Chase_Witherspoon

Laugh out loud funny one moment, serious and sober the next, this episode puts Brandon in the central role as he flirts with uncharacteristically reckless behaviour and narrowly avoids catastrophe.

Meanwhile the old folks are up to no good at a Palm Springs retreat where they encounter a Southern belle and her portly companion (Lathan & Paul) who might be a little too uninhibited even for our notoriously affectionate couple. Cindy and Jim were always a bit over zealous on the PDAs, but the spa scene reveals their true conservative thresholds and is quite amusing (back when the show was a more equal mix of melodrama and comedy).

Dylan's contrived method of bringing Brandon to his moment of reflection is a bit dubious although his words of wisdom ring true (Dylan was a deeply philosophical character at times), and it was also pleasing to see Cindy & Jim express relief and compassion for Brandon's wellbeing, rather than the typical cliche of disappointment and rejection which is often portrayed in these types of TV situations.

Mature dialogue, realistic looking stunt-wreck and overall a quality episode.

Carpenter (formerly of 'Melrose Place') plays a pretty advertising executive who moves west for a VP opportunity with her company, but the promotion isn't welcomed by her detective boyfriend and a rift soon appears which threatens to turn violent.

Neal (Dawson's Creek) is the jilted lover struggling with rejection, and then Lea co-stars as Carpenter's new artist beau unaware of her tumultuous past.

Strictly routine thriller contains no surprises (perhaps a couple of mild jump scares), only dull cliches and although the acting isn't bad, the plot is threadbare and the locations lazy. The climax is too easily resolved, and then the ubiquitous six-month post-trauma check-in is even more pointless than usual (missed opportunity for a sinister reunion or plot twist).

Below average telemovie has a plausible and disturbing storyline, but the execution doesn't do the actors justice.

Dylan misses his opportunity to seal the deal with Brenda (and an apparently wild night spent with Groucho, Harpo, Chico and Zeppo) but he turns up to hear guest sex ed speaker (Molter) share her moving testimony of the perils of unprotected sexual intercourse. It's a blunt message, and it has the desired effect essentially traumatising the impressionable audience, leaving our normally hormonal kidults speechless.

Aside from the jaw dropping revelation, Brandon defends his sister's reputation as Dylan struggles to distance himself from his father's criminal reputation after he's indicted. Despite the slightly scandalous parentage, Brenda's folks begin to come around to the idea that possibly Dylan isn't such a chip off the old block, and maybe just a little misunderstood.

Provocative message is served with a heap of sympathy for the messenger and just a hint of fear for the listener, as it tries to put promiscuity into a perspective that the adolescent viewer can understand - get it on before getting it on.

Sofer plays a business executive holidaying with her husband and teenage daughter in a remote woodland cabin being psychologically terrorised by the gregarious caretaker/ fireman with the prominent cheekbones and an apparent axe to grind (Runyan).

Sofer is a highly experienced TV actress and it's apparent she knows how and when to hit her marks in a physical role whilst delivering dialogue, but the character lacks emotional depth and is unconvincing. A one-dimensional victim struggling to get to grips with an accident she caused several years earlier whilst driving into work (seen via repetitive flashbacks which grow more detailed as the film progresses).

Formula telemovie remains taut and is reasonably good at ratcheting up the tension, creating enough discomfort to keep the audience engaged and anticipating the worst (notwithstanding some situations that are much too contrived and implausible to be even remotely believable). Needed something more to stand apart from the rest, but it's watchable in spite of its flaws.

Amateurishly made tale of a Miami realtor (Webb as) who struggles to find her soulmate, conflicted by the lure of financial success versus domestic stability. For no apparent reason, Webb spirals into a self-imposed emotional crisis that leads to risky life choices, salacious romantic relationships and ultimately regret.

Webb is attractive and plays her role of a glorified escort with confidence, but it's a shallow character depicted as an immature gold-digger, prone to impulsiveness and lacking self-esteem (apparently stemming from a difficult childhood). Interestingly the character doesn't become a comfortable cliche, displaying little remorse for her messy relationship situation, asserting her misguided belief that she's somehow entitled to have her cake and eat it too which ends with predictable results.

Producer Sorbo co-stars as a sugar-daddy of sorts with whom Webb becomes entangled, and then Puerto Rican actor Ponce appears later in the picture as a recently-single former crush, making it the trifecta.

Lots of binge drinking on strobe-lit nightclub sound stages, suggestive dancing and illicit affairs (handled implicitly) crudely wrapped up with the life lesson that money and privilege doesn't buy you satisfaction.

