movies are similar in nostalgic form and independent style, but very different in tone and content.

Because these two movies are so interconnected to one another, it shouldn't be any surprise that Philip Kaufman and George Lucas teamed-up to create the story for a little movie called, "Raiders of the Lost Ark" in 1980. Ever heard of it?

While it's more than likely you've already seen 'American Graffiti'. However, if you haven't ever seen Philip Kaufman's "The Wanderers"? Then you definitely want to find it and watch. I assure that you won't be disappointed.

It's truly an independent Philip Kaufman masterpiece, which includes Kaufman's trademark use of captivating cinematography while the great music of 1963 serves the movie by magnifying the films humor, tragedy, gritty realism, with an occasional touch of the truly bizarre, as we observe the daily lives of the young tough high school gang members of the Bronx in 63'. And, Alan Rosenberg's portrayal of 'Turkey' is one of the most original and uniquely funny, tragic and troubling characters that's ever been performed for the big screen.

A must see film. A+

Silverado (1985)

A Return to the Classic Western(but with a modern touch)

[10/10 · 18 August 2012]

By the time "Silverado" was released in 85' the tone of the western genre' had moved dramatically from TV shows like 'Gunsmoke', Bonanza and John Wayne movies of the 30's, 40's and 50's, way over to Clint Eastwood's (anti-hero cowboy) beginning with Sergio Leon's highly stylistic 'Spaghetti Westerns' of the 1960's.

Clint Eastwood's and Sergio's - No Name Gunslinger - was so iconic by the 70's that it was almost impossible to imagine that westerns could ever return to its former epic past of movies like 'Stagecoach' and 'The Searchers'.

However, Lawrence Kasdan's, "Silverado" is a great blending of both the classic epic westerns of John Ford and John Wayne with the more modernistic nomadic "anti-hero cowboy" of Sergio and Eastwood.

Silverado begins with Scott Glenn as an ex-con cowboy named Emmet - best known in 85' as the baddie' ex-con in 'Urban Cowboy'. He is engaged in an intense gun battle against several men for reasons unknown to the audience at that time. All we know is that these people want to kill each other for some reason, and it doesn't end well for the guys not named Emmet.

After starting the movie off with lots of bangs, Emmet soon teams-up with the down on his luck Paden (played by Kevin Kline) who has been robbed and left for dead in the desert. Paden is a soft spoken mild mannered gambler (until you steal his stuff) with a mysteriously dark past who loves a saloon. One of many vice's Paden eventually confronts in a showdown by the conclusion of the film.

Emmet and Paden make a quick stop in the small town of Turley to meetup with Emmet's younger brother Jake before continuing their journey to 'Silverado'. Jake (played by Kevin Costner) is more of a loud, wild and reckless James Dean type of cowboy gunslinger. You could describe him as, 'A Rebel with a Two Gun Rig', who often gets himself into a lot of trouble when ever he kisses a pretty girl in a town.

After our 3-protagonists (Emmet, Paden and Jake) are chased out of the sleepy town of Turley by Sheriff Langston (played by John Cleese) and his possee, they're unexpectedly joined by Mal (played by Danny Glover) who was run out of town the day before. Mal is a butcher from Chicago who is also on his way to the outskirts of Silverado to reunite with his family and help run their cattle ranch.

So, with the movies 4-protanganist now firmly established we continue our journey to 'Silverado'. However, not before a little male bonding along the way that involves a gang of thieves and some wagon settlers who are also on their way to Silverado.

After everyone eventually reaches Silverado alive and still kicking, our 4-protaganists (Emmet, Paden, Jake and Mal) go their separate ways. This is where the story takes on a whole new unexpected turn, beginning when Paden walks into the Midnight Star saloon of Silverado.

Come lookin' for a possible saloon job, Paden first meets the older but charming saloon manager Stella (played by Linda Hunt) who Paden quickly establishes a close friendship and deep bond with. Then, Paden discovers that his old outlaw riding buddy Cobb (played by Brian Dennehy of 'Rambo' fame) is not only the owner of the saloon, but is also the sheriff of Silverado.

Warning to all of Cobb's future employees: You definitely don't want to get on Sheriff Cobb's bad side.

