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Reviews
Star Trek: The City on the Edge of Forever (1967)
More brainwashing from Hitler ideology
Harlan and Gene write a script that has no subtlety at all.
During this period of "Star Trek", the directors and writers all worshipped Adolf Hitler's ideology of "women are the fair sex" with no woman ever surviving an episode unless she was blond and fair.
Not only do they kill off the dark haired women in praise of the video reels of Nazis marching beautiful gypsy women to be executed, but the writers brainwash the viewers into rationalizing this as "nature" and as "for the greater good".
In this predictable episode, Dr. McCoy goes back in time and changes the future with the horrible act of saving the life of one such dark haired beauty, so Kirk must go back in time and change that.
It's rationalized by some stupid claim that her survival caused a Nazi regime to grow, which is ironic, considering that the writers are the Nazi regime.
I won't spoil it by saying if Kirk succeeds in changing History back, because the entire point is that it's all contrived to kill the brunette again and again and again, and to bore the audience with this, but mostly to brainwash the audience.
This gets a lot of praise from the Nazis, but don't let the high rating fool you. Nazis are control freaks, and control freaks make fake user names and vote these Nazi propaganda shows up in ratings. This is proven by the top 250 on this site, and on other sites. It is what it is.
Harland Ellison never was a crafty writer, and the only reason he gets any attention is because of his Hitler worship. And yet History records that they lost WW2. Well, they control the publishing companies and the production companies.
Hopefully, maybe a hundred years from now, people won't be so easy to brainwash, and the demon of Nazi ideology will be passe.
Bear Island (1979)
The same repetitious Hitler worship from MacLean
If you've read one of the Hitler worshiping Alistair MacLean's books, you've read them all.
This one is set in snow, like many of this books. Too bad that he wastes a theatrical setting for his worship of Adolf and Eva.
It's a spy movie. It's contrived for the Nazi propaganda of killing any woman with dark hair. That's his entire story. That's the forest of a MacLean book. The "trees" are always the same denial that he preaches Nazi propaganda.
Is there more to this story? The usual "trees" that would be suspense if it wasn't so predictable and monotonous, but MacLean fits it well with the Hollywood Nazi preaching.
Very Bad Things (1998)
Poor screenwriters run the show.
All you need to do to get produced as a scree
is to sell out to the Nazi party like Peter Berg does, and just write another dead girl with dark hair into the script, and you can have stupid dialog that sounds like no one you have ever met, like this script about a dead brunette.
Nothing makes any sense, but it fits the neo Nazi preaching that Berg and so many others go along with. That's really all this movie is about. Some guys have a bachelor party and kill a brunette and make a bunch of noise, full of sound and fury, signifying nothing.
This is retro 1970s when the Nazi party totally dominated Hollywood, and now the poor writers of the seventies and eighties and nineties are the judges and producers who ensure that no talent ever gets through into the ranks.
I'm sorry, but there's nothing else in this movie.
The Other Side of the Door (2016)
Most predictable movie ever
Johannes Roberts and Ernst Riero join the multitude of Hitler worshipers who get the green light from producers to make more of these predictable Hollywood horror movies.
A lot of people pretend to miss the forest for the trees with these neo Nazi propaganda movies.
The "trees" is the dumb story of a woman who thinks that she can bring her dead son back to life.
The "forest" is that this is just another predictable 1970s style Nazi Hollywood movie that goes out of its way to preach that women are the fair sex, by way of killing any blond male and any dark female.
That's the only thing that Johannes Roberts preaches here, and it's not even subtle. Just predictable. You'll wonder why you sat through an entire movie for this same old story.
Berenshtein (2021)
lots of action and dialog with no explanation
How much of this is true? Probably most of it, or at least it's told as well as Berenshtein himself knew how to tell it.
A story during WW2 of Russian resistance against the German onslaught, with Berenshtein apparently in a few quandaries, one of which is whether or not to even reveal his real name.
