classicsoncall Reviews

Portnoy's Complaint (1972)

"So, where's the banana?"

[5/10 · 12 May 2024]

It's probably safe to say that a nice hot shower would be appropriate after watching this flick. Believe it or not, I actually read the Philip Roth novel upon which this is based, many, many years ago, but my only recollection of the story is the main character's obsession with self-gratification. Recalling chapters of his life to psychiatrist Dr. Spielvogel (D. P. Barnes), the principal character, Alexander Portnoy, details virtually every sexual escapade he participated in during his non-maturation into adulthood, along with a spirited portrayal of his Jewish parents' insinuation into his personal life, complete with bowel movements and emphasis on French fries and eating hamburger out. That term, 'eating hamburger out' must have been stated three or four times and just confused the heck out of me. Is that a New York City Jewish thing or what?

Richard Benjamin had the unfortunate role of Alex Portnoy in this easily trashed film, which by the looks of it, is getting a fairly good workout here on this board. For her part, Karen Black looked absolutely stunning in early scenes as Portnoy's first legitimate girlfriend, but then fell victim to his callous disregard during a European vacation and threatened to commit suicide if he didn't marry her. Are we supposed to believe she actually did with all those visions of Mary Jane Reed, aka Monkey, hurtling to her death from an upper story hotel window? I can't decide either way.

If you'll notice, Portnoy's shrink didn't utter a single word throughout all of their exhaustive sessions together. At least I think they were exhaustive; I would have been worn out listening to his single-minded droning on about a miserable sex life. The woman he nearly raped after the falling out with Monkey in Europe probably said it best when she stated - "As a man, you are a failure at everything". With that, there's virtually no redeeming quality to be associated with this film, and it's no wonder that it was Ernest Lehman's single directorial effort. It makes me wonder what Woody Allen could have done with the same material.

Dead Man's Hand (2023)

"Next time, you leave those bodies to rot."

[5/10 · 12 May 2024]

As with a lot of these low rated, recent Westerns, I go in with the idea that I'll probably find something to like about it and figure the other reviewers might have treated it just a bit too harshly. This one started out that way, but then the reality of the filming kicked in. The town in which the action took place looked like it was just built, not a single building looked like it was there for more than a few weeks. It was just too clean and antiseptic looking. In a scene in which we get a bird's eye view of an Indian village, all the teepees are exceptionally white and clean with no apparent consideration that they were in a dusty environment and prone to sun bleaching. The biggest miss for me was the casting of the story's principal character, Jean Jaques Renau, also known as Reno, who was portrayed by actor Jack Kilmer who looked like a teenager, though his age at the time of the picture's release was twenty-eight. I get what the filmmakers were probably trying to do here by casting a guy who didn't look even remotely like a gunfighter and have him rise to the occasion to take on a band of outlaws running an unnamed town. A good idea, but it just didn't work for this viewer. But the most ridiculous thing was when an Apache woman (Delilah Andre) sewed both of Reno's trigger fingers back on after gang boss and mayor Clarence Bishop (Stephen Dorff) had them chopped off for killing the mayor's brother during a stagecoach holdup. Didn't anyone take into account that that might have hurt? Reno gets back into the fray like nothing happened with guns blazing, even though he had to be nursed back to health a second time at the Apache village after taking a bullet during a shootout in town. Presumably on loan from the "Yellowstone" series, Cole Houser and Native American actor Mo Brings Plenty weren't enough to elevate the movie's favorability with their limited presence, and all I can say about Reno's wife Vegas (Camille Collard) is that she looked every bit the teenager that Reno did.

One more observation - keep an eye on the guy that Marshal Roy McCutchen (Hauser) shoots out of a two-story window during the street fight in the latter part of the story. The outlaw hits an overhang above the dirt street, and in order to fall all the way down to ground level, he gives a little push off to help complete the stunt. Bravo, second unit!

Where Danger Lives (1950)

"You've lied to me once. Maybe you lied a hundred times!"

[7/10 · 11 May 2024]

I thought there was something curious about Frederic Lannington (Claude Rains) dying after that brief scuffle with Doctor Jeff Cameron (Robert Mitchum). So it came as no surprise when the cops stated that he died from suffocation, a result of Lannington's wife using the old sofa cushion technique. Cameron probably should have pegged his future wife as a nutcase right from the get-go, but when you come right down to it, Margo Lannington (Faith Domergue) didn't offer a whole lot of clues to her mental state during the early going, although his instincts should have kept him going right out the door of the Lannington home once he found out the truth of their marriage. I have to agree with a handful of other reviewers who question Mitchum's casting here as the poor schmuck who got taken in by Margo's scheme. Maybe it was getting whacked by that fireplace iron that finally did the trick, although he did get real cozy with the femme fatale from their very first clandestine date. Having Mitchum's character make his way through the story with a concussion was probably a good idea, or else how would you explain his lack of judgment. For a lovers-on-the-lam story, this one is somewhat decent, but you have to overlook the inconsistencies in Jeff Cameron's character. However, Mitchum did a good enough job in this flick to recommend him for 1952's "Angel Face", another noir thriller in which, quite coincidentally, his character married another lunatic, only this time, before she even got out of her hospital bed! If that sounds weird, you'll just have to see it for yourself.

