RikerDonegal

Even in a crowded landscape (of fantasy, space opera, superhero, and sci-fi shows) Doctor Who is unique. It gets away with stuff no other show would. Here, it's talking babies and a monster made out of (SPOILER).

Very much on familiar territory here. The TARDIS frequently lands on a space station (or spaceship) that's in trouble. I love these kinds of episodes. This one was a bit too talky, and the end fizzles, but it was smart and scary and fun for most of the runtime.

The mystery of Ruby deepens and gets better the more we learn.

My 260th TV episode of 2024. Averaging 1h12m of TV per day.

The third season is the best one, and its strengths are on display in this initial outing: good story, interesting characters, great cast.

The story is fantasy without being silly. The tone is kept reasonably realistic with villains who have simple goals. Some of these scenes could have been lifted from an episode of Kojak or The Rockford Files.

As usual, the characters carry a lot of the story independent of Diana Prince. Ely's good guy is sadly quite bland, but the mobster and the scientist are great fun to watch. Would have been nice to see either one of them on the show again. It could have happened, as neither of them end up in prison.

Even given nothing much to work with, Ely is simply terrific. In contrast, Scott Marlowe (mobster) and Harvey Jason (scientist) are given strong material and really run with it.

Not much action, but the stunt work we do see is top notch. Several cool Wonder Woman moments in the mix, as well. In short, a winner.

My 257th TV episode of 2024. Averaging 1h11m of TV per day.

8/10.

I loved everything about this. It was even better than episode 4, because it really showed what the series is, what it wants to be, and what it (clearly) can be. (Not every episode nails it quite like this.)

It was very funny, but also very smart. And, as I wrote two weeks back, this show is enthusiastically about the female experience. They really doubled-down on that viewpoint here. And it made it very relatable and entertaining.

I hate mobile phones (with a passion) and barely use mine. It was very amusing to see Jen so tethered to hers here. Though, it was very understandable.

Saracen is a new character to me, but I know and recognise all the others. And it was WONDERFUL to see them here, used this way. Very clever indeed. It gives me so much joy that we have such a fresh vision in the MCU. Long may it last.

10/10.

Both Dal and Gwyn have changed so much since the first episode.

This show really knows how to tell strong standalone stories, give characters meaningful growth, and keep ongoing storylines simmering nicely in the background.

It's a genuine pleasure to watch it every week.

9/10.

And watching it again tonight I can see why. It's a real departure from formula. It has Rudy Wells as the enemy. And it's a Rudy Wells with super-powers, as well!

The setting, a deserted island, is great. And heightens the tension.

Martin E. Brooks really shines when given a lot to do. He's an excellent baddie. He effortlessly masters the villain-alone-and-talking-to-himself-out-loud trope we see so often in comics.

Ina Balin is a good guest star. Completely credible as the scientist who (inadvertently) caused all this trouble.

The action and stunt work is a cut above the norm. First, the bit with Steve upside down. A great sequence. And directly after it we have the superb quicksand rescue. It's brilliant to see the show, now it's 4th season, doing something visually different/exciting with the bionics.

Finally, the epilogue is hilarious. This one is a winner from start to finish. Flawless.

33 episodes left in my rewatch.

Four men in the desert, on a hunting trip. But something is watching them... and affecting their moods/behaviour...

The cast are good - particularly Chuck Connors and Marc Singer - and the story pulls the viewer in, right from the start. Some of the odd behaviour (like the orgy with the two 'hippy girls') is a genuinely weird viewing experience. But it works because, just like the characters, you are constantly wondering 'what the heck is going on?'

None of the characters are particularly likeable. Deliberately so. And the points made about male bonding and friendship are well observed. There's plenty of tension and a small amount of action. It's never dull or boring, there is always something new/interesting happening. And the ending is good. Both the way the surviving characters use to escape, and the twist in the final seconds.

One of the first TV movies made for USA Network.

Very enjoyable, if a tad too long.

There's a great lead cast in Heather Menzies & Bradford Dillman, and plenty of humour amid the gruesome deaths. Most of the story is in the first half, as the two heroes gradually figure out what the heck is going on. The second half is mostly just piranha attacks, with the heroes always arriving too late to save people. The attacks are pretty well done, but they grow somewhat tedious when you're repeatedly watching anonymous people get eaten. Things pick up considerably in the closing minutes with the final mad dash to kill all the fish. The climax is very good.

Steven Spielberg called the film "the best of the Jaws ripoffs" and it's easy to see why. It's exciting, frequently clever and it's got it's own quirky style.

This perfect suspenser - with a lot of twists - plays like a Columbo movie without Columbo.