Soon after Paden accepts Cobb's job offer to help run his saloon, Jeff Golblum joins the cast as a professional gambler named Slick. Who runs an honest poker game but, is not the most straight-up and honest person himself. From here, all the conflicts in 'Silverado' center around corrupt sheriff Cobb's behavior and Paden having to choose between siding with his old pal Cobb and his lucrative saloon business, or his own sense of personal ethics by siding with his latest riding buddies (Emmet, Jake and Mal) who are now in a war with Cobb and his deputies.

All of these wide variety of characters and their separate plot lines all come together in a very exciting and emotionally poignant manner by the conclusion of the film. Which many film makers try to accomplish, but very few succeed at.

Watch 'Silverado'. You'll be glad that you did.

Planet of the Apes (1968)

The Greatest Twilight Zone Ever

[10/10 · 18 August 2012]

Why? Both Planet of the Apes and The Twilight Zone were written by Rod Serling.

While most documentaries about the making of the original Planet of the Apes in 68' downplay Rod Serling's script contributions to the final product, for some reason. It's obvious that Rod Serling's original vision for the Planet of the Apes is all over this film.

Which is why the Planet of the Apes plays like a two-hour episode of the Twilight Zone, complete with twists of reality to serve as social commentary that includes the classic Rod Serling grandiose shock ending. Rod Serling's trademark form of story telling for his Twilight Zone series.

Charlton Heston is perfectly cast as Rod Serling's protagonist astronaut Taylor for 'The Planet of the Apes' Twilight Zone episode. A character that resembles a futuristic Moses who is cynically arrogant, world weary, and idealizes the discovery of something better than a planet dominated by his own species. But, instead of talking to a burning bush for guidance, he blasts off into outer space to discover a idealized alien utopia that he desires to live in.

However, what he discovers instead is a planet ruled by a civilization of Apes, with the antagonist human hating Orangutang Dr. Zaius at the top of the Apes societal pecking order. While humans occupy the absolute bottom of Ape society, and treated no better than wild animals to be hunted for sport, killed and experimented on.

This forces Taylor to put aside his previous self-loathing cynical world views in a struggle for survival after being captured by the Apes. Taylor may not like the human species very much, but he definitely likes himself enough to prevent being lobotomized by the Apes.

Taylor rediscovers what it means to be human during his struggle for survival on his new planet that he can't run away from this time. And is forced to kind of deal with it.

However, unfortunately for Taylor, Ape society shares his previous opinion about his own species, and Dr. Zaius wants to eliminate him in order to destroy the last hope of the human race for the purpose of continuing the domination of his own Ape species on the planet. And, is willing to do whatever it takes to achieve that end.

I'll let everyone else interpret the meaning of Taylor's horrible discovery at the end of the movie, and what it means for him after his rediscovered sense of humanity after being reduced to a simple nomadic ancient species. Who can talk by the way.

Truly, a Rod Serling Classic and only movie. A must see.

The Cotton Club (1984)

The Cotton Club Fizzles While Diane Lane Sizzles

[4/10 · 17 August 2012]

I would have given this movie a 2 star review if it wasn't for Diane Lane, because back in the early 80's Dianne Lane was every young boys dream girl. I know, because I was a young boy back in the early 80's. And, if you want to see Diane Lane at her most enchanting hotness, then you might want to check out The Cotton Club?

That is, if you don't mind sitting through a mess of a movie that's over 2hrs long, and you don't care what happens to any of the multitude of characters story lines. Except, maybe Diane Lane's character, because she was just that HOT.

But, don't worry Cotton Club fans out there, I will include a few positive aspects in this review about the movie. That doesn't involve murder conspiracy's of drug dealing movie producers. Only because IMDb requires at least a 10 line minimum written review before it can be posted on their website. Which is about, 9 lines longer than I care to spend writing about The Cotton Club. But the rules are the rules.

The best thing The Cotton Club has to offer an audience is its stellar ensemble cast of actors and actresses. Even the ones that aren't Diane Lane. Some were already well established TV and Movie stars like Richard Gere, Fred Gwynne, Gwen Verdon and Gregory Hines. While others weren't house hold names yet like Nicholas Cage, Laurance Fishburne, Diane Lane and Bob Hoskins. But, would go on later to become huge Stars despite their appearance in The Cotton Club. I guess someone up there likes them?

However, despite the movies great ensemble cast, you just DO NOT care about any of the characters in the movie. It's really hard to say exactly why you don't care if Nicholas Cage's character is gun downed in a phone booth. Or if Gregory Hines, Richard Gere and Laurance Fishburn ever get the girl at the end of the movie. Maybe, it's because there were so many different characters, that you never cared about, who couldn't get the girl until the very end of the movie.

