The titular character in Warner Archive's recent DVD release of "The Public Defender" from 1931 is a wonderful mash-up between The Shadow and Batman.
This alter ego known as The Reckoner of man-child about town Pike Winslow uses dark corners, ominous calling cards, and similar devices to strike fear in the hearts of Depression Era wrongdoers. Richard Dix is fresh off his Oscar-nominated role in "Cimarron" when he plays Winslow.
On a broader level, this self-contained film has a wonderful feel of the exciting serials that gave birth to the phrase cliff-hanger in this era.
The following clip, courtesy of YouTube, from "Defender" provides an excellent sense of this film.
"Defender" occurs in the wake of The Reckoner commencing his crusade to bring men of power who misuse their influence to the detriment of the masses to justice. This alone creates some anxiety among a group of unscrupulous men who comprise the leadership team of a recently not-too-big-to-fail bank.
The Reckoner having a calling card served up to a member of this cabal
intensifies their level of concern, which only increases as it becomes
apparent that they are all targets of that vigilante.
Another element of this terrific plot is that this time it is personal; these financiers do not bank (of course, pun intended) on the daughter of the man whom they frame for their malfeasance being the object of Winslow's affection resulting in putting The Reckoner on their trail.
Much of the fun of "Defender" relates to watching the seemingly dopey and harmless Winslow (ala Clark Kent) socialize with the nefarious bankers at the country club to which they belong and in the homes of that group. This entertainment includes seeing Winslow using those interactions to facilitate the plans of The Reckoner.
It further is fun to see a pre "Frankenstein" Boris Karloff play "The Professor," who is both an aide of The Reckoner and one of the few people who knows his true identity. Associated fun relates to this team merely using heavy drapes across an alcove in the den (not even lair) of Winslow to conceal the incriminating evidence that The Reckoner collects and that would show that he is Winslow.
"Defender" also borrows from the awesome drawing room murder mystery genre by having a climatic scene that involves plunging a room into darkness to further the current quest of The Reckoner. The outcome is largely predictable but is entertaining and has fun surprises.
The solution to the mystery of whether "Defender" is worth adding to your DVD collection is that it ranks high among the rarities that Archive releases.
Anyone with questions or comments regarding "Defender" is welcome to email me; you can also connect on Twitter via @tvdvdguy.
This review of the uber-intense 2012 thriller "Junction," which terrific indie film distributor Grand Entertainment Group is releasing on DVD on April 22, 2014, resumes the relationship between Grand and Unreal TV following a rave review for the hilarious horror comedy "Chastity Bites" a few months ago.
Reviews of other titles will follow in the next few weeks, and an exciting possibility exists regarding Grand releasing S9 of the exceptional Syfy series "Ghost Hunters" in June 2014. Suffice it to say that your (sometimes) humble reviewer may need to download the specter detector app, which owes its name to the uber-awesome '70s cartoon "Goober and the Ghostchasers."
In the case of "Junction," the primary beings are both malevolent and fully flesh-and-blood. Further, they are much more frightening than a dot of light floating down a hallway.
"Junction" writer/director Tony Glazer directly takes a page from the Hitchcock playbook in setting the terror in an upscale residential neighborhood. The well-proven theory is that something is much scarier if you can realistically imagine the same thing happening to you.
The seemingly simple premise of "Junction" is that a quartet of exceptionally well-cast meth-heads quasi-randomly select a house in their quest to fulfill a mission to steal a television. Of course, the movie would have been far shorter and much less interesting if they had just grabbed the set and driven off without incident.
Initial leader David, played by dreamy soap actor Tom Pelphrey, instigates the mayhem by inadvertently discovering rock-solid proof of an ongoing series of creepy crimes by the homeowner. The nature of the offense triggers a strong reaction by fellow addict David, who ultimately holds the nuclear family hostage and brutally tortures the father in front of his wife and daughter.
David taking things to the next level additionally causes dissension among his own group.
The fact that the local police are recovering from a scandal associated with mishandling a prior hostage situation further complicates the already intense situation in the house. This law-enforcement group wanting to avoid more negative scrutiny results in treating David like the time bomb that he is despite this approach enhancing the level of peril in the residence.
The fact that "Junction" throws the dark themes discussed above into the mix sets it well above the average home invasion gone terribly awry flick. David has a truly noble mission; his history and (most likely) related meth addiction simply cause him to pursue it though less-than-ideal means.
Additionally, each actor plays his or her part very well. These thespians avoiding the unduly deadpan style of many modern actors without going all Brando is refreshing. You truly feel that you are watching the characters, rather than the real-life people who portray them.
It further is nice to see a film rely more on dialog than action. There is plenty of chaos to satisfy the bloodlust of any teen-boy gamer, but there is nary a semi-automatic or grenade launcher in site. Additionally, no sequence goes on unduly long or produces disproportionate injury.
The DVD bonus is a "making of " featurette that is most likely as interesting as the subject on which it is based.
The final word regarding all this is that "Junction" succeeds where so many others have failed. Merely mixing desperate dirt bags and a seemingly typical modern American family does not make for a great film.
Anyone with questions or comments regarding "Junction" is encouraged to email me; you can also connect on Twitter via @tvdvdguy.
Cary Hill's "Scream Park," which Wild Eye Releasing is introducing on DVD and VOD on April 22, 2014, has everything that fans of '70s and '80s slasher flicks and afficionados of more modern horror films can hope for in a film of this type. This theme extends to having established and upcoming horror actors in the cast.
The following spoiler-laden clip, courtesy of YouTube, of the trailer for "Park" shows how Hill gets it right.
This trailer specifically provides a sense of the talent of Hill in his roles of writer, director, and producer. Whether he also manages craft services and provides the wardrobe from his own closet is uncertain.
The terrifically uber-cheesy premise of "Park" is that the stereotypical high school students who work at the rapidly failing Fright Land amusement park convince their manager, who is a 30 year-old version of Mr. Belding, to allow a party with drinking in the park after it closes for the evening.
Watching said manager be an ineffective authoritarian, failed playa, outsider, and heavy contributes great humor to the film.
Hill spends roughly 30 minutes establishing which characters are the
tough girl, the good girl, the slut, the jock, the dweeb, the burn out,
and the average guy. He then follows the masters of the horror genre in
building the horror/suspense.
Early ominous indications of the inevitable mayhem include the black security guard (whose fate is obvious to anyone who has seen any horror film made since the '70s) watching a scary movie on his television and a creepy panel van being parked in the lot.
Seeing the creepy shadowy figure in the distance, ultimately coming face-to-mask with an uninvited guest, and seeing the killer suddenly appear outside a dark window are all terrific expected fun for folks familiar with the genre and will threaten any pre-existing cleanliness of the underoos worn by the pre-teen boys who choose this film as the means for losing their horror virginity.
Other expertly provided tried-and-true classic scenes include the villain walking comically glacially and a probable victim crawling just as amusingly slowly. Hill further keeps things interesting by blatantly breaking other rules of this genre.
Additionally, the motive for this roller-coaster of a massacre is a perfect commentary on our modern era. It relates to the particularly destructive form of fame that originated in the '90s with Bob Saget using the prospect of a $10K prize to entice fathers to encourage their toddlers to use their 'nads as a softball (of course, pun intended.)
The autopsy regarding all this is that Cary may well become "King of the Hill" in the horror world. He combines the best from the past 40 years of this genre and adds enough originality to make it fresh. This talent allows him to attract folks to theaters or their couches/futons without drenching the screen in blood.
Anyone with questions or comments regarding "Park" is welcome to email me; you can also connect on Twitter via @tvdvdguy.