Dr. Wellesley (John Forsythe) is on the verge of having an affair with Lisa Manning (Barbara Bain) as her husband won't give her the divorce she's been asking for. To put a stop to this, Mr. Manning (Richard Kiley) decides to blackmail the doctor about some mysterious deaths in his past. The doctor protests his innocence, of course, but Manning wants him away from his wife and out of town.

Right from the start, with the two men politely playing golf while calmly discussing murders and blackmail, this quality movie grips the viewer. The cast are top notch and it's always fun watching a TV murderer do their thing and then waiting to see if they'll actually get away with it.

The final third brings several surprises. Nothing here is quite what it seems. Very clever. And a lot of fun.

Originally aired on Friday, 29 October, 1971. It was scheduled after the 7th regular episode of O'Hara, U.S. Treasury, and against the 6th second season episode of The Odd Couple on ABC.

Part One. It's as brilliant as I remember. I love David Soul in anything, but James Mason is the one who steals the show here. This first part is reasonably slow, as it's more concerned with setting-up the story and the cast of characters. Soul plays a writer returning to his old hometown to write a book. He looks up an old friend, and falls for a local girl. He's been drawn back by a spooky old house, a house he feels is evil. There are several genuinely spooky moments.

Part Two. The story really kicks into high gear in part 2. Plenty of action. Plenty of deaths. And the leader of the vampires makes his appearance. Some motivations aren't clear/convincing but the rapid pace means you don't have time to overthink why some characters are doing some (dumb) things. At times, everything veers dangerously close to being unintentionally funny but Hooper always keeps it from going right over the edge. Mostly because the majority of jumps and scares work perfectly. It really is gripping, edge-the-seat stuff. And the downbeat ending is a big plus.

Originally aired by CBS in November '79, the BBC sure got their money's worth when they bought this one: they showed it in September '81, August '83 and August '85.

Average TV Movie with a good cast. Enjoyable.

Lisa Hartman is listed first but it's really more of a Tony Denison movie. He gets more scenes, especially in the first half. He's a cop investigating a murder and she's a new investigator, from the District Attorney's office, working with him. This is her first case in the field. He doesn't really want a partner but, of course, they end up attracted to one another.

Writer Stephen Zito crafted multiple episodes of shows like Midnight Caller and JAG, and this mostly plays like an episode from a late '80s cop show. It made me think of Jake and the Fatman, for some reason. There are some nice twists and surprises along the way. Denison is great, and Judson Scott stands out in a smaller supporting role.

It originally aired as an NBC Sunday Night Movie against... the first episode of Lonesome Dove (which trounced it in the ratings) and It's Garry Shandling's Show on FOX.

Season 1 tried hard with the message-heavy episodes, but sometimes spectacularly failed to deliver a good story, too. Season 2 seems to have mastered the art, and pretty much all the episodes have had really good stories. This one certainly did. It takes a much-loved sci-fi trope and conceals it perfectly, so that it's quite far into the tale before you're clued in to what is really happening. And then the script goes on to make some points very relevant to the world we live in today. Exactly what The Twilight Zone should do.

Have to agree with everyone else, this was a terrific episode.

The story was very inventive and very funny. The cast was great. And the ending had a killer twist I did not see coming.

Season 1 was a bit all over the place. When it was bad, it was dire. When it was good, it was great. Season 2 has been stronger. All good episodes, so far. And this third one was legitimately brilliant.

This year, more than last, I'm really believing that The Twilight Zone is actually back.

By-the-numbers stuff, but a huge amount of fun.

A millionaire dies, and his will bequeaths his expensive collection of antique cars to the winners of a rally involving five married couples. Mac and Sally are one of the couples and sabotage is the name of the game, as the various competitors fall victim to a variety of pranks. Eventually, someone dies.

Quite a lot the two-hour run-time (including most of the first half) is what you might call filler, scenes that have nothing to do with advancing the story. But these scenes - Mac and Sally bantering, Enright trying to get some sleep (again!), etc. - are very, very enjoyable. They play to the strengths of the series and the stars. And deliver exactly what the fans want to see.

There's more of an edge to the banter than normal. Some of it coming from exasperation/frustration. Making our duo seem all the more believable as a married couple. And consequently all the more endearing.

There's a great guest cast in this one. Lots of likable characters and famous faces. Some were vary famous before this was filmed, but others (like Pamela Hensley, Martin Kove and Barbara Bosson) only became big names in later years. Easy to get invested and wonder which person/couple is behind it all.

8/10

Great episode. Brilliant writing and structure.