Star Trek: Deep Space Nine: Past Prologue (1993) Season 1, Episode 3

"Go over my head again, and I'll have yours on a platter!"

[7/10 · 11 May 2024]

Fortunately, this follow-up episode to Deep Space Nine's opening story 'Emissary' was what was needed to get the series on track from the somewhat convoluted premiere. This one has a Bajoran member of the Kohn-ma terrorist group fleeing from a Cardassian vessel and requesting asylum aboard the space station. Tahna Los (Jeffrey Nordling) had a prior association with Major Kira Nerys (Nana Visitor), which proved to be a point of contention between her and Commander Sisko (Avery Brooks), leading to a harsh dressing down after Kira goes over his head to have Admiral Rollman (Susan Bay Nimoy) intervene in her request on behalf of Tahna. Nevertheless, the Major eventually comes around to see how duplicitous Tahna was when he conspired to collapse the entrance to a stable wormhole, a major trade conduit for the Bajorans. Klingon sisters Lursa (Barbara March) and B'Etor (Gwynyth Walsh) make an appearance here in a tenuous financial transaction with Tahna Los, as does a Cardassian by the name of Garak (Andrew Robinson), who remained behind on Deep Space Nine while the rest of his fellow Cardassians departed Bajor after pillaging it of most of its resources. This episode felt like more of a jumping on point for new viewers like myself, coming to the series three decades after it originally aired. With Chief O'Brien (Colm Meaney) on hand along with the Duras Family sisters from Next Generation, I felt a little more at ease with the transition to this program.

Let It Be (1970)

"Whisper words of wisdom..."

[7/10 · 11 May 2024]

If you've seen the three-part Peter Jackson documentary series "Get Back" from 2021, then you've seen all there is to see in "Let It Be". Indeed, Jackson himself opens the remastered version conversing with director Michael Lindsay-Hogg, who gave us this first but largely unseen documentary from 1970 at a time when the Beatles were just about to break up. Much of the angst in the later series isn't very much in evidence here, except for a hint of the friction between Paul McCartney and George Harrison when the two quibble over the way something should be played. Yoko Ono is seen, though not as a disruptive influence, as is Linda Eastman with daughter Heather, who amusingly 'scares' Ringo when she surprises him with her presence. Billy Preston is aboard too, lending a hand on keyboard and visibly happy to be part of the mix. Overall though, my impression of this film is much like I had with the 'Get Back' series; unless you're a music historian or diehard Beatles fan, there's just not much substance to the effort. You've got four musicians at work coming up with lines of dialog and music to complete their next album, with Lindsay-Hogg admitting that he didn't know how the whole project was going to end. Paul's and John's voices aren't polished with the early run throughs of some songs, while Ringo looks bored most of the time. Fortunately, the Apple Studio rooftop concert that concludes the flick is a piece of music history you'll want to experience, although it's a condensed version of the complete presentation seen in "Get Back". Surprisingly, although much of the street crowd shows appreciation for the impromptu concert, no one seems astonished that the legendary Beatles are giving a free show. Which makes it seem incongruous when an elderly business type gentleman is heard to remark - "I think the Beatles are crackin'..."

Believe It or Not (Second Series) #10 (1932)

You can believe it or not...

[5/10 · 10 May 2024]

As I write this review, some of these 'Believe It or Not' episodes are making the rounds on Turner Classic Movies. Robert Ripley bows out of the narration for the second time in a row after introducing the off-screen Leo Donnely who comments on the oddities presented. As usual, we're treated to a host of totally unrelated subjects starting off with a golf course in Georgia on the site of a Civil War battlefield with military trenches intruding on the landscape. A Sioux Indian who paints landscapes upside down was featured right after a clip of cigar store wooden Indians guarding their owners' shops. An elevator that carried vehicles to the top of an eighteen-story building to get washed reminded me of a recent trip into New York City where I had to find a place to park my car, while a violin made from ten thousand matchsticks was quite curious. Of interest to pet lovers was a story of a Boston Terrier with a set of wheels for back legs fashioned by its owner, and a dog cemetery in Scarsdale, New York. Perhaps the most interesting subject was a home in New Jersey near the Atlantic Ocean which had as its address - #1 Atlantic Ocean. I wonder if it's still there?