The two-disc five-episode BFS Entertainment DVD release of the 2011 BBC drama "Justice" provides an excellent chance for American audiences to discover a nicely low-key drama about a very human savior who takes on the resurrection of his hometown for a sin with a fairly significant ripple effect.
Robert Pugh, whose 112 credits include "Game of Thrones" and "Doctor Who," plays Judge Patrick Coburn. The 50-words-or-less version of the back story of Coburn is that he returns to oversee a controversial Public Justice Centre in his hometown of Liverpool 40 years after a midnight skip in response to an event that remains a mystery through part of the series.
Opposition to the Centre relates to the sense that it is established to punish, rather than support, the lower-income folks who commit acts that result in bringing them before Colburn. Conversely, Colburn sees his role as one that helps those folks, focuses more on dispensing justice than on enforcing the law, and more generally improves living conditions that have deteriorated in his absence.
On the other side of the coin, Her Majesty's government is considering closing the Centre based on economic considerations.
The court proceedings in the pilot episode demonstrate the Colburn style of adjudication; the sentence for a charge of soliciting a prostitute is a revocation of a driver's license. The logic is that an inability to drive precludes using a car to "hook" up.
The response of a woman who engages in the oldest profession in the world that the ruling merely forces her and her colleagues to ply their trade in a more dangerous area shows that Colburn can do little right in the eyes of his community.
This episode further establishes the mutual animosity between Colburn and not-so-subtle local crime boss Jake Little, who particularly preys on teens and 20-somethings. Having a crusader in the area is a threat that Little openly opposes.
An episode in which Colburn and Little compete for the body and soul of a young enforcer particularly brings these two men head-to-head. It also demonstrates the extent of the ability of Little to make friends and his much strong power to influence people.
Colburn assigning the young thug and a much-older former thug as the community service projects for each other is another example of his style of justice. For his part, the retired thug provides a good lesson about the cost of wasting potential.
Colburn additionally faces a foe in the form of local Lois Lane style crusading reporter Louise Scanlon, played by Liverpool native Gillian Kearney. An assignment to interview Colburn triggers a campaign by Scanlon to determine the truth behind his sudden departure 40 years earlier. Her success in revealing this secret has the desired result but leads to her own form of atonement in the exceptional season finale.
This finale has a terrific feel of a classic American western in that an outrageously blatant act of Little results in facing Colburn in court. Obtaining a conviction for that offense requires that at least one local who Little has been bullying testifies about the crime.
This one nicely ties into the rest of the series by having past offenders and those close to them appear regarding the effort to achieve justice. Further, a central figure dies for the sins of others.
The identity of the individual who ultimately steps forward is moderately surprising but ties nicely into the theme of redemption in the series. It is equally notable that things are not necessarily all rainbows and lollipops for the folks in this rough community at the end.
The final scene is also moderately surprising but offers a couple of nice messages for realistic degrees of hope. Whether Thomas Wolfe correctly concludes that you cannot go home again remains undetermined.
The final verdict regarding "Justice" is that it is a series to which many of us can relate. Most of us regret something from our past but lack the courage of Colburn to both do something about it and not back down when publicly confronted with the consequences of it.
Real life also has plenty of criminal and non-criminal versions of Little, who abuse their positions at the expense of "innocents." We additionally fantasize about a court system that dispenses justice, rather than simply enforces the law.
Anyone with questions or comments regarding "Justice" is welcome to email me. You can also connect on Twitter via @tvdvdguy.
The hilarious 1997 three-episode British mini-series "Ain't Misbehabvin'," which BFS Entertainment has released on DVD, has more than one could hope for from a buddy comedy. This one goes further by providing catchy big band music and a well-done World War II setting that is reminiscent of the uber-awesome long-running classic Britcom "Goodnight Sweetheart."
The well-executed sparring buddies element adds a nice touch of "randall and hopkirk."
"Ain't," which is set in 1940, opens with RAF pilot Eddie Wallis moving from Scotland to London; his running into draft dodger (but very talented singer) Eric Trapp triggers events that result in the two making beautiful music together in a band but achieving less harmony as reluctant friends/roommates.
The following clip, courtesy of YouTube, AIN'T from "Ain't" but is of stars Robson Green and Jerome Flynn in a performance under the singing duo Robson and Jerome that they formed. It shows both their chemistry and their overall enjoyment of each other.
Flynn of "Ripper Street" and "Game of Thrones" does a great job portraying Wallis as a heroic boy scout who must learn to adapt to his new reality. Green of numerous British series does even better as the charming Eric who always seems to be just one step ahead of a jealous husband, a landlady to whom he owes back rent, the local gangster, etc.
Said gangster plays a major role regarding the hilarity in which our heroes become ensnared. His name is Maxie Morrell, and he happily is spending his days engaged in black market operations until a bigger dog informs him that he is taking over Maxie's operation.
The response of Max involves duping Eric into obtaining incriminating information on the interloper. Anyone who has ever seen a buddy comedy knows that that soon leads to Eric bringing Eddie into the fray.
Subplots include a couple of air raids and Eddie falling in love with a woman, wonderfully played by Julia Sawalha of "Absolutely Fabulous" and "Jonathnn Creek,"who is in tolerate with another man.
Highlights of the series include Eric belting out a song in the first episode, the pair crashing a party for RAF officers, and Eric doing his best Sam Spade impression while reading a hilariously titled novel.
All of this amounts to "Ain't" being a great choice for anyone who misses good old-fashioned buddy films.
Anyone with questions or comments regarding "Ain't" is welcome to email me. You can also connect on Twitter via @tvdvdguy.
This "Lantern" release also provides a good opportunity to comment on the current phrase "binge watching." The continuing story lines and cliffhangers make it a perfect candidate for watching multiple episodes in one sitting. Referring to such MARATHONS as binges creates images of shoving junk down your Twinkie hole (no euphemisms intended) at warp speed, rather than enjoying a feast of well-prepared treats.
Having fanboy god voice actor Josh Keaton, who uber-shines as the voice of Peter Parker in the magnificent "The Spectacular Spider-Man" animated series, star as the voice of Hal Jordan alone makes "Lantern" a must-own for super herophiles of all ages; spectacular graphics that look incredible in Blu-ray, clever dialog, and well-written multi-multi-multi episode story arcs spectacularly show that the set provides hours of awesome entertainment.
For the benefit of folks unfamiliar with "Lantern" lore, an incredibly bare bones recap of this background is that Oa-dwelling Guardians of the Universe create the multi-species Green Lantern corps to battle evil and generally maintain peace across said universe. The corps members are selected based on having the virtues that fulfilling their mission requires.
The Lanterns derive their power through a ring that grants them the power to fly and that allows them to form a protective shield around themselves. The rings additionally allow these heroes to form objects, known as constructs, to aid them. A very early scene in the "Lantern" pilot establishes that Jordan literally is additionally faster than a speeding locomotive.
Common constructs include fists and other blunt objects to pummel the bad guys, vises to grab malfeasors, and barricade-style shields to fend off laser blasts and other threats to bodily integrity. Jordan's former trainer and current evil-fighting partner Kilowog (voiced by Kevin Michael Richardson of virtually every Fox "Animation Domination" series) is especially fond of creating a Thor-like hammer to bat evil aliens around space.
A primary limit on the ability of a Green Lantern is that their ring only holds a finite charge and must use a lantern to restore its power; this ritual also requires uttering a chant that is well known to every Lantern fan.
Additionally, the element of a kryptonite equivalent that prevents the rings from functioning is introduced early in the series.
The following clip, courtesy of YouTube, is a good representation of the overall quality and themes of "Lantern." It also recaps the events that set the series in motion.
"Lantern" gets rolling with Jordan going to Oa in response to evidence that Green Lanterns stationed in the outlying area known as Frontier Space are being killed off; in typical super hero fashion, Jordan hijacks the experimental state-of-the-art spacecraft known as the Interceptor so that he can quickly come to the aid of his comrades.