The story is ultra confusing. And it's hard to understand the dialog. It's dubbed in English, and without subtitles, you really can't understand more than a few words by any actor other than the main character.
Still, you do get a "feel" for what is going on. It's just confusing. There is a commander over Berenshtein, but he is also a leader of what seems to be a squad.
One command character parachutes in early and gives Berenshtein's commander some static about his role in the war. They're supposed to cover for thousands of troops crossing a river.
Berenshtein is part of an intelligence unit, and the plot jumps into the future without explanation often. At one point, although they are lacking in food, Berenshtein is at a dinner for officers, and one of them angers him, but I have no idea what the anger is from. He invites the officer outside and hits the officer, and then nothing else happens from this incident.
Later, he parachutes with his squad into a place further West, landing in Poland, where he doesn't want to be. We're led to believe he's a hundred miles from his destination, then we hear him say he's two miles away, so again there is confusion.
The squad learns of a German super weapon that sounds like something Captain America would run into, and their plans change. Their plans change again to do a humanitarian effort. Do they get back to the Captain America plan? I won't tell you.
I think the point here is that everyone is confused in the war, and that's okay, because that's the point of the movie I think.
House of Frankenstein (1944)
The usual Kenton/Siodmak formula, with Lowe along for the ride
Kenton and Siodmak combine again with their unnnatural Hitler ideology of Aryan women, determined to have females known as the "fair sex" the way Nazis learned to do. Lowe may be along for the ride, because this is simply a rehash of the usual Kenton/Siodmak Hitler worship.
A bunch of movie monsters come together. Big stars and a gypsy beauty are wasted in this racist work.
Frankenstein is replaced by an even more evil scientist. The monster must also appear. For some reason, the evil Wolfman and Dracula also appear, and Siodmak seems to believe those two are likable, even though they're monsters. It's the same snake oil that Eastwood sells to feeble minds to accept a killer of women and children to be an "okay guy".
So, if you're feeble minded and willing to accept Hitler as your god, you'll enjoy this. Otherwise, it really is just depressing as Siodmak bends over backwards to manipulate scripts to kill dark haired women.
Kraft Suspense Theatre: The Long Ravine (1965)
The hardships of prospecting and Ha Ha Ha
Jack Lord (Hawaii 5-0, God's Little Acre) plays a 20th century prospector in a gritty and realistic story about a man up against the elements and rivals.
He makes a partner of his wife's brother, played by Andre Prine, and they have high hopes. The elements have already beaten down Lord a bit, and he puts up with a lot of disrespect from their landlord so that he can have a last "Ha ha ha" on him.
They are given a hard time by their landlord, played by Broderick Crawford (Highway Patrol, Last of the Comanches), who shows the hard working prospectors no respect, and makes a move on Lord's wife, but doesn't push it.
The prospectors finally find something good, and an assayer tells them it's good. They make the mistake of telling their landlord.
Of course the landlord will do some conniving claim jump, and do it legally.
It's the characters and the drama that follow that makes this perhaps the best and most credible story ever on any anthology series. The story combines action with drama with theatrics with reality that is very unusual, althugh it was more usual in this era before about 1970.
This isn't one for the Beavis crowd, but it is a superior story for the more mature viewer.
Kraft Suspense Theatre: The Hunt (1963)
the lamest Most Dangerous game screenplay ever
This had to be embarrassing for the actors. Not only were Rooney, Caan, and Dern excellent in their roles, but so was everyone else. The performances are excellent.
The trouble is the screenplay.
It's no secret that this is a "Most Dangerous Game" story. I won't spoil it by saying who wins, although you can guess easily, with Caan playing the beloved surfer, and from New York to boot, and what screenplay ever showed a New York boy get killed? Will this be the first one?
The story line is in a day and age when perhaps somewhere a sheriff might actually play the most dangerous game, but it really wasn't possible after about 1975, and this was well before that.
However, the sheriff is very blatant about it, and the script is a perfect example of "expository" and "contrived".