Most of the episode is dialogue, except for a kickass Colleen Wing fight scene near the end.

The dialogue scenes are almost all two-handers, pairing up two characters with opposing views and letting them debate. Something which always makes for great drama. Danny/Davos, Colleen/Bakuto, Davos/Claire, Claire/Colleen, Colleen/Danny, etc. Scene after scene is filled with intelligent conflict, tension and meaningful development.

Intelligent conflict because, when you think about it, Danny and Davos basically want the same thing. So do Colleen and Bakuto. And Colleen and Danny.

The show has made some very clever storytelling decisions. Making Colleen one of the Hand and adding Davos to the story so late in the day, are two prominent examples. Both are shaking up the story at a time with the other Netflix/Marvel shows were slowing down.

Ward is missed, however.

And the Joy/Harold scenes here are brief. They are quietly working together now, while everyone else in the show's rich tapestry of characters is pulling and pushing at each other to try and find a way forward. Very exciting.

10/10

The "main character" is a bag of drugs, which passes from person to person in a nightmarish night-time world of betrayal and deceit. It changes hands every time someone kills someone else. Which happens a lot!

The dialogue is quirky, the visuals are impressive, the ending is nonsensical. The effect? Unforgettable. It's a fun ride thought a world that seems - at times - like a dark and unpleasant fairy-tale. Nice to visit, definitely wouldn't want to live there.

Absolutely none of the characters are likable or sympathetic. Although the cast are uniformly great. Particularly Gene Simmons as Mr. Big.

It might not be everybody's cup of tea, but this is an episode that has a distinct vision and executes it to perfection. Even making a point along the way.

10/10

Most of the screen time is just Andy Griffith and Lindsay Wagner bickering. They have a great, natural chemistry and it's fun watching them interact.

The story is simple: Jaime must rescue an American ambassador who is trapped in a Civil War-torn South American country. In these early days, Oscar Goldman is still a little unsure and nervous about sending his newest agent. Even Jaime is a little uncertain. All of which adds to the drama and makes the show more believable and interesting.

The uneasy partnership between Jaime and her pilot evolves quite a lot over the course of the story. He starts off gruff and suspicious, but she gradually earns his respect. The script and the performers really make it work.

Jaime impresses quite a lot in this story. It's obvious that she's scared on more than one occasion, yet she never gives up. She's resourceful, admirable and very likable.

8/10

The villains go on the offensive at the start of this one (for reasons that are never really made clear) so the viewer doesn't know what's going on for the first third. Pretty cool, and a good way to hook your audience.

By the time we get to the middle third we have a better idea what is happening. There are some twists and turns (such as the boys thinking they had been working undercover for the FBI, when they weren't) before it settles down for the final confrontation.

A lengthy and very enjoyable aerial battle brings the story to an end.

8/10

I lost count of the times I gasped or whispered 'wow' to myself.

Story-driven and character-driven right to the bitter end, but it also has many amazing action sequences.

Remarkably, all of the characters are well-served. Old favourites get moments to shine, and new kids on the block are put in the spotlight as well. One in particular basically steals the film.

Weighty and serious, thought-provoking and intelligent, but also joyful and funny in almost every scene.

Rapid-pace storytelling. Blink and you miss the next story development.

Great, great performances from Robert Downey Jr., Sebastian Stan, Daniel Brühl and Chris Evans.

10/10

Ben Affleck is good. Indeed, the cast is mostly good. But Affleck shines. The story is weak and doesn't really make any sense. It kinda fizzles out at the end. The narrative raises questions, or appears to, and then throws in some big action scenes to (hopefully) make us forget those questions. Much as Bruce basically forgets his desire to kill Clark and (inexplicably) refers to him as a friend!! The dialogue is often bad. Very bad. Bad enough to make you have to stifle chuckles from time to time. The film has an overly-serious, self-important tone. Jesse Eisenberg's Lex is terrible. He doesn't have one good scene. Zack Snyder seems to believe that the best way to tell a Superman story is to focus on politics, debate, morals, misery, regret and lots of destruction. It's like he read hundreds of comics and thought: This would be so much better with Senate hearings and sorrow. The result of all this is a dour character who does not resemble Superman. Snyder has a clear vision of who Superman is, but it's completely the wrong vision and it's one that nobody is likely to find all that interesting. Except Snyder, who is clearly fascinated by it. And by the idea that heroes should be punished. The Batman scenes are better than the Superman ones, and they always advance the story. Bruce is always doing stuff and getting closer to his goals. Clark, meanwhile, is always moping and saving Lois. Then moping some more. Clark is always miserable. So is Bruce, but at least Bruce is always moving forward. (Until the very end, when he just… changes his mind. Because. Because he does.) The movie is too long, but still manages to be quite pacy because we are always jumping from Bruce to Clark to Lex and back again. It's well structured, just saddled with a script that is badly written. Every twist and turn is telegraphed far in advance. Nothing is subtle. Wonder Woman impresses, but doesn't get enough screen time.