The next several episodes revolve around battles with Red Lanterns, led by the aptly named Atrocitus, who are waging the war against the Green Lanterns. The former obtain their powers through rage-fueled rings.
Depth in these episodes partially come in the former of former Red Lantern Razer, who joins Team Jordan early in the series, struggling to suppress the rage that he still feels regarding the death of his highly significant other.
Related substance comes in the form of a revelation that shows that the indignation of the Red Lanterns regarding the Guardians is somewhat righteous; this development is only a portion of the evidence that the alleged good guys, who increasingly engage in political battles, are not as omnipotent as they would like the universe to believe.
Having the Interceptor's artificial intelligence system take a large evolutionary step forward also contributes to the weight of this exceptional Saturday morning cartoon; this development additionally plays a major role in the series finale.
The Red Lantern threat evolves into another daunting challenge for Jordan and his crew; this conflict leads to an even larger conflict that jeopardizes the literal existence of our universe.
The good news for kids and the adults who love them is that keeping things at a fairly basic level and providing recaps at the start of each episode keeps "Lantern" digestible for kids from 8 to 80.
Additionally, the scenes that are set in space are particularly well animated; a sequence that literally involves expanding our universe truly is worthy of an award.
Also, the writers mix plenty of light-hearted humor in with the action and peril. Watching Jordan battle a squirrel-like Green Lantern is hilarious, and having Jordan team up with uber-arrogant Lantern Guy Gardner who takes over defending earth in the absence of our hero is equally amusing. This further involves a few awesome moments of Zen.
The final thoughts to share before the figurative charge that is powering this review runs out of power is that "Lantern" achieves the near impossible of being a show that truly has something for everyone.
Anyone with questions or comments regarding "Lantern" is welcome to email me; you can also connect on Twitter via @tvdvdguy.
The wonderfully modern noir drama "Detonator," which was released theatrically and online in early April 2014, is a tailor-made addition to the library of awesome Philadelphia-based indie studio Breaking Glass Pictures.
This film, which is based and shot in the City of Brotherly Love, fully validates the previously expressed opinion of Unreal TV that Glass is the proper heir to the throne of former top Philadelphia-based art-house film company TLA Entertainment.
The following clip, courtesy of YouTube, of the trailer of "Detonator" offers a sample of how this film aptly follows the similarly low-budget and raw look of similar films from the '80s when the punk movement was taking off.
This pervasively very gritty look of this film is also perfect both for the seedy side of Philly that it depicts and this tale of former punk rocker Sully (rather than Sheena) getting caught up in the dangerous scheme of former Detonator bandmate/friend Mick.
The opening scene graphically establishes the lengths to which Sully is going to leave his days as the front man for his local Philadelphia punk rock band behind and be a good father to his five-year old son and reliable/loving partner to the mother of the boy.
Conflict soon develops in the form of the arrival of Mick, who has spiraled downward since Detonator fizzled out. His problems extend beyond his impending 30-day jail sentence.
In typical indie-film fashion, Mick soon persuades/coerces Sully into joining him on a nocturnal walk on the wild side. Much of this quest relates to obtaining a potentially valuable tape of their former band.
The start of this rapidly increasingly perilous adventure will prompt thoughts of "Warriors, come out and plaaay" in the minds of fans of classic low-budget films of this genre. However, this aptly literally dark and red-tinted hellish journey is more psychological than physical along the lines of a baseball bat wielding gang member threatening to transform you into a human popsicle.
Suffice it to say, Mick recklessly ticks off the wrong psychopath. This ultimately leads to Sully's Choice in the form of either delivering his buddy up to this gentleman who does not play well with others or having his son discover where his father falls along the "my father can beat up your father" scale.
Further, the filmmakers expertly (awesomely simply is not a very punk term) job integrating the Philly punk rock theme into the film. The settings seem authentic and Joe Jack Talcum of The Dead Milkman (rather than the Dead Kennedys) provides the score, which includes a catchy ode to teen angst/rejection of middle-class values.
Further, the perfect casting draws you into the story. Lawrence Michael Levine, who plays Sully, is an up-and-coming indie film star who most likely will show up in a Coen Brothers or Sophia Coppola flick one of these days. He has a perfect handle on his former punk/current suburban dad character. This past give him the courage to not run when he hears scat, and any fear that he feels does not lead to involuntary scat in the other sense of that word.
Ben Fine does equally well as Mick; suburban types who have never lived on the wild side would avoid him on the street and would never invite him into their home.
The first final note regarding this future indie classic is that, in the immortal words of the horribly sadly not immortal Merritt Butrick (who also plays Kirk's son in two "Star Trek" films) as Johnny Slash in the '80s sitcom "Square Pegs," punk is a "totally different head" than new wave "totally."
The second final note regarding this future indie classic is that it serves up a sympathetic character in a setting that is a nice place to visit via the safety of a theater or living room but that most of us would not to make our residence.
Anyone with questions or comments regarding "Detonator" is welcome to email me; you can also connect on Twitter via @tvdvdguy.
Like Indiana Jones when faced with identifying the Holy Grail in "Indiana Jones and the Last Crusade," Warner Archive chose wisely in selecting the 1936 version of "Show Boat" as the DVD release to kick off the year-long celebration of its fifth birthday. Although the status of "Boat" being one of the most-requested titles for release largely prompted the honored release, the uber-awesomeness of it more than validates this decision.
On the surface (pun intended), "Boat" is the story of the romance between ingenue turned leading lady Magnolia and dashing cad/professional gambler Gaylord Ravenal. Finding more depth in this wonderful tale penned by Edna Ferber and adapted for film, set to music by Oscar Hammerstein II and Jerome Kern, and directed by James Whale of the classic "Frankenstein" films requires minimal effort.
Magnolia, played by Irene Dunne of "My Favorite Wife" and numerous other all-time favorites, is mostly staying in the background of the productions presented on the titular river-going vessel owned and operated by her father/director/producer Cap'n Andy Hawks when two events change her world and set spectacular entertainment in motion.
The first momentous development is a very dramatic (but far from melodramatic) confrontation between leading lady Julie and the local sheriff that is well known to theater buffs and sociologists alike. This scene also ends with the rapid departure of Julie and her husband/leading man from the show boat. This departure necessitates Magnolia stepping into the spotlight in a manner that is very far from how the equally famous character Eve Harrington travels the 20 feet required to achieve stardom.
Anyone whose heart does not ache for Julie, does not completely change his or her opinion regarding her husband, and does not cringe regarding the law after watching this scene simply lacks a soul.
Helen Morgan deserves special notice for this perfect portrayal of Julie in this scene and in the rest of her performance. Her rendition of "Can't Help Lovin' that Man" comes a close second to Paul Robeson, who plays the very laid back Joe, putting his Mariana Trench deep baritone to good use in "Old Man River" as the best musical number in the film.
The following clip, courtesy of YouTube, allows judging the performance of Robeson for yourself.
Cook Queenie Smith commenting that Julie is the only white woman who Queenie ever heard sing "Man" ultimately adds a great deal of power to Morgan's diva moment. It is difficult to imagine any high school girl even wanting to attempt the role of Jule in her drama club production of "Boat" after seeing Morgan in that part.
Ravenal meeting Magnolia while strolling by is the second event that rocks the world of the latter. It is a classic good girl meets (and quasi-reforms) bad boy story. Their courtship, marriage, and subsequent highs and lows relate to Ravenal not always knowing when to hold 'em, fold 'em, not walk away, and definitely not when to run. His worst betrayals earn him the title "Coward of the County."