The real problem is the character played by Caan. He doesn't play a "survivor". He plays a moron who stick his nose in where no survivor would ever stick his nose into.
A bit of cockiness does count to survival, but not being an outright moron. Yet, when he is hunted, he turns into a thinking person and tries not to "break jail", which his character isn't savvy enough to think about the dangers, and he also thinks of ways to beat the scent that the dogs follow. Again, one would think that some of the seven people who were killed before his hunt would have thought of that before a moron like this arrogant, superior minded character would think of it.
The ending is also contrived. This truly is the worst of the most dangerous game stories, saved only by excellent acting from top to bottom.
Kraft Suspense Theatre: A Cause of Anger (1964)
No motivation in a nonsense story.
Director Bare, and writers Gordon and Wormser, combine for a very underwhelming story.
Brian Keith and the other actors do their best to sell this story, but it's just full of hate, and unmotivated characters.
An ex officer has a job for one of the secret services to transport a boy genius several hundred miles in the Southwest, beginning in LA. A woman who appears to be a social worker accompanies them.
They are followed by a car on the way.
The car breaks down, and that's not explained whether it's part of a conspiracy or not, but it helps the people following them.
While the car is broken down, a young woman helps them. They go to a diner, where a beautiful Native American girl waits on them. The boy is allowed to go to a party with her.
The girl is beaten up badly, and for the rest of the story lies unconscious in a hospital. Her father is a lawman who winds up assisting the "good guy" played by Brian Ketih.
Throughout all of this, the story has no real motivation, and no one but the father seems to care one whit about the beautiful girl who is hurt so badly.
None of this makes any sense, and there is no payoff. It's a sick story about sick people with no motivation. In fact, the boy genius, who is supposed to be the disturbed one, is the only one who seems to have any motivation at all.
Kraft Suspense Theatre: A Cruel and Unusual Night (1964)
Punk kidnaps judge
Some lamer brains think there is a message here against the death penalty for human monsters.
If so, the writer failed miserably.
A judge who has no compunction for issuing a death penalty to men who have abused their gifts and talents and abilities and resources in murdering people whom they look down upon as inferior beings, is kidnapped by a man whose life has been a blessing, with a gorgeous wife and healthy body, who once murdered a man whom he felt was beneath his dignity to let live.
This murderer gets a reprieve from the death sentence, and he wants to make the judge suffer the agony of a death sentence.
Palm Springs (2020)
This just doesn't work as anything
This bit of nonsense tries to be deep and meaningful or satirical or something, and even tries to be some avant garde sci-fi, but whatever it tries to do, it fails miserably in any category, and there's nothing "fresh" about it either. There's no way to stay awake through a full one sitting of this movie.
It's pretty much just actors deciding to act out roles, with dialog that sounds like it was written on paper. You will never rmeet anyone who speaks anything like a single character in this movie.
Now, that could work in a satire, but this doesn't appear to be satire. It's just people in certain locations saying words. It's as though the people just stopped in certain places and decided to shoot some sloppy scenes.
There's a hero and heroine. The heroine is smoking hot, and much hotter than the plain Jane that the guy is married to, so the one thing that makes sense in this movie is his attraction to her.
However, she's very shallow. None of the characters are interesting, and there's not one character that you could probably relate to or care about.
Strange Days (1995)
an exercise in boredom
You have to read the program to have any idea what is going on in this dull collection of dull images.
It begins with one of the worst and undeniably one of the dullest opening scenes. Some guys in a car making noise, looking like they are robbing something, but they just make noise in a car.
If you can stay awake through that, you won't be able to stay awake through any of the subsequent scenes which are just.dizzy.
You can't understand most of what is being said, especially from what is apparently the lead character.
The scenery is the dullest that director can find. Motor vehicles, city streets, bars, the dull things that only the biggest dorks on Earth can watch without falling asleep while watching.
Whatever action takes place is just mindless boggle.
What's it about? Who knows? Who cares? It does cure Insomnia. Still, this is obviously a training film for "how not to make a movie".