Star Trek: Deep Space Nine: Emissary (1993) Season 1, Episode 1

"It is the unknown that defines our existence."

[7/10 · 9 May 2024]

So here it is three decades after the fact and I've begun watching 'Deep Space Nine'. I was a fan of the original series, and only recently completed 'Next Generation', which now leads me to take up this one. Quite honestly, if I had not seen 'Next Generation' to completion, I might not have made it through this first episode. It was Captain Picard's (Patrick Stewart) appearance and the inclusion of Chief Miles O'Brien (Colm Meaney) that kept me engaged long enough to see this lengthy introduction to the series through. That's mainly because the entire second chapter of this two-part story got very surreal with the wormhole business, as Commander Benjamin Sisko (Avery Brooks) encountered aliens within its boundaries that took on the guises of events and people from his past, most notably his wife (Felecia M. Bell), who was killed during a Borg attack led by Locutus of Borg on his vessel three years prior. Seeing as how Picard's alter-ego was responsible for Jennifer Sisko's death, one can understand the Commander's reluctance to take on his new assignment as the commanding officer of Space Station Deep Space Nine. Some might characterize the wormhole experience as a cerebral one and exemplary science fiction storytelling, but I found it to be a bit confusing for an introductory episode to hook in new viewers. I also cared less for the supporting officers on Deep Space Nine, though that might change with the viewing of additional episodes. I'll keep an open mind on that, with some expectation of additional crossovers from Next Generation as this series progresses.

One More Shot (2024)

"What's the going rate now for betraying your country?"

[6/10 · 8 May 2024]

I almost turned this off after about fifteen minutes because it seemed like all gunfight and no story. I don't know what it is, but I've seen Scott Adkins in ten movies, and I still wouldn't be able to identify who he is in the next one. When some of the dust settled it became clear that this was about a rogue Homeland Security officer (Alexis Knapp) working in concert with a mercenary (Michael Jai White) to plant a dirty bomb at the President's State of the Union address. That was only a preliminary however, in order to extract high level access security codes from all the top government officials who would be whisked away to the same secure location when the plot was detected. Well guess what, the story ended with CIA agent Jake Harris (Adkins) taking out virtually all the bad guys, but by averting a dirty bomb from going off, the mercenaries from a private military organization named Farbridge still had a team in place to get the more important aspect of their conspiracy done. While the relentless pace of the film most likely will appeal to action fans, I don't see how an incomplete one does justice to anyone expecting a verifiable conclusion. Maybe that'll happen in 'One More, One More Shot', but by that tine, my attention span will have worn out.

Star Trek: The Next Generation: All Good Things... (1994) Season 7, Episode 25

"It is time to put an end to your trek through the stars."

[10/10 · 8 May 2024]

One's favorite episodes of a series don't necessarily have to coincide with the best, but in this case, I thought the writers did a commendable job of providing both for this viewer. The only other Next Generation story I've given a rating of '10' to was the third season's "Yesterday's Enterprise", which also happened to be a time travel episode, and for me, it's unusual to pick time travel stories because they usually make my head hurt trying to figure them out. The writers managed to keep this one from being too confusing with Captain Picard's (Patrick Stewart) forays into the past and future as a spatial anomaly directed by Q. (John de Lancie) caused time shifts in the Captain's perception. It was cool to venture with Picard to his first day aboard the Enterprise with Lieutenant Trisha Yar (Denise Crosby) as the security chief, while in the future we learn that the Captain had married and divorced Dr. Crusher (Gates McFadden), now in command of a Federation medical supply ship. As events in all three timelines began to converge to one point in space as a result of tachyon pulses engineered by the crew in each one, Picard finally achieved success in saving humanity which was put on trial in a manner of speaking, by the indomitable Q, who always held the Captain in high, if often contentious regard. Feeling more like a Star Trek movie because of its extended run time, I felt this actually could have been released as a standalone picture with little reworking. With enough hints that this would be Next Generation's last hurrah (see my summary line above), the series found a way to go out in style with a cast and crew that pretty much remained stable throughout the years. For this viewer, I appreciated that they made it so.

Star Trek: The Next Generation: Preemptive Strike (1994) Season 7, Episode 24

"I could use a hand at the controls, and a witness."