Cinemaphiles with a particular taste for diva films of the '30s and '40s will recognize elements of "Gone With the Wind," "Stella Dallas," and "Mildred Pierce" in the Magnolia/Ravenal storyline. All three ladies have serious man trouble and go well above and beyond regarding the love that they show their daughters.
A scene in which the audience of a Cap'n Andy production that Magnolia and Ravenal are performing really get into the story to the extent that one audience member acts out in a manner that literally leads to bringing down the curtain is one particularly terrific moment. This is a terrific reminder of this era in which the folks in the seats, up front and cheap alike, really get wrapped up in what is occurring on stage.
On a larger level, "Boat" is a delightful two-hour ride because it relies on talent over splash. No one bursts into song for no apparent reason, and even the larger numbers lack choruses of boys and girls who magically appear to sing and dance their scale-compensated hearts out.
The epilogue to these thoughts regarding this classic is that any film in which the pieces fit so perfectly as well as they do here should not be missed.
Anyone with questions regarding "Boat" is welcome to email me; you can also connect on Twitter via @tvdvdguy.
TGG Direct releasing a new gift box set of the 24-episode 1989-1990 first season of the ABC action-adventure Western series "The Young Riders" provides a great chance for folks who jumped in with the second and third season gift box sets of this fun and exciting program to see how it all began. Prior reviews on Unreal TV share thoughts on the second season and opinions regarding the third one.
Another nice thing about the first season set is that it does not experience the clearance issues that result in the second and third-seasons sets excluding some episodes. It seems that the first-season set includes all 24 episodes from that year.
The basic premise of the first season of "Riders" is that the group of studliest young bucks ever to populate a television series portray employees of the Pony Express mail delivery system in 1860s Kansas.
Stephen Baldwin leads the group as a younger and fictionalized version of Western showman Buffalo Bill Cody, who also was a Pony Express rider. Josh Brolin co-stars as "Jimmy" Hickok, whom an early "Riders" episode establishes (just like the real-life James Butler Hickok) as the inspiration for legendary gunman "Wild Bill" Hickock.
The pilot establishes how the less studly but much more adorable rider known throughout most of the series as "The Kid" comes to acquire his beloved horse Katy and join the moderately wild bunch that would somehow form a family.
The Kid also sets himself aside early on by being the first in the group to learn that rider "Lou" is really "Louise." This discovery leads to a courtship that plays a significant role in the wrapping up of "Riders" in its third season.
Half-breed Native American Buck is just as dreamy as his colleagues and facilitates numerous story lines regarding the challenges that Native Americans who live in the anglo world face during a period in which those two groups are actively battling for the same land and right to live their traditional way of life.
The first-season episode "The Home of the Brave" introduces the element of the inner turmoil with which Buck struggles. A series of raids by a group led by Buck's brother both tests his loyalty to his fellow riders and townspeople and intensifies the prejudice of the general population.
Being mute is the characteristic that distinguishes rider Ike in this awesome 19th century boy band. His quiet demeanor extends beyond his ability to speak, but he is relatively quick to anger when properly provoked.
Ike's most memorable first-season episode has him fall in love with a mail-order bride from Baltimore who finds herself stranded on arriving in Kansas. His facial expressions are particularly communicative in this one.
No "Riders" review would be complete without mentioning the trio who at least try to guide our boys (and girl) and (try to) keep them out of trouble.
Team supervisor Teaspoon Hunter is seemingly nothing more than a wild old coot but has more wisdom behind his perpetually unshaved face that one would expect. He is also the center of a particularly awesome episode that is an homage to the classic 1963 film "The List of Adrian Messenger." The "Riders" episode has Teaspoon seeking to protect his fellow survivors of the Alamo and to discover who is killing them.
Melissa Leo plays station caretaker/den mother Emma Shannon; although she can be strict with her boys, she regularly shows how much she sacrifices to keep them happy and free of bullet holes.
Dreamy Brett Cullen plays Marshal Sam Cain, whose efforts to keep the boys out of the line of fire often fails. He is also sweet on Emma, and their courtship becomes a major plot point in the series.
A "very special" two-part season finale addresses the issues of states' rights generally and the upcoming Civil War more specifically. This one has "Hawks' Raiders" creating mayhem both in support of the southern states to govern themselves as they see fit and to oppose the cavalry abusing its authority in frontier states.
The local Army officers commandeering supplies and horses do not help the effort of this group to get the locals to support their cause.
This episode additionally involves sending The Kid on an exciting and dangerous undercover mission.
The final thought regarding the first 24 adventures of the easy-on-the-eyes rough riders are that this group does a great job putting on a wild west show that offers both gun fights and discussion-provoking social commentary. Further, many episodes end with a traditional ride into the sunset.
Anyone with questions or comments regarding "Riders" is welcome to email me; you can also connect on Twitter via @tvdvdguy.
Watching the sensitive and well-produced 2013 Polish film "In the Name of," which is being released on DVD on April 15, 2014, is one of two recent surprises from uber-uber-awesome Film Movement. The other relates to the 2011 film "Hitler's Children" from that provider of exceptional foreign films.
After watching "Name," accessing Tivo in search of sitcoms for light fare with which to finish Sunday night viewing led to discovering "Hitler" in the "Featured Programs" section. This title suggested that it was a potentially hilarious History Channel style special on people claiming to be the offspring of Adolph Hitler.
Seeing the Film Movement logo appear at the beginning of "Hitler" communicated both that the suggestion related to Tivoing numerous documentaries and that this show did not feature unintentionally comical "ordinary blokes" who claimed a famous lineage.
This German documentary featured children and grandchildren of Himmler and other top-ranked Nazi officials, The primary theme was the difficulty of dealing with having such horrendous individuals in your ancestry. Like all other Movement titles, this one is exceptional.
Returning to "Name," it is the latest entry in the superb "Film of the Month Club" that Film Movement operates. Like "Hitler," it portrays a wonderfully unusual variation on a common film theme.
The honors for "Name" include the Teddy Award, which is issued to the best LGBT-themed film, at the Berlin Film Festival.
"Name" centers around Catholic priest Adam who struggles with his attraction to teen-aged boys, crudely admitting in one scene in which he is drunk that he would enjoy buggering each of the delinquents in the facility for such boys that he operates in a small Polish village. One difference between this film and virtually every other one that explores this theme is that Adam does not force himself on his charges or attempt to manipulate them.
Additionally, Adam is intensely sympathetic. He fully understands that the church does not allow homosexual activity but cannot stop having the feelings that cause such intense distress.The fact that this repression severely limits with whom Adam can confide only worsens his pain.
As the liner notes for the DVD note, the manners in which Adam vents his intense frustration add a great deal to this film.
The hooligans with whom Adam works only amplifies his pain and our sympathy for him. Like most adolescents, these boys wring every possible ounce of pleasure from any weakness that they sense regarding their guardian.
Seeing Adam interact with the particular object of his affection and having it returned is sweet, tender, and charming. Every element of the mean-spirited reprisal is less positive.
The following clip, courtesy of YouTube, of the trailer for "Name" does a particularly good job conveying the effective manner in which it communicates the multiple messages discussed above.
Film Movement additionally shows its equally excellent instincts regarding the bonus short film for this release; the Israeli production "Summer Vacation" is an entertaining and mildly campy tale of family guy Yuval,who experiences numerous mixed emotions on the arrival of the man with whom he had an extra-marital affair a few years earlier at the seaside resort where Yuval is vacationing with his nuclear family.
"Vacation" does particularly well portraying many issues related to the "complicated" relationship between Yuval and the other man. Repression and physical urges only scratch the surface.
The final word regarding both truly thought-provoking films is that they are perfect choices for the period leading up to Gay Pride season.
Anyone with questions or comments regarding "Name" or "Vacation" is welcome to email me. You can also connect on Twitter via @tvdvdguy.