Sand Sharks (2012)
This is how you make a dark horror comedy
I wasn't aware that this was going to be a horror comedy, but it doesn't take long before the director/writer team makes it quite obvious.
A lot of dark comedies don't go far enough into the comedy, but this one is almost Monty Python. Not quite Monty Python, but it comes close.
Sharks swim in the sand to eat people in this movie.
At first, two bikers meet the sand sharks. It comes across like the typical horror shark formula for a few minutes.
Then, it all comes out. The dumb dialog is there for a purpose, totally for laughs. The writer isn't trying to be deep or convincing.
The writer just writes for the humor, and that's how you make a dark comedy, or a horror comedy. There is no attempt to be serious here. It's all parody. There are the usual asshole characters, the usual hot babes, the usual dorks who think the assholes are okay, and the realists who are sort of the straight men and women here.
And it works. Personally, I'd rather see even more of a Monty Python approach, but perhaps that would have called for a bit bigger budget.
This is more like Svengoolie cornball comedy, but still a good parody. It's easily the best of the modern day "monster movies with dark humor". It's not easy to keep dark humor fresh, but it isn't that hard when one considers that its competition has been so dull.
But this is a solid 7/10.
Rustlers' Rhapsody (1985)
Hard to top Blazing Saddles, but an excellent try here
This is a satiric Western, much like "Blazing Saddles", although this still ranks second to that classic.
There is a great and funny land and money grabbing Western villain who is one of many who try to steal the show. Andy Griffith plays the Harvey Korman character here, and he's excellent in a more "deadpan" mode as opposed to Korman's total slapstick mode.
And it works. The production team was wise enough not to totally copy the spoofs of "Saddles", and tries to live on its own merits. A good idea.
In fact, everything here is a good idea. It's just hard to top a giant accomplishment like "Blazing Saddles".
The best line in the movie, the one you don't want to miss, is when Andy Griffith, in his deadpan way, tells one of his men to toss a log on the fire. Well, in so many words.
House on Haunted Hill (1959)
Fun and atmospheric horror classic
Vincent Price plays the tycoon who invites 5 people to spend one night locked inside a haunted house for 10,000 each. A lot of money in 1959.
His young, greedy wife is also invited to the "party".
It's a fun ride for all, and you can tell that the actors are having a good time, too. Sticking out with the juiciest parts are Vincent Price as the tycoon and scene stealing Elisha Cook Jr. As the "kooky guest".
The "hero" is a pilot played by Big Valley's eldest son, Richard Long. He doesn't get to have as much fun as Vincent and Elisha here, but he is a brave and noble hero.
This doesn't have the look of a giant budget one expects from Hollywood, but it has atmosphere, and it's a super fun ride. It's everyone involved that makes this a top film, but it's Elisha who makes this a classic.
In the Mouth of Madness (1994)
Beavis and Butthead write a script
This is a formula film of formula films of sci-fi.
I'll try to describe it without a spoiler, but the whole movie is pretty much a spoiler. It's just a formula movie of stock horror scenes, all very predictable, with the only unpredictable thing being that it doesn't dare to deviate from predictability.
A man writes a book, and supposedly he's a godlike being and everyone worships the book. It sounds like Stephen King in a fit of superiority complex dementia.
The hero, played by Sam Neill, visits a town that isn't there, with a woman who might be there, in a car that might be wrecked. If it isn't wrecked, it's a miracle, considering the way he was driving while continuously looking at everything but the road.
There just isn't any "inspiration" to this movie. It's just ho hum horror over and over, with every trite message you can come up with.
It's doubtful that you will stay awake through the entire movie. How bad is it? Well, not so bad as it is just uninspired and uninspiring, and predictable.
Fear Thy Neighbor: Pack Mentality (2017)
Macho gets deadly
This episode features a handyman in a neighborhood that is set by macho rules, and that is a problem.
The handyman "helps" a lot of women. I guess you can make whatever you want out of that, but one thing for sure is that the neighborhood mores are mores of "macho".