5/10

A bland and badly-written film, with good ideas and a likable cast.

The script is clunky. It feels like a movie made by people who have seen other stories and can copy elements of stories, but don't have a clue how to TELL a story themselves. On three separate occasions random phone calls are used to propel the story forward. Characters suddenly inexplicable phone the character on-screen and rapidly provide them with just the right information to propel the story forward. This sort of thing is hilariously bad. But also frustrating because the viewer can plainly see other (subtle) ways the story could/should have been driven in that particular direction. Phone calls aside, the film is full of clunky moments like that. Something randomly happens because, basically, the script needs to get a character from A to B. Some of these instances (like when Connor is declared "a lunatic… a lunatic… a lunatic") are so abrupt and so badly done they are laugh-out-loud funny.

On the topic of things that are badly done in this film: a lot of the dialogue is dubbed. And the dubbing is obvious and badly. The scenes with the New York Cop character could actually be scenes from a full-on foreign language film.

The film opens with classic examples of tell-don't-show storytelling. We can forgive the lead character's opening narration to camera as he is basically recapping the events of the first film, but the Nakano character opens the movie by warning MacLeod that someone evil is coming to kill them. And that's it. He tells the hero/us that Kane is evil and then Kane appears. And, thanks to a wildly OTT performance from Mario Van Peebles, Kane spends the entire movie as a one-note villain. Relentlessly evil. And certainly no fun to watch.

The pace is good, however. Something is always happening, and the locations/flashbacks keep things fresh for the entire running time.

It all feels like a missed opportunity. The same cast and story with a good script would have made for a decent entry in the series. After all, the excellent TV series proved that it is more than possible to tell good/great stories using this formula.

4/10

Definitely one of the strangest episodes. Of anything. Ever. This is the one where Mark finds himself in the world of Romeo and Juliet?! The guest cast are terrific, and obviously enjoying themselves, but the story doesn't really work. Both in terms of how Mark came to be involved, and in terms of the mechanics of what happens between the characters. The feud is used to drive the conflict and results in the villain being a one-note caricature, which is boring to watch. The Juliet-fakes-her-death idea is added without an real effort to make it make sense and (for no good reason) the Friar makes the choice to keep the truth from Mark. All of this is just frustrating to watch. As is the moment where Mark and Romeo are locked up in prison. Mark wasn't doing anything, and Romeo was only defending himself. And they had plenty of witnesses.

The scenes of the crew back at the Cetacean are uniformly terrible. Flat and badly acted. And speaking of the Cetacean… every time I watch an MFA episode (and it's been a couple of years, I think) I am fascinated by the command structure on that submarine. I mean, who exactly is in charge down there? It seems like Mark is the captain every time he comes aboard, but in his absence it seems like Elizabeth is in charge. Expect that CW (who is not even on the sub!!) completely overrules Elizabeth's orders in this one.

Speaking of CW there's a small subplot where CW contacts the Russians to get help. This storyline pops up a couple of times and… then vanishes. Nothing comes of it.

The shots of Jomo underwater clearly aren't underwater.

Marks leaves the world of Romeo and returns to the Cetacean. And, a few scenes later, makes another journey to the world of R&J to try to bring the story to a happy ending. Upon returning to the Cetacean yet again, nobody (of course) believes his odd tale. However, since it seems really easy for Mark to travel back and forth we can safely assume that anybody could travel back with him. But, no, this is never mentioned. And, instead, the conversation is played for laughs. This kind of woolly thinking is one of the major problems the series has.

4/10

Engrossing crime story with a few minor twists and turns along the way. Satisfying. The nuts-and-bolts of the investigation are detailed in enjoyable fashion, with time spent showing us Hunter and McCall on the trail of the prime suspect (in traffic and, later, in a hotel). As ever, the soundtrack and the little details make these scenes (like most of the scenes in any given episode) very enjoyable to watch. Curiously it is Rocco (a highly regarded character actor) who gets least to do in the episode. The rest of the guest cast get plenty to do. And are very good. Especially Morgan who brings a steely-eyed determination to her character this is fun to watch and is sufficiently strong to make us think she might actually be the killer, even if it makes no logical sense for her to do so yet. Logic is the story's biggest asset. Joseph Gunn and Joe Menosky's script frequently skips developments in the action. But because everything that happens off-camera makes perfect sense when you know the full story it is very rewarding for the viewer to watch and piece it all together along with the detectives. Typically of this show, the lead characters are smart. We are never ahead of them. Every time the narrative returns to them they are accurately piecing it all together. And if they are wrong about anything, it's only because the writers are trying to misdirect us a little bit. And it pretty much works.