Warner Archives' recent six-disc DVD release of the 1980-81 fifth and final season of the textbook family-hour show "Eight Is Enough" provides hope for releases of more seasons of similar Archive-adopted series. Fans are clamoring for the fifth season of "Alice" and the fourth season of "Growing Pains."
The basic premise of "Eight" is that family patriarch/newspaper columnist Tom Bradford, played by Dick Van Patten, struggles to provide the titular eight children with varying degrees of financial and emotional support while facing the same personal crises of many middle-aged folks. These include contending with a malicious hatchet job, facing the demise of the newspaper for which he works, and a shady contractor.
Second wife Abby, played by Betty Buckley, offers Tom wonderful support regarding all those efforts. Further, a talent show episode provides Buckley a chance to demonstrate the singing ability that makes her a Broadway star post "Eight."
The adage "its funny because its true" is particularly apt regarding "Eight," which is based on the experiences of real-life newspaper columnist Thomas Braden.
The following clip, courtesy of YouTube, from the fifth season of "Eight" does a surprising thorough job of conveying many of the themes of these episodes in just a few minutes.
ABC unfairly moving "Eight" to the 8:00 p.m. Saturday night slot for the final season may have prompted the numerous changes that ramped up the chaos in the Bradford home. The most notable being bringing in a pre- "Karate Kid" Ralph Macchio as Abby's troubled 15 year-old nephew Jeremy. Jeremy regularly referring to the Bradfords as the Bradys in an early episode adds to the "Cousin Oliver" vibe regarding this decision.
Abby's desire to add Jeremy to the Bradford household prompts one of two "second-wife syndrome" plots of the season. Tom's objections to this proposal triggers thoughts that not being a true Bradford deprives Abby of the right to the same consideration as other family members.
A visit from the parents of Tom's deceased wife (and the Bradford kids' biological mother) prompts related feelings that Abby is merely a poor substitute for the first Mrs. Bradford.
The writers additionally use babies as plot points to create drama. Daughter Susan, played by future alleged real-life kidnapping victim Susan Richardson, experiencing premature labor hours after another trauma gets the fifth season off to an exciting start and leads to a subsequent episode revolving around a strain on Susan's marriage to professional baseball player Merle "The Pearl" Stockwell.
These events further prompt moving Susan back into the Bradford home in an apparent attempt to amp up the sense of overcrowding.
Another pregnancy is at the center of a two-part episode titled "The Idolbreaker" near the end of the season. Aspiring 19 year-old musician and "kid precious kid" Tommy is on the brink of his big break in the form of his band "Tommy and the Action" being offered the job of warm-up act on a national tour of "The Pretenders" when a one-month stand tells him that he is her baby daddy.
The two major events in the life of young Mr. Bradford create a tough and unexpected dilemma regarding life versus career choices. One spoiler is that he does not "cry angry tears" regarding this crisis.
The following clip, also courtesy of YouTube, provides a sense of the Tommy Bradford sound that makes him at least a local heartthrob.
Tommy is also at the center of an episode that has him starting as a fully-clothed musician at a male strip club but moving on to a more lucrative position at that establishment that may involve the "Eight" audience getting a chance to see the direction in which his willy aims. One spoiler is that Tommy definitely shows us his buddy lembeck in this one.
Tommy is also featured in a third episode with a familiar theme; discovering that a songwriter with whom he would like to make beautiful music has a young son requires that Tommy make tough choices.
Youngest son and fan favorite Nicholas, played by child star Adam Rich, dips his toes into the dating pool by working hard to make a gourmet meal for one crush and standing up to bully on behalf of another girl. The latter incident leads to Nicholas learning an alternate meaning of the expression "no glove, no love."
The romantic exploits of youngest daughter Elizabeth include guilt and subterfuge regarding moving in with her boyfriend and breaking out of the friend zone regarding a highly conceited BMOC.
Oldest Bradford sibling David continues his related struggles of keeping his construction business afloat and handling the different lifestyles and other conflicts related to his wife being a moderately powered attorney.
David also teams up with Jeremy in an episode that is memorable both for a bizarre double-dating plot and for being one of the few offerings that expands Jeremy's role beyond cracking wise while hanging with his cousins or trying to con and/or manipulate them for his own profit and/or amusement that includes promoting a shampoo that turns your hair green.
Unlike a true Cousin Oliver "Brady" episode that involves a similar hare dye, no bunnies are harmed in the filming of the aforementioned "Eight" offering.
Aside from the aforementioned "Brady Bunch" reference, this season of "Eight" has a couple of other nice homages to fellow classic family shows. The first is a revival of a tradition from "The Waltons."
The second tribute is more subtle in titling the final episode "Father Knows Best?" This relates to a statement by Billy Gray, who plays teen Bud Anderson in the classic '50s sitcom "Father Knows Best."
In an interview for another forum for which your (often) humble reviewer wrote before starting Unreal TV, Gray shared that "Father" star Robert Young lobbied to have the show titled "Father Knows Best?" to communicate that the head of a household did not always have the answers. This title is very apt regarding this final outing for the Bradfords.
All of this leads to the indisputable conclusion, which subsequent reunion specials support, that five seasons is not enough for this octet. They do not have a million stories but do have more than ABC allowed them to tell.
Anyone with questions regarding "Eight" or Susan Richardson's alleged Lifetime movie South Korean adventure is encouraged to email me. You can also connect on Twitter via @tvdvdguy.
Warner Archive goes international regarding the DVD release of the Best Picture and Best Actor nominated 1930 "life behind bars" classic "The Big House" in that this set includes the concurrently produced French and Spanish language versions of this tale of cons, screws, and the women who love them. The French version is particularly memorable in that it stars Charles Boyer.
The logic behind filming the international versions of these moivies is to facilitate distributing these films in overseas markets.
"House" is also notable for being an early example of a film that portrays a particularly rough life that no one relishes and that most of us never experience. These depictions of beatings, betrayals, and banishment are guilty pleasures with subliminal messages regarding a need for prison reform.
Thanks to Archive, folks with an interest in this genre have a second chance to see the very recently re-released "broads behind bars" classic "Caged." Unreal TV reviewed the earlier release of this one in June 2013.
"House" begins with the "unfortunate incarceration" of Kent, played by matinee idol Robert Montgomery, who is facing hard time for manslaughter; overcrowding (and a presumed desire to show this new fish the realities of prison life) lead to putting Kent in a cell that is barely large enough for two with the savvy Morgan and vicious killer Butch.
A scene in which the warden and a veteran guard discuss this housing decision is one of the best in the film.
The following clip, courtesy of YouTube, of Kent's arrival and processing gets this film off a great start that the Oscar-winning script keeps going to the end.
The great Wallace Beery, who has 239 acting credits, deserves mention for a wonderful job portraying the viciousness of Butch. Examples include Butch quickly showing Kent who's boss and teaching him that snitches get stitches.
The scenes depicting Kent's orientation to his new life provide the audience typical scenes of guests of the state who take time from paying their debts to society to mentally and physically torment their fellow inmates. The psychological torture that Kent endures arguably is just as rough as the physical threats and harm. Acquiring false hope can be as tough as an especially rough hosing in the shower.
As advertised on the back cover of this two-disc set, "House" also depicts the "dark agony of the hole" in a penetrating look at Morgan getting swallowed up in a dark tight space.
Morgan surviving his involuntary time in the hole only to have his impending release from prison delayed prompts a not-so-daring escape and subsequent prison-related romance on the outside. The ensuing events can be considered a real riot in a few senses.
Saying more would ruin the impact of this film, which sends a message that state and federal officials who oversee prison systems seem to not have learned in the almost 85 years since the making of this film.