The handyman's favorite woman takes up with a man who is very brutal. The "favorite woman" has a son who is prison, and that son later returns. Meanwhile, the handyman gets in good with another woman, and both are dog lovers.
From here on, it seems that the two men (not the son yet) just go out of their way with macho bull to upset each other. It's easy to blame them, but maybe the blame goes to the mores that they live with. Those mores have to change.
One man gets dozens of dogs and can't keep his yard clean, of course. The other man jokes about poisoning this man's dogs. Well, this is part of the macho stuff that leads to trouble.
New mores are needed by people living in such areas.
Fear Thy Neighbor: Feud on the Frontier (2017)
Man kills a terrorist, and suffers for it
These people live in the frontier, and should get along.
It's a common myth that there are "always two sides" to a story.
Sure, there are "two sides", except that more often than not, one side is an innocent person and the other side is a terrorist.
One way to know is to find when one person is alone against many. No matter what the liars of the world say, it isn't possible for one person to bully six people.
Here, a man stands alone against an entire neighborhood of bullies, with one family in particular, just terrorizing him for the sake of pure demonic hate.
So, they push him over the edge, and he revolts. Fear will only petrify a terrorist's victim for a while, before the victim figures out that there is no release from those who are adamant and unyielding in destroying him.
I won't spoil it by saying who is killed, but you already knew someone gets killed. In this case, it is because of a terrorist getting the result of the fear he instilled in someone else. It's unfortunate that his victim had to suffer as well.
Alfred Hitchcock Presents: Dry Run (1959)
upwardly mobile assassin
Big stars abound in this story, beginning with Robert Vaughn of Uncle and Mag 7, in an office, where it looks like the men are just normal businessmen.
However, upwardly mobile Vaughn is told he can move up with an assassination against a rogue number 2 in the organization. #2 is out to assassinate #1. Now how would it look for Largo to assassinate Blowhard (I don't know how to spell the famous Bond villain's name)?
So, the boss gives Vaughn a gun and a location. There he meets none other than wisecracking Walter Mattheau before he was a grumpy old man, before he was part of an odd couple.
Mattheau offers Vaughn a deal to be part of a new organization and really step up as the new number 2. Can he get away with it?
You probably won't see this switch coming.
Alfred Hitchcock Presents: The Right Kind of House (1958)
True switch ending
How to do this without a spoiler?
Well, I'll go into the atmosphere. An elderly, congenial man approaches a real estate agent in a Mayberry RFD sort of town.
This man looks like he could be the mayor of Mayberry, but he isn't the mayor here. He's a visitor, and he tells the real estate agent that he is looking for a certain kind of house, and one really caught his eye.
It's for sale, but at a price over ten times the market price.
Not a bit dissuaded, this congenial man approaches the owner who won't budge a bit on her price.
He tries to win her over, but she remains cold to his smiles.
She has an affection for the house. Her wayward son was killed there long ago by his partner in crime. She tells a story to the visitor, treating him as a guest, but never bending a bit in her price for the house.
There's more to the story, but, well, that's the "twist". Very well written and very well thought out.
Alfred Hitchcock Presents: Father and Son (1957)
Rare failure of story
An old man has a son who appears to have no ability to do anything of value.
How did it come to this? Some people have no gifts.
For this, the son, who is now pretty old himself, is demonized by every other character in the story. He becomes a sort of "Frank Burns", but we never really know why.
The son has expensive tastes, so he is roguish, and the father forces him into a corner. The father tells the son he will not get one penny from him, even in inheritance.
The father tells the son to make it on his own. The son has no abilities and no capabilities to get an ability. He is in love with a cheap showgirl for some reason, and this showgirl is hateful to him.
I don't know if the son is masochistic, or if he really feels he is in a corner. This is not a well written piece.
The father tells the son that he doesn't care how the son makes money, so long as he becomes a success. Gee, real morality there, Dad. Lol. So, the son turns in a man accused of a crime for the reward.