[8/10 · 7 May 2024]

At the end of this episode, I couldn't tell who was more disappointed - Captain Picard (Patrick Stewart) or myself. I can understand how viewers would sympathize with Ro Laren (Michelle Forbes) for taking what was in her mind a principled stand, but in a final analysis, what she did was a betrayal to Picard and the Federation that put her through Starfleet training and on to a career after enduring a troubled past. What one has to consider here is the aftermath. Just because the Maquis withdrew their ships from attacking a Cardassian convoy for the present, it didn't mean that the rogue faction would discontinue their guerilla operations as soon as they were able to resume again. Where would that put the belligerent faction, and by extension, Ro Laren, if it came time to put them down for good? And that doesn't even take into account what the Maquis high command would consider since they had a Federation treaty to abide by. The rogue Maquis would be considered a pariah, and all those involved would face discipline by a Maquis standard. I had to admire the Captain's stance when he advised the recently promoted Lieutenant Laren that she was flirting with a board of inquiry and court martial if she didn't adhere to her mission. It seems that Picard always had the right answer when push came to shove. This time he demonstrated leadership that wouldn't be compromised, even for an officer who felt they were doing the right thing.

Star Trek: The Next Generation: Emergence (1994) Season 7, Episode 23

"I don't think these folks belong on this train."

[6/10 · 6 May 2024]

If nothing else, this episode takes the use of techno-babble to an entirely new level as the Enterprise crew attempts to regain control of the ship after it's taken over by an emerging intelligence that seems to have its own agenda. A lot of the story's action takes place on the holodeck, where disparate characters from seven different programs appear as passengers on a steam locomotive reminiscent of the Orient Express. Commander Data (Brent Spiner), Lieutenant Worf (Michael Dorn) and Counselor Troi (Marina Sirtis) board the train in order to determine what might be happening, as the transporter and replicator systems of the Enterprise begin merging following an instance in which the ship engaged warp power without a verbal command. To give you an idea how far the scientific gobbledy-gook was taken, just know that the officer crew torpedoed a white dwarf star to create a beam of vertion particles that the intelligence on the ship used to create an entirely new structure that when it was completed, simply took off from the Enterprise, presumably satisfied that whatever had taken control was pleased with its completed task. It felt like the creative team that came up with this story was grasping for ideas and used whatever stuck to the wall when the session was over.

Unfrosted (2024)

"Clearly, it's a fructiferous goo!"

[6/10 · 5 May 2024]

I can't help feeling this was a swing and a miss by Jerry Seinfeld, a good idea wrapped in silliness that overcame what could have been a brilliant parody. As a baby boomer, I did appreciate all the nods to the Sixties and the caricatures of personalities of that era - JFK, Walter Cronkite, Jack Lalanne, et al, but it all felt more tongue-in-cheek than real comedy. Funnier were the sound and sight gags alluding to such references as 'Jackie-O's' and Tang, but if you're of a younger age they'll probably zip right by you. At least there was a cool cast of funny men and women backing Seinfeld up for this project - Jim Gaffigan, Melissa McCarthy, and Amy Schumer to name a few, along with more restrained players like Hugh Grant, Christian Slater and Jon Hamm participating in the mayhem. The cereal mascots were a colorful lot, all coming together at the finale to stage an assault on the Kellogg Company in a parody of January 6th, while moon landing conspirators can point to how the government could have done it and fooled the entire world. Pop culture word of mouth led me to this flick mere days after its debut on Netflix, so it didn't take long to see it and get the itch out of my system. If I'd waited, bad press might have prevented a viewing and I would have missed a silly diversion, as I do like to stay current. Let's just hope that after his first attempt at directing a feature, Jerry doesn't turn into a cereal killer.

Stillwater (2021)

"The last thing you want is to give your daughter false hope."

[7/10 · 5 May 2024]

I was really stunned by the movie's ending. Not so much by the reopening of the case based on the DNA evidence Bill Baker (Matt Damon) entrusted to a retired French policeman, but to the culpability of Bill's daughter (Abigail Breslin) in the death of her roommate and lover. Yes, technically she might have been innocent, but even if she meant for Akim (Idir Azougli) to throw a scare into the roommate, it seems to me that living with that guilt and remorse would have outweighed her profession of innocence. You could tell Bill Baker was deflated by Akim's utterance of the Stillwater necklace given to him by Allison. At that point, Bill might have considered that Akim was lying in order to be set free from the basement, but the effect on him was palpable. When the truth came out there was disappointment, even if the love for his daughter merited the sacrifice he endured with French authorities and the opaque legal system he encountered. I felt bad that Bill's actions destroyed his relationship with Virginie (Camille Cottin) and especially her daughter Maya (Lilou Siauvaud). Real life consequences and the sobering impact of the truth marred what could have potentially been a happy ending.

Dust (I) (2001)

"You'll see at the end."