Anyone with questions or comments regarding "House" is encouraged to email me. You can also connect on Twitter via @tvdvdguy.
The 1968-69 first season of the rural sitcom "Mayberry RFD," which Warner Archive is releasing on DVD on February 27 2018, is perfect example of a spinoff that fulfills the mission of putting a fresh spin on the parent show. In this case, "Mayberry" is the second act of the uber-classic "The Andy Griffith Show."
The basic premise of "Griffith" is that sensible and compassionate widowed sheriff Andy Taylor tries keeping the peace and dispensing justice in both the small town of Mayberry, North Carolina and the household that consists of Andy's son Opie and our hero's aunt/housekeeper Bea. Many of the sits relate to mayhem caused by the eccentric residents of Mayberry, who are the source of much of the com in this exceptional series.
"Mayberry" picks up right where "Griffith" leaves off; the highly rated pilot of the spinoff partially focuses on the wedding of Andy and long-time girlfriend Helen Crump. The other focus is on the transition regarding Aunt Bea moving from the Taylor household to that of "Griffith" regular and "Mayberry" central character widowed farmer/city council head Sam Jones and his young son Mike in a house that is very similar to the Taylor abode.
Sam portrayor Ken Berry undergoes his own transition; he takes on this role after starring in the also '60s classic sitcom "F Troop." Berry's subsequent role in the '80s sitcom "Mama's Family" can be considered the "Matlock" of his career.
The "Mayberry" premise of Aunt Bea going from a home near the center of town to a farm on the outskirts of that burg is very reminiscent of the "Griffith" pilot. Things start very badly but work out well enough that that new girl in town stays a while.
Andy also stays around but does not make many appearances; the times that he shows up mostly relate to his role as sheriff. One episode has him co-ordinating Sam hiring ex-cons as field hands and another relates to a real-life civics lesson that includes having Mike be sheriff for a few hours.
One very odd scene in an episode has Andy and Bea interact as if they are casual friends, rather than close relatives who jointly raised Opie.
"Mayberry" additionally retains many "Griffith" mainstays as regulars and does not make changes in their lives. Using the "Griffith" sets for downtown Mayberry, which includes the business establishments of those individuals, contributes to this sense of continuity.
Man-child Goober Pyle still runs the local gas station, quasi-curmudgeon Emmett Clark spends much of his day holding court in his fixit shop in this era in which broken items are not automatically thrown out, and wimpy mama's boy Howard Sprague still is county clerk.
Perky bakery clerk Millie Swanson is the only one in this group who undergoes a major change between "Griffith" and "Mayberry." She transitions from almost marrying Howard to being the main squeeze of Sam.
Other "Griffith" characters who pop up every so often include Bee's spinster friend Clara Edwards and Opie's BFF Arnold Bailey. Alas, Don Knotts' Barney Fife and Ron Howard's Opie show up even less often.
The homages that "Mayberry" pays to "Griffith" extends beyond the pilot and populating the main cast with "Griffith" veterans. The opening credits in which Sam and Mike toss a ball are similar to the classic "Griffith" opening credits and use background music from "Griffith" as a theme.
The following clip, courtesy of YouTube, of the "Mayberry" opening and closing credits provide a sense of the spirit described above. The versions on the DVD do not include the sponsorship announcements in this clip.
"Mayberry" further offers the same amusing and wholesome (but hardly boring) stories as its predecessor.
Additionally, "Mayberry" stories that seem similar to "Griffith" episodes put a fresh spin on them. An episode in which Aunt Bea takes a cruise has common elements of a "Griffith" episode in which she goes to Mexico but goes in a different direction in many senses.
Additionally, a story in which Mike inadvertently buys (and subsequently breaks) an expensive copier evokes thoughts of the "Griffith" episode "Opie's Drugstore Job" that has that boy inadvertently breaking a bottle of perfume. However, the circumstances and outcomes significantly differ.
An episode in which Sam and his gang take Mike and his buddy on a camping trip full of mishaps that include hilarious slapstick is one of the best of the season; another episode in which Howard undergoes a major personality shift during a short visit to New York City is another memorable one.
The season ends with a fun (and still timely) fable regarding Mayberry entering a sister city relationship with a city in Mexico. In true "Griffith" and "Mayberry" style, the characters and the audience learn a great deal about the proper means for developing international relationships.
Anyone with questions regarding "Mayberry" or "Griffith" is welcome to email me; you can also connect on Twitter via @tvdvdguy.
The documentary "Being Ginger," which Garden Thieves Pictures is releasing on Video On Demand on April 8, 2014 and on DVD a week later, is the story of the quest of a red-haired (a.k.a. Ginger) man to find the peace and love that he feels that this trait makes elusive. The topic is interesting, and producer/star Scott P. Harris has talent behind and in front of the camera. The not-so-great news is that many others have tackled similar projects more successfully.
The appeal of "Ginger" relates to the recently reviewed documentary "Unhung Hero" with comedian/actor Patrick Moote. The focus of that film is the dual quests of Moote, who kindly granted Unreal TV a very candid and witty interview, to determine whether he can increase the size of what is likely his "fantastic four" and whether that part of his anatomy does not measure up enough to allow finding true love.
Expectations for "Ginger" included substituting flaming red hair for the form of Irish curse that seems to afflict Moote. Harris also deserve credit for calling attention to a prejudice that many people who either lack that characteristic or do not consider it when evaluating others do not know exist.
The aspect of calling attention to a little known condition is likely a primary reason that gingers have embraced this film.
"Ginger" simply lacks the wit and range of the "Unhung" and similar documentaries that include the wonderfully charming 2004 film "My Date With Drew" and "Don't You Forget About Me" from 2006. The respective quests in those films are an evening with actress Drew Barrymore and a chance to chat with '80s teen movie king John Hughes.
The fact that the reviewed online ratings for "Ginger" exceed those of the other films indicate that your (often) humble reviewer may be in a minority the size of red heads regarding not loving this one. This film in which Harris acknowledges that he appears 99 percent of the time merely does not seem as interesting or insightful as the ones with a wider range of narrative techniques and styles. Harris does earn kudos for a couple of artistic animated segments and for including his terrifically goofy buddy in a few scenes.
The following clip, courtesy of YouTube, of the trailer for "Ginger," offers a good sense of the range of emotions that Harris projects.
Even aside from "Unhung" including a hilarious relevant scene from "South Park," it seems odd that Harris does not include footage from a "Park" episode revolving around prejudice against Ginger kids.
All of this is not to say that "Ginger" lacks either entertaining or poignant moments. A woman bluntly telling Harris of the need to shave all his body hair is one of the more amusing scenes, and Harris discussing horrible teacher-sanctioned abuse that his hair prompts during his school years generates sympathy.
"Feel good" footage that also has an impact include scenes at an annual redhead festival that Harris attends in the Netherlands; a scene involving handing out sunscreen samples at that event is a highlight.
As Harris comments, the love and acceptance that flows during the gathering provides a vibe that is similar to the one at gay pride events. This includes stories of shiny happy people rocking out and having fun.
The final advice regarding "Ginger" is that the deleted scenes that run throughout the closing credits are worth watching; these culminate in announcing that Harris' project "An American Ginger in Paris" is coming soon.
Anyone with questions or comments regarding "Ginger" is welcome to email me; I would like to remind folks who feel the need to flame (no pun intended) in this regard of the rubber and glue rule. Everyone can also connect on Twitter via @tvdvdguy.
Like the well-written and nicely portrayed characters in "August: Osage County," which is being released on Blu-ray and DVD on April 8, 2014, this powerful film is not for sissies.
The following clip, courtesy of YouTube, of the trailer for "August" provides a good sense of the film. However, the moderate presence of spoilers warrants an alert.