The only time I ever cared about any of the characters who didn't get me aroused while watching them, like Diane Lane for example. Is when I felt Sad that the evil Mob boss Dutz Sholtz was eventually killed, because he was the only interesting character in the entire movie.

The Cotton Clubs' writer/director Francis Ford Coppola has made some great movies and some stinkers. The Cotton Club is definitely at the top of Coppola's 'Stinker List'. I hope I finally have the required IMDb 10 line minimum to post a review this time? I really don't want to spend any more time writing about The Cotton Club. The movie gets a D- from me, but I will change my review to a C+ if someone knows if Diane Lane does any texting.

American Graffiti (1973)

A Nostalgic Review of a Nostalgic Movie, that began a new form of Nostalgic Entertainment

[10/10 · 17 August 2012]

Remember back in the 90's when 70's nostalgic entertainment became a popular genre in movies and TV shows? A pop-cultural shift in entertainment that came to a crescendo by the end of the decade with the release of Boogie Nights, The Ice Storm, Slums of Beverly Hills, and Jackie Brown in 97', and the premier of 'That 70's Show' in 98'. All of which, was due in large part to the surprising success of a small semi-autobiographical independent film called 'Dazed and Confused' in 1993 about one night in the lives of high school students after the end of the 76' school year.

The sudden popularity in retro 70's Nostalgia entertainment during the 90's wasn't a new pop-culture phenomenon however. But merely a nostalgic repeat of a cultural phenomenon that happened in the 70's when an even bigger 50's nostalgic form of retro entertainment was kicked-off after the huge surprising success of the small semi-autobiographical independent film "American Graffiti" in 1973, which was written and directed by George Lucas about one night in the lives of high school students after the end of the 62' school year. Sound familiar?

Despite its shoe string budget 'American Graffiti' became so popular and beloved by audiences in the 70's that Richard Dreyfuss, who played 'Curt' in the movie, said in an interview that co-star Cindy Williams called him shortly after the wide release of 'American Graffiti' and told him to, "Go have dinner at a restaurant and see what happens.". When Richard Dreyfuss took Cindy's advice out of curiosity, to his surprise, he was greeted with a room full of patrons and restaurant employees standing and applauding his arrival. This could be considered the official moment when a whole new form of modern nostalgic entertainment began.

Sure, there were nostalgic Westerns before that, but no one watching them was actually alive during the events depicted in the multitude of Western movies and TV Shows of the 50's and early 60's. And a lot of the War movies were made while the actual war in Europe and the Pacific was still being fought, and shortly after the war that eventually extended into South Korea during the early 50's. So the War movies were more of an attempt to romanticize current events, and not so much a nostalgic retrospective of the past.

All that kind of changed after 'American Graffiti' was released, and the 50's nostalgic era of pop-culture entertainment was officially on. Happy Days, Laverne and Shirley, Grease were all huge hits during the 70's, while lesser known but equally beloved low budget cult classics like American Hot Wax, The Lords of Flatbush and The Wanderers contributed to the saturation of 50's pop-culture nostalgia as well.

Also, Sha Na Na was a very well known 50's retro musical group that must have been popular with someone (don't ask me why?) because they were everywhere in movies, radio and TV.

But, of course like every temporary pop-culture sensation from Jazz music of the 20's to Adam Sandler movies at the turn of the century. The 50's nostalgic period of the 70's was coming to a slow but definite end with the declining popularity of TV shows like Happy Days and Laverne and Shirley, and the release of only a hand full of movies like Francis Ford Coppola's 'The Outsiders' and 'Peggy Sue Got Married' in the 80's. And, the super retro group Sha Na Na had already broken up as well, although nobody noticed or cared at the time.

Whatever your opinion is about the actual cultural landscape of the mid 50's-early 60's is? The 70's era of 50's nostalgia would have probably never been bank rolled to the extent that it was, if it wasn't for that small semi-autobiographical independent film "American Graffiti" in 1973, written and directed by little known George Lucas back in the early 70's. Whatever happened to that guy anyway?

The Bad News Bears in Breaking Training (1977)

I LOVED this movie-back in the day

[8/10 · 13 August 2012]

I first saw this movie back in the summer of '77, just before my 9th birthday, and enjoyed it so much that I joined a little league baseball team the following year. That's what this film did for my life.