[7/10 · 5 May 2024]

The movie's dual narrative will prove to be a challenge for most viewers. You best bring an uninterrupted attention span to this one or you'll lose focus very quickly. In fact, I thought the picture was mismatched with its title when it first started with an opening scene in modern day New York, before reverting to an Old West scenario and finally moving on to Macedonia and a revolt by a local tribal leader against the Ottoman Empire. The story is centered on two sets of principal characters, an old woman (Rosemary Murphy) in a city apartment being victimized by a street hood (Adrian Lester), and a pair of gunslinger brothers (David Wenham, Joseph Fiennes) who fall for the same woman, and how their falling out with each other eventually brings the story back home to the present. I'm not going to go into the intricate details of the story because so many other reviewers here have done so with their own takes on director Milcho Manchevskl's overly ambitious effort, except to comment on the fact that the story could not have happened in the way it was presented. All you have to consider is the old woman Angela's (Rosemary Murphy) refrigerator dispensing the profusion of gold coins, even though they were all scattered at the Turkish camp by Luke (David Wenham) when he came for the pregnant Neda (Nikolina Kujaca). The coins were quickly accumulated by the tribe's members, making it a moot point that they could all show up again in one place a hundred years later. I can buy the idea that the baby saved by Elijah (Fiennes) was Angela, but how she got all the gold coins stuffed into her fridge is another matter entirely.

Big Leaguer (1953)

"They've come to play, and everything is baseball."

[6/10 · 4 May 2024]

You take a look at this picture and realize professional baseball has come a long way. What surprised me most was how all the would-be players arriving at the New York Giants tryout camp showed up for their first practice wearing the uniforms of their hometown travel teams. Not one wore civilian clothes, blue jeans or a t-shirt. This was somewhat of an odd vehicle for Edward G. Robinson, who made his mark in the Thirties and Forties in topflight gangster and tough guy roles. Cleared of associations with Communism by the House Unamerican Activities Committee before this picture was made, Robinson found himself in lesser roles the rest of his career, even when at the top of the bill. Playing against type here as the Giants tryout camp coach, his character, John 'Hans' Lobert, is a jack of all trades mentor, disciplinarian, and fatherly giver of advice to the young men who come under his leadership. Not to mention his expertise as a ball player, having played third base for the Giants himself. Which is why he takes a particular shine to the prospect for that position, the imposing and talented Adam Polachuk, portrayed by Jeff Richards. Polachuk also catches the eye of Lobert's niece Christy (Vera-Ellen), whose words of advice when he finds himself conflicted about remaining in camp help him make a life changing decision.

The picture would not have been complete without the typical game defining moment coming in the final inning of a crucial contest that would determine which players would go on to receive contracts to join the minor leagues at a hundred fifty dollars a month. The story offered the opportunity for one of the player's father to sell Polanchuk's own Dad (Mario Siletti) on the idea of Adam becoming a pro ball player. Mr. Polanchuk was dead set on Adam going to school to become a lawyer, but his superb play and Walter Mitchell's (Frank Ferguson) raves about his son helped seal the deal. The game winning homer by Adam helped as well.

Though the film isn't in the same league (no pun intended) as say, "Field of Dreams" or "The Natural", baseball fans will probably find something to like about this decades old flick. It's also a good chance to see Edward G. Robinson in an atypical role, and since he's one of my favorite old-time actors, I had a pretty good time with this one.

Dirty Rotten Scoundrels (1988)

"A poacher who shoots at rabbits may scare big game away."

[7/10 · 3 May 2024]

The teaming of Michael Caine and Steve Martin might not sound so good on paper, but they have some conflicted chemistry here as a pair of con men in a contest to see who can outfox and send the other on their way. Without knowing the earlier provenance, I thought Caine's portrayal and looks made him a reliable stand-in for a David Niven picture, only to learn that Niven himself was in the original version of this story when it was made more than two decades earlier as "Bedtime Story". As for his unwelcome partner, Steve Martin co-stars in a role Marlon Brando had in the earlier film, which now that I know about it, I'll have to satisfy my curiosity.

Though the story has its comedic moments, I've never been thrilled with Martin's overwrought mugging and silliness as demonstrated by his performance as Lawrence Jamieson's (Caine) phony brother Ruprecht. The bathroom gag was a decidedly low point in the story for this viewer. For some reason, the filmmakers didn't bother to explain some very dubious plot holes, like how Jamieson knew the made-up name of Freddy Benson's (Martin) psychiatrist, Dr. Schuffhausen, much less show up as the doctor himself when their intended swindle, Janet Colgate (Glenne Headly) became part of the grift. There was also that mysterious umbrella that popped up on the beach later in the story when Freddy tried to woo Janet - where did that come from?