The film's climax set to Bolero is a bit puerile, but the conclusion at least brings us full-circle to the possibility of redemption which is somewhat satisfying. Ultra low-budget, but still watchable with modest expectations.

Bernsen plays the manipulative owner of an advertising agency who convinces his daughter (DeVitto) to rejoin the firm as a means to leverage her talents and appeal to clients looking for a younger perspective.

Aside from Bernsen and DeVitto, there's another relationship building with ultra smooth ad man Wade employing every cheesy compliment he can conjure to ingratiate himself with Henry playing DeVitto's right hand woman and trusted confidante. Veteran actress Gina Gallego also has a minor supporting role playing DeVitto's auntie.

Reasonably well acted on a combination of mostly sets and sound stages with occasional exteriors, it's a thin plot but there's just about enough material in this formula daddy-daughter reconciliation matinee to hold the interest if your expectations are modest.

Occasionally moving Canadian TV drama with so-so acting fares better on the ice as it tells the story of young protege (du Toit) sidelined by injury who gets a shot at glory via the belief of her coach Mercury (former world figure-skating champion Stojko).

Nineties leading lady Henstridge plays the arrogant, elitist and controlling mother of du Toit's bestie (Hunsley) who's also a champion figure skater. The two have a falling out which leads to a rivalry serving as the dramatic backdrop heading into the much anticipated sectional climax.

Prolific Canadian actor Stewart adds balance as Henstridge's henpecked husband who only wants his daughter to be happy, meanwhile Daans adds copious cleavage playing du Toit's financially struggling mother, herself a former figure skater trying not to deprive du Toit from reaching her full potential.

Strictly formula stuff with nothing remotely offensive should mildly entertain if you don't mind keeping it light and uncomplicated.

Glorified soap opera stars bright-eyed Newbrough as a city slicker botanist who's inherited her family's regional florist business looking for the sweet spot with her bee-keeping neighbour Hank (Roy). Hank's got low self esteem and honey money problems owing his honey pot turning red, which may or may not be caused by Newbrough's hibiscus, much to the annoyance of Hank's protective sister (Cope) who initially regards her new neighbour as a threat to the wholesome rural vibe of their quaint village.

Also featuring is Michaels playing Newbrough's diminutive ex-boyfriend who's moved-on a little fast, and Bowman as a larger than life Oprah Winfrey-type local socialite whose character serves to give Newbrough confidence in her new endeavour.

Everyone's wearing perfectly-pressed gingham and denim, fussing about flower-arranging, making scented candles and falling in love in a no-surprises formula romcom. The dialogue is reasonably witty, and the cast share attractive on-screen chemistry which is easy to watch when viewed with modest expectations.

Cringeworthy romcom telemovie features thirty-something Finance professional Hemsworth and fifty-something writer Dern finding an unlikely romance at a writer's retreat in Morocco.

Cliched travelogue shot in 4K is so lightweight it almost levitates resembling a slightly more expensive Hallmark picture (albeit with more profanity, drug use and titillation).

Capably acted despite the painfully dull dialogue, the film is technically competent without displaying any particular plot imagination nor artistic texture.

Slightly steamy modern matinee made for women, by women that appears to be an attempt at stereotype reversal with Hemsworth the eye candy and Dern the more cerebral character. Overall it's casually handled and meets low expectations.

More violent, less historically accurate and overall mediocre Italian war film starring former Hollywood star Johnson as an Air Field Marshal who later decides the get amongst the action as a almost geriatric squadron leader skipper barking orders into his radio as Swiss leading man Stafford (playing a RAF captain) must foil an audacious plot by Rabal & Pistilli to aid the German air raid on London from behind enemy lines.

Also of note is the attractive female cast with azure-blue eyed Italian beauty Galli as Stafford's WAF love interest, and Spanish sex symbol Gimpera as Nazi Rabal's German equivalent.

Use of split screen and loud pyrotechnics interspersed with stock footage might've thrilled audiences at the time, but now looks amateurish, whilst the melodramatic and overly sentimental tone has the good vs evil style of a Golden Age of Hollywood war movie, albeit a lot less sophisticated. Attractive cast, but probably needed another well-known Anglo face to make it truly international.

Contemporary to the UK blockbuster 'The Battle of Britain', 'Eagles Over London' isn't so much of a peer but more a cheaper Latin alternative if you prefer a bit more pasta sauce and are comfortable with asynchronous English dubbing.

Wheelchair bound veteran (Risk) maimed in Vietnam assembles his former team to hunt down those responsible for the brutal death of his wife. Things unravel when a mysterious black-clad martial artist / swordsman starts taking down the elite team.