The fairly constant two hours of tears and recriminations are as honest a look at many American families as the 20009 Pulitzer Prize winning play on which it is based. The strong sense that you are watching a live-stage presentation contributes to the impact of the film.
The film, which earned Golden Globe and Academy Award nominations for stars Meryl Streep and Julia Roberts, centers around an above-average portrayal of a stereotypical long weekend of a family purging decades of resentments and secrets. It is difficult to imagine "Who's Afraid of Virgina Woolf?" scribe Edward Albee or master of this form Tennessee Williams doing any better with the story.
Additionally, the beautifully shot (but rather stark) Oklahoma landscape looks awesome in Blu-ray. This format additionally provides a good sense of why one character comments that she cannot understand why anyone would consider settling in such a geographically depressing area a good idea.
A particularly serious family crisis prompts Roberts' Barbara Weston (no relation to the cop of the same name that Kristy McNichol plays in the '80s sitcom "Empty Nest) to return to the stifling in every sense Oklahoma farmhouse where she grew up before escaping with her husband several years ago.
By this time, Streep's Violet Weston is an out-of-control alcoholic and prescription drug addict dealing with mouth cancer that continuing to smoke surely does not help. She falls just short of asking with whom she must engage in unlawful carnal knowledge to get a Vicodin.
Streep makes all this special by using her well-known talent to strike a good balance between not making Violet cartoonish while letting us know that she is on the joke regarding the outlandish elements of that character.
Roberts does a decent job, and it is VERY nice to not see her in her flirty/nasty persona in which she mistreats a man and then smiles in a manner that communicates that she is so gorgeous and charming that that abuse is warranted. At the same time, she really does not get us to feel Barbara's pain.
Other characters in this middle-class version of "Dallas" set one state over from that city include Violet's overbearing and nagging sister Mattie Fae, whom portrayor Margo Martindale plays as a dramatic version of her character on the CBS sitcom "The Millers," Barbara's two sisters, and Mattie Fae's slacker son Little Charlie. Having Sherlock Holmes and Smaug actor Benedict Cumberbatch play Little Charlie is a treat for fanboys.
The overall theme of "August" supports the popular theory that everyone in your life ultimately disappoints you. It seems that known adultery is rampant and accepted and that any true happiness is out of reach. One spoiler is that "August" does not end with a tearful group hug and promise to meet every year.
One of the bigger secrets comes out near the end of the film and involves virtually every main character. Suffice it to say that the "ick factor" is quite high.
Lighter moments include a story about how Violet commits serial birdslaughter and a comical wrestling match on the living room floor.
The extras include a segment with "August" playwright Tracy Letts, a "Making of" feature, and deleted scenes.
The epilog regarding this film that seems very true to the play on which it is based is that it is a very good tale presented by a cast that understands their characters but largely could act a little in a manner that is truer to the live-stage origins of the project.
Anyone with questions or comments regarding "August" is welcome to email me; you can also connect on Twitter via @tvdvdguy.
Purveyor of a wide range of independent films Garden Thieves Pictures offers an exceptional look at the crimes of lesser-known serial killer Ronald Dominique in the Amazon exclusive DVD release of the documentary "Bayou Blue." This DVD and the Video On Demand version of "Bayou" are available beginning April 8, 2014.
The first notable aspect of this telling of the story of Dominique raping and killing 23 men in New Orleans and the outlying area between 1997 and 2006 is that it is not sensationalized. There are no lurid crime scene photos, hysterical outbursts from grieving families, or psychotic video footage of Dominique.
"Bayou" additionally offers interesting and important commentary regarding the nature of the crimes and of the rural and largely blue-collar characteristics of the hunting grounds of Dominique.
Dominique selecting lower-income men who typically are some combination of gay, homeless, drug addicts, and mentally ill seemingly results in the police departments that participated in the search for him to initially not pursuing the investigations very diligently. One relative of a victim sums this up very eloquently in commenting that the police should have been able to stop Dominique before he killed 23 people.
Other noteworthy aspects of this film include the occurrences of Hurricanes Katrina and Rita hampering the investigation and the unrelated limited nature of communication between the police departments delaying the realization of similar killings in their jurisdictions.
The "stars" of "Bayou" are police detectives Dawn Forest and Dennis Thornton, who team up after realizing that they are most likely after the same person.
The cordial but matter-of-fact style of these investigators is well suited for their job and for telling the tale of Dominique. An example of this is a rather off-hand comment regarding the preference of Dominique for black men but a willingness to accost a white man if he cannot find a black one.
The following clip, courtesy of YouTube, of the trailer for "Bayou" offers a good sense of both Dominique and the rural setting of his crimes.
Forest and Thornton guide the audience through many of the drop spots and provide interesting insights regarding both the geographical characteristics of those locations and the close proximity of some of them.
Audio of Dominique describing his meeting, attempted sexual activity, and subsequent choking of his victims augments this documentation of his crimes. Hearing him speak as if resisting his aggressive unwanted sexual advances justifies snuffing his victims is very odd and provides a strong sense of the mindset of a true psychopath; his tone indicates that he is merely discussing ordinary daily events.
Interviews with numerous relatives of victims is similarly low key and largely relates both to a victim simply disappearing and thoughts regarding why that man would willingly go off with Dominique. Although clearly sad about the turn of the events, no family member over emotes.
An interview with an intended victim who escapes offers the best insight regarding both the type of person whom Dominique targets and how he perpetrates his offenses. The story of this man is compelling, the tale of how he avoids being killed is amazing, and the lasting effect of his encounter with Dominique is very sad.
Filmmaker Alix Lambert, whose credits include the uber-quirky HBO series "John From Cincinnati," shows equally good instincts regarding the placement and length of settings. Using a variety of narrative techniques is always a good thing in documentaries, and Lambert provides each member of the "class" to speak for an apt period.
The final verdict regarding this documentation of Dominique is that his story well illustrates the costs of society ignoring the folks who most need our support. Losing your life is a tough price to pay for having more issues than most of us and for ending up in a community that lacks the same opportunities as more developed regions.
Anyone with questions or comments regarding "Bayou" is welcome to email me; you can also connect on Twitter via @tvdvdguy.
This review of the Warner Archive DVD release of the 1972 TV movie "Probe" nicely ties in with two recent Unreal TV posts. The first (and more obvious) connection is with the review of the DVD release of the 1972-73 spyfi (thanks again Archive for coining that very apt phrase) action-adventure series "SEARCH" for which "Probe" is the pilot.
The second review into which this one ties is of a non-Archive title. This post comments that going beyond offering DVD releases of well-known series and films is one way that Archive outshines rival Shout! Factory. An example of this is Archive releasing a complete series DVD set of the recently reviewed sitcom "Flo," which is a spinoff of fellow Archive sitcom title "Alice."
A much more recent example of Archive adopting "cancelled too soon" series is this week's release of the 2006-07 CBS Monday night sitcom "The Class." This one stars John Ritter son and current "Parenthood" star Jason Ritter and Jesse Tyler Ferguson of "Modern Family."
Episodes of this shouldabeena classic about a adults resuming their relationships 20 years after being in the same third-grade class include a hilarious plot about Ritter's timid character (who is the Chandler in this group of friends) being goaded into requesting an absurd number of free samples at a frozen yogurt shop.
Unreal TV is offering further thoughts on this exciting release within the next few weeks.
The uber-awesome premise of "Probe" is that the for-profit entity World Securities Corporation (WSC) deploys its world-wide team of agents to retrieve highly valued missing objects. The mission typically relates to locating and returning missing persons, but the plots in "SEARCH" include an urgent hunt for a weapon of mass destruction and a terrestrial search for moon rocks.