9/10

Dull. Directionless. Storyless. Humourless. Pointless. Almost no action. Nothing like the comic book series.

Miles Teller is good, but he is the only cast member who gets a chance to do anything. The other three are relegated to support roles.

The first two-thirds of the movie are all about research. Seriously.

The first action scenes (of The Thing in battle) take place off-screen. Off-screen. Seriously. It's like a cruel joke on the audience. We sat there and watched Reed sit in a lab for over an hour and when the team finally get their powers… we are told by a secondary character about all the missions that Ben Grimm is going on. And we see the mission footage on a screen, in the background, while he is talking. In a film of bizarre choices, this is surely one of the most odd.

The Ben/Johnny relationship - a key element of the FF appeal - is relegated to one throwaway line in the final minute of the film. It is, I think, the only line of dialogue between the characters in the whole film.

Reed escapes at the midpoint of the film. He is soon recaptured after a brief (almost-)action sequence. The escape is meaningless. It accomplishes nothing, and adds nothing to the (non-)story in progress.

Nothing that Doom says or does in the final minutes makes sense, but this is probably the worse: he walks through the complex killing everybody he meets. And when confronted by Reed and the other three he simply pushes them away. He does not kill them. Yet, as far as we can tell, the only character is truly dislikes is Reed. So, instead of killing him when he can, he knocks him over and pushes he against a wall.

Based on this boring film I'm assuming Josh Trank has NEVER read the comic book series which is frequently fun, always has action and story and likable characters.

4/10

Despite a good cast, this one never gels properly. It falls down every time were return to the mechanics of the case being investigated. The final confrontation is particularly sloppy. A pity. The best thing here is Forrest Tucker as the flawed and dangerous detective on the trail of the murderer. His unhappy home-life also makes for some strong scenes. A few weeks earlier the show had tried a spin-off about a copy in Las Vegas. And a boring, generic attempt it was. This character, however, would be ideal for a spin-off. But something that dark would never get made in 1976. A shame, because I could watch Tucker playing this role again. 7/10

Ghost Rider: Spirit of Vengeance is insane. One of the most visually interesting movies I've ever seen. Loved it. 10/10

What you need to know about this movie before you go and see it.

1. The action never stops. It's a lot like Conan or Van Helsing in that sense, but - here - there is also a story being told and all the action fits into that story. Failing to allow for that is what makes movies like Conan or Van Helsing so disappointing.

2. This movie is visually interesting. When the camera points at a wall, the wall is interesting. When the camera pans over to a field beside a road, there are cool things to look at in there. When the characters are standing around talking, they are doing so in a cool-looking place. Always. And then there are the special effects. GR looks awesome. And then there is the editing... the split screen choices... the animation... Everything pops up, advances the story, and - pretty much - isn't used again.

3. The story is simple, tight, and never stops advancing. The narrative immediately establishes who the bad guy is, what the bad guy wants, and why the good guys must stop him. And that's it. If you can get past the first five minutes, and are happy to accept who A, B and C are (and why they are doing what they are doing), then the rest is just the fun of watching them fight it out. And it is fun.

4. It's cool. As a huge lifelong fan of Ghost Rider, I love the 1970s comic book, I come to this movie with certain expectations. Above all else: GR must be cool/badass/awesome/etc. And in this movie... he is. Sometimes the henchmen are standing around, with their jaws drooping, wondering 'What the **** is he at?' And that's what I was hoping to see.

5. This is an action movie, first. And a superhero/supernatural movie, second. Remove the crazy stuff, and you've got a standard A-to-B action flick. Hero-with-a-past goes up against slick-baddie to save an innocent. Even with all this sexy icing on top, the movie has a keen sense of what it actually is. And is all the better for it.

6. Nicholas Cage is fun. And it looks like he is having fun. Cage eats scenery and blows everyone (except Idris Elba) off the screen. There are a couple of scenes that are a hoot. And you just want to watch them over and over. Great fun. Plus: it's funny. Cheeky funny.

Ghost Rider: Spirit of Vengeance is insane. One of the most visually interesting movies I've ever seen. Loved it. 10/10

YetAnotherComicBookBlog.blogspot.com