For all the shenanigans employed by Jamieson and Benson, the picture's twist is one to relish after Ms. Colgate turns the tables on the finagling duo. The closing scene had a bit of "Casablanca" flavor with the forming of what I would guess to be a beautiful friendship. I don't know about Bogart, but I'm sure Claude Rains would agree.

The Gundown (2011)

"Son, you're either a hell of a gunfighter or a damn good liar."

[7/10 · 3 May 2024]

The user rating for this movie here on IMDb is woefully low in my judgment. Now it's no "High Noon" or "Unforgiven", but the story line is decent and the wholesome hero returning to the town of Dead River to exact his revenge on town boss Travis McCain (William Shockley), though derivative, shows some grit and energy in the telling. There's a fairly high body count in this one, beginning with the murder of town sheriff Thomas Morgan, portrayed by the only actor I recognized in the picture, Peter Coyote. Well, his wife too, but I wouldn't have known her name, Sheree J. Wilson as Sarah Morgan. So, for a cast of relative unknowns to this viewer, I thought they all did a credible job. Except perhaps for the overwrought and pouty Dulce de la Rosa (Veronica Milagros), doing her best to look menacing but coming across as a caricature. One thing you usually don't see in a Western is a cowardly sheriff who reverses himself to take on the villain bunch, so the character of Sheriff Deets was portrayed in fine stead by Newell Alexander, until he got his off-screen sendoff by McCain. The story even has a whore with a heart of gold, as Cassie May (Allison Gordon) warms up to Cole Brandt (Andrew W. Walker), a key factor in the gunslinger's decision to turn around after heading out of town on his singular mission to find the outlaws who killed his family five years prior. The stagecoach getaway was something I hadn't seen before, and though you knew it was a set up for the finale, the way this ended took some of the glory away from Brandt when Sheriff's Deputy Newman Hicks (Paul McCarthy-Boyington) put an end to McCain's reign of terror. As one of the outlaw gang, I really wanted to see how Dulce would have been dealt with in a final showdown, but it became a moot point when that stick of dynamite temporarily knocked the baddies down outside the Majestic. Since McCain survived that blast, I'm sure Dulce did too, but I sure would have liked to see her botoxed lips one last time as she met her Maker.

Star Trek: The Next Generation: Bloodlines (1994) Season 7, Episode 22

"So, you see, there really isn't any point in our getting acquainted."

[7/10 · 2 May 2024]

This episode explores the possibility that Captain Picard (Patrick Stewart) might have fathered a son while on shore leave on Earth roughly twenty-four years earlier. That son (Ken Olandt) is now being used as a pawn between the Captain and a Ferengi posing as a DaiMon, intent on seeking revenge for the death of Bok's (Lee Arenberg) son when Picard ordered the destruction of a Ferengi vessel after it provoked an attack against the Captain's prior command, The Stargazer. Bok's son was killed during that encounter, an event that had festered with Bok for fifteen years. Though Captain Picard makes a gallant effort to get to know his 'son' better, Jason Vigo (Olandt) wasn't exactly enthralled with the idea and maintained a discreet distance. However, after Dr. Crusher (Gates McFadden) established Picard's paternity, a further examination of Jason following a seizure revealed that he had a rare neurological condition contributing to a degenerative disease known as Forrester-Trent Syndrome. This had a bearing on the story's resolution when Bok transports Jason to his Ferengi vessel, with Picard following closely behind to challenge Bok's assertion that he's going to kill the son Picard never knew. In true Ferengi fashion, Bok was using Jason as a ploy to extort a huge ransom for the young man, having resequenced Vigo's DNA to make it look like he was Picard's son. The inherited degenerative disease was a dead giveaway that Jason wasn't Picard's son. Just as in the first season episode 'The Battle', Bok, now exposed for posing as a DaiMon, was arrested once again, to be returned to his home planet for punishment. Considering how cunning and scientifically intelligent Bok was in both episodes, you would think he could have put his skills to better use. Interestingly, two different actors portrayed the disgraced Bok in the separate stories, Frank Corsentino in 'The Battle', and Lee Arenberg in this one.

Believe It or Not (Second Series) #9 (1932)

You can believe it or not...

[5/10 · 1 May 2024]

As I write this review, some of these 'Believe It or Not' episodes are making the rounds on Turner Classic Movies. Robert Ripley actually bows out of this one after introducing narrator Leo Donnelly, whose off-screen delivery is no more compelling than Ripley's himself. Of the few I've seen, this one offers the least amount of 'unbelievable' entries, as most are fairly mundane. There's a quick clip of a fat men's shop in New York City and one of a guy going around town picking up cigarette and cigar butts. Why?? A penny menu of about a dozen items in a New York eatery looked interesting, but for 1932, I guess it wasn't all that unusual. Ancient muskets handed down father to son in Tibet, a kiddie car made from cheap components, and a trio of ladies washing elephants and filing their toenails rounded out this program, making me once again wonder why Ripley's crew couldn't come up with a film short with oddities that were connected or related to each other in some manner. The randomness of the subjects presented was just too perplexing, but for once, the stories weren't all that unbelievable.