While people have often criticized this sequel over the absents of both Walter Matthau and Tatum O'Neal from the original cast. I think the criticism would be an accurate and valid one if this sequel was trying to be something like, "Rocky II", for example. Where the sequel is just a slight variation on the original story, except that the hero (or heroes) win at the end of the movie, instead of lose. But that's NOT what this movie was trying to be.

Instead, "The Bad News Bears in Breaking Training" is a road picture at heart. About a group of preteen misfits from the suburbs of Los Angles, California who get swept away by their shared ambitions of playing in the Astrodome in Houston, TX for the National Championship of little league baseball.

Sort of like, "Bless the Beast and Children", meets, "Treasure Island" in the form of a sports movie. Without any pirates or buffalo's serving as metaphors for the doomed spirit of young boys.

But, what I think is a more accurate criticism of this sequel, is that despite the Bears being the West Coast champions at the beginning of the movie, they're apparently a really bad baseball team, who are in desperate need of a decent pitcher.

Twice we see the Bears play baseball prior to the championship game and twice it's like watching the 3-little stooges, Buster Keaton and Charlie Chaplin all on the same baseball team together trying to hit and field a baseball.

That is, until Kelly's long separated father (William Devane) becomes the teams manager shortly after the Bears arrive in Houston. Then, he quickly converts them from a comically bad team into a championship team, after just a few days of practice.

Also, there's the unnecessary family drama conflict at the end of the film between Kelly Leak and his father/team manager which suddenly erupts out of nowhere, for no reason, and feels very forced and too tact on for the audience to empathize with Kelly's sudden outburst of pent-up emotional rage of being abandoned by his father (that everyone likes by now) when he was a very young child.

Then later, in this 70's "Feel Good Summer Sports Movie" - which would eventually become a movie cliché by the mid-80's - all of that sudden serious drama between a divorced father and his abandoned son is all magically resolved by simply winning the big game at the end of the movie.

That's nice, and it made me feel all warm and fuzzy inside at the end too. If only real life was more like that.(sigh)

But, both of those justifiable criticisms of the movie are only a very slight departure from what this movie really excels at in a big way. Which is, creating a huge sense of joy and fun of watching a small band of preteen misfits in their collective pursuit of playing baseball on a national stage, inside the greatest sports stadium in the country and possibly bringing a National Championship back to California with them.

I was with the Bears the entire way through the movie, and I even lived in Texas at the time, and still do.

While I realize that this movie is definitely not for everyone. But, if you were a kid in the 70's, or just want to reconnect with your lost sense of youthful mischief when the world was still just one big adventure? Then this is a must see movie.

American Hot Wax (1978)

It's Like Being There and Apart of it All

[9/10 · 4 June 2012]

I first saw this movie in theaters when I was 9 years old, and because I was so totally blown away by the entire production, especially Tim McIntire's portrayal of Alan Freed, that I ended-up falling in love with, not only the movie, but the entire genre of Rock n' Roll music of the mid 50's-early 60's, and I still feel the same way today. After I eventually found an 8 track tape to the soundtrack of American Hot Wax in 78', which included all the great artists and groups, performing the great music featured in the movie. I played that tape, over-and-over again until I wore it out. Or, until 8 track tapes eventually became obsolete a few years later, I can't remember which.

The only reason this movie doesn't receive a 10 from me, is that it takes some dramatic liberties with the actual dates and locations of some important events of the time the movie is suppose to be representing. Like the year that Buddy Holly died, {Spoiler Alert} and the location of the theater where the movies climatic Rock n' Roll show actually took place(hint:it was actually in Boston not Brooklyn, NY) which led to Alan Freed being charged with inciting a riot, and eventually caused him to declare bankruptcy.

Yet, despite these rather obvious factual errors to anyone who knows their Rock n' Roll history, American Hot Wax is as fun and exciting as any Rock n' Roll musical that's ever been produced, without having any of the characters dance and sing directly to an audience, that characters would never do unless they knew they were in a movie.

While it's difficult to know for sure why a terrific movie like American Hot Wax had such dismal box office returns, and has been kind of forgotten about over the years. Fortunately, for me, I was able to watch the movie in a theater when it was initially released, and was such a wonderful amazingly joyous experience that I never forgot the moment, or the movie, which is one of several reasons American Hot Wax still remains one of my all time favorite little known gems today.