The highly skilled probes, who typically have other professions before WSC takes them away from all that and can declare that they work for it, use a very high-tech micro-scanner and other ultra-cool devices to maintain contact with a space-age control room at WSC headquarters.
"Batman" actor Burgess Meredith plays the man who oversees the technicians who monitor the field agents. The extent of that activity extends beyond seeing and hearing all that the probe witnesses to recording the respiration rate and other vital signs of both said probe and those in the vicinity of said individual.
Uses for the data include determining if someone is lying and whether a
man or woman is lurking in the shadows or attempting to sneak up on the
probe.
One related hilarious scene has Meredith's character asking a probe to remove the scanner from a ring while driving so that the transmitted images do not cause the technicians motion sickness.
"Probe" centers around the quest of former astronaut Hugh Lockwood (a.k.a. Probe One) to find and recover a set of diamonds with which the Nazis absconded during World War II. Hugh O'Brian, who is perhaps best known for playing the titular character in the '50s Western television series "The Life and Legend of Wyatt Earp," provides a great imitation of an American version of Roger Moore in playing Lockwood.
This sense of a James Bond film immediately starts with a pre-opening credits segment in which Lockwood defies orders to continue his effort to rescue a government official despite being in the middle of a gunfight in which the odds are enormously against him. Of course, Lockwood achieves his mission and then demands time off.
Anyone who has seen a Bond film knows that the contract to find the diamonds prompts a speedy revocation of the grant of time off. Another spoiler alert is that the final minutes of "Probe" are straight out of the Bond playbook.
The following clip, courtesy of YouTube, of the opening credits of "Probe" provide an even better sense of this truly '70s show. The modern graphics, jazzy theme, and listing (complete with footage) of the guest stars scream TV movie of the week to the extent that anyone over the age of 40 can hear a baritone voice in their head announcing "our regularly scheduled programming will not be shown tonight so that we may bring you this very special presentation."
Watching the DVD of "Probe" on a Friday night further added to this TV movies sense and prompted a vivid image of "The Brady Bunch" and "The Partridge Family" being pre-empted to show it.
The choice of aforementioned guest stars also contributed to the overall cool vibe and stereotypical early '70s action-adventure show feel of "Probe." The very British Shakespearen actor and "Arthur" star Sir John Gielgud plays a gem expert who tags along with Lockwood. '60s sex kitten Elke Sommer portrays the daughter of a woman who likely knows more than she is sharing about the diamonds. It is fortunate that Lockwood has (humane) ways of making the former darling of high-ranking Nazis talk.
Additionally, the flirting between Sommers' character and Lockwood provides both a catty WSC technician and the "Probe" audience wonderful entertainment.
The epilog to all this is that "Probe" is as rare and special as the diamonds around which it centers. It is a both terrifically fun reminder of the days in which suave tough guys were a regular part of a well-balanced television diet and a chance to see a highly entertaining production about which most people have never heard.
Anyone with questions or comments regarding "Probe" or "SEARCH" is encouraged to email me; you can also connect on Twitter via @tvdvdguy.
"The Vitaphone Comedy Collection Volume 2 - Shemp Howard [1933-1937]" 2-disc DVD set from Warner Archive shows that the featured performer is much more than the fourth stooge in brother Moe's uber-famous comedy trio. The 21 roughly 15-minutes shorts in the collection nicely chronicle the solo career path of this vaudeville/slapstick master.
The set begins with a hysterical short titled "Gobs of Fun, which has two sailors battling a superior and competing for the affections of a woman who seeming has every sailor in her port. Lines such as a ribald response regarding a question of where to put a mop has this vaudeville production border on the risque burlesque genre, but it is still classic fun that is very clean by 2014 standards.
Howard's role in this one is confined to a bit a part as a night club patron who is seeking game.
Howard has a supporting role in the next film, which is titled "Daredevil O'Dare." This circus-themed outing has Howard playing a huckster at a circus that is exploiting the stupidity and naivety of a true man-child who runs away to join that enterprise.
"My Mummy's Arms" is a particularly Stooge-like outing that gets Howard wrapped up in a quest for the heart of a woman who is accompanying her father on an Egyptian expedition. The comic interplay between Howard's character and his buddy/romantic rival as good, if not better, than anything that the Stooges produced.
The following clip, courtesy of YouTube, from this film provides a sense of its fun and the talent of Howard.
A series of shorts based on the Joe Palooka comic strip supplement the films that feature Howard playing one shot characters. Howard portrays the titular prize fighter's friend/manager/exploiter Knobby Walsh, which is a role that Jimmy Durante plays in the 1934 feature-length Palooka film.
The first of the seven Palooka shorts featuring Howard is aptly titled "For Pete's Sake" because the titular character plays a significant role in Palooka winning the fight that launches his career and the series of shorts. A train station manager who has the same lanky body, high-pitched voice, and nervous disposition of Don Knotts' Barney Fife on "The Andy Griffith Show" makes an already funny and clever movie hilarious.
The long and short of it regarding these offerings is that they provide a rare and special look at Howard's career outside his Stooge persona. They also make viewers lament the death of vaudeville.
Anyone with questions or comments regarding this collection is welcome to email me; you can also connect on Twitter via @tvdvdguy.
PBS scheduling the fourth season premiere of the uber-awesome documentary series "Pioneers of Television" for April 15, 2014 is a great (albeit most likely inadvertent) response to the folks on Capitol Hill who oppose federal funding for public television. Imaging a better cure for Tax Day-related increased aggravation regarding the billions of tax dollars that are wasted every year is difficult.
Each episode of this hour-long series discusses a different television genre or related theme; the format for this (mostly) nostalgic journey to TV Land is interviews with the greats who brought us these special shows interspersed with clips that remind us of what makes them so memorable.
It is especially nice that the familiar stories and clips are wonderful reminders of pre-reality television and the previously unknown ones are like finding one more chocolate egg or jelly bean in the plastic grass at the bottom of an Easter basket.
Prior topics include superheros, funny ladies of television, variety shows, game shows, miniseries, and prime-time soaps. The fourth season premiere titled "Standup to Sitcom" harkens back to the very first "Pioneers" episode "Sitcoms" by discussing the career paths of comedians such as Jerry Seinfeld and Tim Allen. Having true comedy pioneer Bob Newhart offer his thoughts on this topic and including clips from his two hit sitcoms are other highlights.
This hour additionally has extended segments on Ray Romano and Roseanne Barr. Very vintage footage of Romano is hilarious, and seeing Barr step out of character to act like someone with whom I would enjoy sharing a meal is a nice surprise. It further is fun hearing Barr discuss conflicts related to her actually living a blue-collar life and the Ivy League graduates on her production team trying to make the show reflect their impression of that lifestyle.
For his part, Romano provides fairly deep insight into the parallels between his own life and that of Ray Barone on "Everybody Loves Raymond." Hearing him discuss the impetus for making Barone's parents such a focus of the series is akin to a different modern series in which "Happy Days" creator Garry Marshall shares the story of adding Fonzie to the cast of that show.
The following clip, courtesy of YouTube, of the Seinfeld segment provides a good sense of the origins of both his sitcom and the sitcom-within-a-sitcom storyline from that series. This clip further ends with arguably the best quote from the entire "Standup" episode.
The other topics for the fourth season of "Pioneers" are the self-explanatory "Doctors and Nurses," "Acting Funny" that has stars ranging from Robin Williams to Cloris Leachman discussing how they practice their craft, and "Breaking Barriers" that has stars from various ethnic backgrounds discuss their careers and best-known characters.
One can only hope that the always entertaining Lucie Arnaz contributes to the "Barriers" segment on her father, who is the creator of the modern sitcom style.
It is a safe bet that the fourth season campfire tales of these pioneers will be as interesting as the ones from the first three seasons.
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