7 Women and a Murder (2021)

"There's a knife stuck in his back!"

[6/10 · 1 May 2024]

This film is done in the style of 2019's "Knives Out", but it's nowhere near as clever or engaging. It serves as a murder mystery until the final reveal, and then the story's twist catches one by surprise. For good or bad is for the viewer to decide; in my case I felt a little let down. The picture moves back and forth among the seven women who all have some relationship with the 'murdered' man named Marcello (Luca Pastorelli), all of whom could have been guilty and spend their on-screen time denying they did it. I suppose this could have been a more compelling movie with better writing and more capable actors. The characters of the old grandmother Nonna Rachelle (Ornella Vanoni) and Agostina (Sabrina Impacciatore) came across as caricatures, while the action of some of the players didn't make a whole lot of sense. Why, for example, did Susanna (Diana Del Bufalo) find it necessary to sneak into the house the night before her 'arrival' to tell her father Marcello that she was pregnant? What was the big deal about that? In any event, the picture was mildly humorous at times but not that gripping as a murder mystery. Even the cops weren't called until old Marcello was really dead, and then only as a setup for spinster Agostina to finally get a man.

Caught Plastered (1931)

"Some people are naturally dumb, but you abuse the privilege."

[6/10 · 1 May 2024]

I've only seen one other Wheeler and Woolsey feature - 1934's "Hips, Hips, Hooray!", in which they were marketing geniuses just like in this story. In 'Hips', they were helping co-star Dorothy Lee sell a flavored lipstick, no doubt the inspiration might have come from this earlier flick where they got involved in a drugstore relaunch with a spiked lemon soda that becomes the hit of their Lockville neighborhood. They weren't aware that their Pepo Lemon was tainted with alcohol, a scheme engineered by crooked businessman (Jason Robards Sr.) intended to get the newly renamed 'Sunshine Drugstore' shut down so he could take it over when the elderly owner (Lucy Beaumont) couldn't pay off on a loan. This was a familiar theme of the early B Western genre, relocated here to a more urbane setting and done for laughs.

Dorothy Lee is in this one too, introduced as a girlfriend of outwardly charming Harry Waters (Robards), who soon becomes sweet on Wheeler's character, Tommy Tanner. Tanner is so entranced by Peggy Morton's (Lee) charm that he absently concocts a fountain drink consisting of peppermint syrup, Epsom salts and castor oil. His partner, Egbert G. Higginbothom (Woolsey) knocks it down in a single gulp and immediately makes a quick exit, obviously for a rest room, even if we don't get to see it play out. At least they could have gone for a sound effect.

This one isn't as frenetic as their earlier "Hips, Hips, Hooray!", but it does wind up entertaining during its hour plus run. The vaudeville pair of Wheeler and Woolsey try out a routine on Mother Talley (Beaumont), who cracks up at their hit and miss delivery. As promised, the boys remain true to their earlier vow to the matronly shop owner when they stated - "You know our motto: One good deed every day"! Although the pair can feel grating at times with their schtick, the overall tenor of the picture is amusing enough if you're in the mood for their style of humor.

The Sailor Who Fell from Grace with the Sea (1976)

"He's betrayed Number Five completely, and himself as well."

[7/10 · 30 April 2024]

I saw this film so many years ago, probably around the time it came out, and I've thought about it off and on ever since. Having been so much younger and inexperienced back then, I thought the scenes of sexual lovemaking and masturbation were unusually explicit and shocking to be seen on screen. The tearoom scene with Anne Osborne (Sarah Miles) and Jim Cameron (Kris Kristofferson) was a step beyond even Meg Ryan's humorous outburst in "When Harry Met Sally". But the thing I remembered best and was most affected by was the dispassionate murder of Kris Kristofferson's character at the end of the story. Particularly when it seemed like young Jonathan (Jonathan Kahn) was seemingly becoming friends with his mother's lover. However, the influence of the sociopathic leader (Earl Rhodes) of Jonathan's school age cohort was too strong and demanding to challenge, except for the single instance when Jonathan got into a scrap with him at school. The 'Chief's' penchant to dissect and take things apart to determine their true nature is given questionable support in that scene involving a cat, disturbing enough by itself to cause squeamish viewers to abandon the film altogether by that point. Taken to its extreme, all five boys eagerly took to participating in the final act that would purge Jim Cameron's presence from their seaside community. The feeling that the film leaves one with is that of conflict and horror at the senseless murder, and if one takes it to the next level, imagining what might have happened when the seaman's disappearance was discovered, especially as it related to the relationship between Jonathan and his mother.