The man accused of a crime is his dad's friend, and hiding in his dad's house. When the son turns the man in, even the policeman is hostile to the son, and that's unprovoked, even after the son's information does lead to the fugitive's capture. Bear in mind that the policeman doesn't know the fugitive is innocent, but the policeman also demonizes the son.
Whatever the writer wanted to convey here, the writer truly failed. We have a pitiful character thrown to the wolves and pushed into a corner, and not one character has any credible motivation.
Alfred Hitchcock Presents: The Woman Who Wanted to Live (1962)
I really liked this high octane drama
A very evil man, played by Bronson, murders a gas station worker during a robbery, and seems to do it for fun instead of necessity.
Not planning his getaway, and honestly the criminal element is usually this stupid, he grabs the first woman who comes to the gas station.
He kidnaps the woman, and she begs for her life, so he lets her live just long enough to be of some use.
This is the day of wild country land and woods, before every square foot of America became part of a city, or so it seems.
So, there is a lot of seclusion in these days, on the road while driving.
However, a gang of tough kids make the scene, and instead of escaping into a bit more merciful hands, the woman helps the killer.
I did figure out the switch ending from the beginning, but it isn't what one would call "obvious", even today.
The Twilight Zone: A Most Unusual Camera (1960)
Great dark comedy
Three, well actually four, characters deal with a magic camera of the Polaroid sort, which sends out pictures, but instead of the photos being what is there in the present, shows what will appear in about five minutes or so afterwards.
The characters, all being fairly likable rogues, go through a dark comedy with this camera. Being a horseman, I know what they will do first, lol.
It's what they do afterwards that makes for the fun. It isn't a "deep" story. This is a "fun story".
Being a fun story, the acting gears towards the roguish fun that comes with a story like this.
The fourth character is the only drawback to this one. He seems a bit forced into the show, but it's still a hoot.
The Twilight Zone: The Lonely (1959)
Character driven episode
This episode has Warden playing a prisoner on an asteroid. No fences or guards, because it's empty space.
He's wrongly accused of a crime, and dealt with harshly, so Dehner, who brings him supplies on a space ship from Earth every now and then, treats him well. The two other workers who come with Dehner aren't so benevolent. Well, they see Warden as a man who is justly punished.
Dehner, knowing the loneliness, brings him a "gift", a female android.
What transpires next is mostly character driven theater. We wonder if the android really has feelings.
No spoilers from me. It's a character study piece, and I think it's pretty well done. It's very watchable.
The Twilight Zone: Four O'Clock (1962)
Episode that was predictable, but fun, even in 1962
This episode features Bikel doing an amazing performance as a crazy man who couldn't possibly exist in real life, but is entertaining as a villain on the screen.
He's a McCarthy character who makes McCarthy look like a teddy bear. He has files on people, and calls their employers to get these people fired. He begins by calling them "communists", and proceeds on to calling them "evil people". Where does he get these files? What does he do for a living to pay the rent? Well, even in 1962, this was a poorly written piece that doesn't explain any of this. But McCarthyism was a big topic, and that sold this story.
Bikels madman character has an imaginary plan to turn all "evil people" into midgets at four O Clock. Lol, by magical will from his mind.
Well, no need for a spoiler. This was predictable even in 1962. It would have been predictable in 1962 BC.
The performance by Bikel makes this worthwhile, but the story is very goofy. The character is even goofier. It's a sort of "Frank Burns" character, or "Dr. Smith", someone who doesn't really exist, but whom some people want to believe exist.
Which makes this very ironic. Had this character been written by a right wing fanatic, he would be a ridiculous hippie who helped a Charles Manson type escape prison and would have been the next victim of the Manson character.
In other words, these characters are just contrived bits of convenience. They're characters that nut jobs much like this character would believe do exist. And that is ironic, but don't look for a real person to be like this. That would make you just like this character.
However, it is very watchable. For that, I credit Bikel.