Star Trek: The Next Generation: Firstborn (1994) Season 7, Episode 21

"You have given me a glimpse into my son's future."

[7/10 · 30 April 2024]

I felt weird about the reveal near the end of the story explaining who K'Mtar (James Sloyan) really was. It felt too simplistic and implausible, even if we've seen time traveling characters in past episodes. One could ask why now and not a lot sooner if the adult Alexander saw a way to change the past and prevent his father, Lieutenant Worf's (Michael Dorn) death at some point in the future. Before the improbable ending, the story was moving along pretty well with young Alexander (Brian Bonsall) becoming familiar with Klingon upbringing, traditions, and warrior training. He actually held his own fairly well during the bat'leth contests before deciding to forego the Rite of Ascension. Which is why it greatly upset K'Mtar when Alexander stated he didn't want to be a warrior, obviously causing him to relive his own conflicted life, while realizing that he wouldn't be able to change the past. For his part, Worf wasn't that concerned about K'Mtar's knowledge of his own death, reasoning that by traveling back to the past, the future was already set in motion for change. The side story of the Duras sisters stealing and smuggling magnesite ore for profit was more filler than anything else, as it had no real bearing on the main story.

Summer with Monika (1953)

"It's been a lovely summer, but everything changes starting today."

[7/10 · 29 April 2024]

Perhaps a little bold for 1953, the film left me somewhat disappointed at its denouement due to the selfish disregard Monika (Harriet Andersson) demonstrated when life didn't offer her the freedom and carefree fun she expected when she took up with teenage boyfriend Harry (Lars Ekborg). Even though the young man made an impetuous decision to quit his job and take off on a summer interlude with his girlfriend, his view of reality kept intruding on their relationship, heightened by the priority of Monika becoming pregnant. My respect for Harry grew when he took on the responsibility of caring for his newborn daughter while Monika made a beeline exit to cavort with other men and put the former relationship behind. Though the resolution to the story left me disillusioned, I would extend kudos to Ingmar Bergman for the masterful direction he's been noted for. The filming in black and white lends a somber touch to the entire picture, even as the young lovers find pleasure in escape from the trials of their everyday lives. Brief moments of unexpected desperation, Harry's encounter with the intruder, Monika's theft of a roast beef, lead up to an unpleasant realization that reality at some point must intrude on fantasy. Bergman captures this sentiment well, even if the result is somewhat depressing.

Among Wolves (2023)

"Well Ma'am, we're a lot of things, but good we ain't."

[7/10 · 29 April 2024]

This is a Western you have to stick with beyond the opening where it has the feel of a low budget movie. It picks up when two church ladies arrive at the cabin of a couple desperate looking hombres, Michael (Trace Adkins) and Angel (Jeff Fahey). I really liked the characterization Trace Adkins brought to his bounty hunter type character, speaking in a very low key, guttural voice and making you wonder when he might explode into violence. That eventually happens, but the story keeps you wondering about him and Angel, and when they might eventually take advantage of former prostitute Elizabeth (Victoria Pratt) and her younger associate Kara (Spencer Locke). The two women were forced to flee the town of Ruby when Pinkerton mercenaries led by Thomas Barclay (James Russo) killed the town's priest on behalf of the Miller Colfax Mining Company in response to the local miners striking for higher wages and better working conditions. Accepting the women's offer of murdered Father Callahan's (Tom Berenger) life savings to deliver them to safety, Michael and Angel retrieve their cache of weapons and ammunition to take on an errand of mercy that would result in violence and bloodshed. The story almost lost its way when Michael expressed his doubts about following through with the mission by absconding with the money until his partner reminded him of the code they swore by after Angels' wife and daughter were killed years prior. Angel's resolve is made even more determined by the uncanny resemblance of Kara to his own murdered daughter, a point that could have been exploited if Michael hadn't reminded him that his daughter was really dead. Don't expect a nice and tidy outcome for this Western, as a few things go awry on the way to a final denouement. Though Pinkerton boss Barclay meets his demise at the hands of Michael after one of his henchmen murders Elizabeth, Angel suffers a gut shot that would prove fatal as well. Wounded during an exchange with Barclay, Michael recovers enough to finally bring Kara to safety in a bittersweet ending to this tale of frontier justice.

P. S. For some reason, the character names for Trace Adkins, Victoria Pratt, and Spencer Locke are omitted from the cast list and left blank here on IMDb. My attempt to add them was unsuccessful as the fields to make the correction are blocked.