Largely unknown cast features Jean Glaude as the principal member of the squad who brings the others aboard, whilst veteran Cameron Mitchell plays the cigar-chewing hit man Dutch with the bad heart who cooks a mean BBQ. Some viewers might also recognise professional bodybuilder Bill Cambra as the particularly burly member of the team (although his voice appears to be dubbed as are several of the others for some reason).

The mystery isn't that difficult to solve, but it's still cheesy fun getting to the long awaited confrontation. Plenty of light humour, car stunts, banal dialogue ('fragrance can open a man's mind to lots of things') and slower-than-usual fight choreography commensurate with the micro budget (reportedly $80k). Given the amount of distribution achieved on videocassette back in the 80s, I can only assume they made their money back and then some on what is a very average action/ revenge thriller.

Bloody and over the top with a funky sax sound, 'Kill Squad' is a clumsily photographed expensive home movie but deserving of minor cult status for being so egregiously bad it's impossible not to watch.

Not to be underestimated, this French black comedy of sorts stars Marvin in one of his last film roles as a fugitive bank robber, but he's really more of a plot device to showcase the crazy antics of his French co-stars, each with their own offbeat characterisation proving more dangerous than Marvin himself.

Lovely Miou-Miou is the film's leading lady, a captive farming wife of an abusive husband (Lanoux) who sees Marvin as her opportunity for emancipation. Man-child Bennent is a highlight playing a smart-mouthed inbred kid, himself a victim of the Lanoux character's rough handedness who clues onto Marvin's gambit from the outset, setting himself up as the hero of the ensuing farce making for a satisfying climax.

Also grabbing the attention is Bernadette Lafont playing one of the toothless farmhouse occupants with a comically lubricious lust for carnality. Virtually the entire cast play a whacky assortment of oddballs, offset (ironically) by Marvin as the only predictable character in the plot. Apart from Marvin, the only other native English-speaker in the cast is Tina Louise in a small supporting role as one of Marvin's accomplices during the opening heist.

Well photographed with sharp dialogue, a catchy bass guitar sound and overall sympathetic characters, 'Dog Day' might be an unknown quantity for most casual Marvin fans, but is surely worth a look if you're open-minded to a bit of depraved French farmhouse farce.

Depressing, authentic-looking account of the real-life kidnapping of wealthy heiress by a desperate ex-serviceman whose attempts to collect a relatively modest ransom unravels at every juncture placing the abducted girl at risk. We know how it ends, but not necessarily the brutal build-up which is depicted in violent, unflinching detail.

The mundanity of the kidnapper's bland home life paints a rather bleak existence in which he's compelled to commit more crimes to support his modest lifestyle, unwilling to accept the employment opportunities he's afforded, regarding them as undignified for a person with his service record. As he becomes more detached from reality, he manages to convince himself that the victims of his heinous crimes have only themselves to blame.

Sumpter plays the pathetic narcissist with selfish realism, an insecure criminal with a hair-trigger temper motivated by money; patient and pedantic in his preparation, but unable to execute his crimes efficiently, leading to multiple reckless and unnecessary murders.

There's been some speculative decisions made regarding the fate of the abductee at the film's anti-climax with the aftermath largely explained via on-screen text, but the emphasis is on the depravity of the crimes, moreover than their restitution.

Whilst the subdued, no-frills approach is gripping, the film's proximity to the actual events made it a contemporaneous commercial failure. Time has afforded it more favourable attention, now appreciated for its unglamorous portrayal of some of the most callous crimes committed in England in modern times. Understated and well worth a look.

Anticipates Bronson's signature role in 'The Mechanic' by a couple of years as he plays an assassin on the wrong end of the hit, seeking revenge on those who set him up.

International cast also features Mrs Bronson as his two-timing mistress, Umberto Orsini his confident counsel, Michel Constantin an old friend helping to learn the identities of those who wronged him (and whom co-starred with Bronson in 'Cold Sweat' a short time after this was filmed), and appearing only very briefly after almost a full hour, Telly Savalas playing the local crime boss Webber (little brother George Savalas also has a minor supporting role as a shady mechanic).

The film's opening car chase is a highlight (almost rivalled for suspense by a tense footrace through the streets of downtown New Orleans later in the film) whilst the upbeat Morricone score is funky and psychedelic. The climax is an absolute cracker albeit a little hasty.

Curiously, the version I saw included many extended scenes which hadn't been dubbed resulting in apparent bi-lingual dialogue which made no sense. Confusing flashback editing makes continuity difficult to follow, but there's an undeniable stylishness in the locations, set design and cinematography that's appealing in spite of the plot flaws.

Mrs Julie Wardh (Fenech) the wife of a diplomat posted to Austria starts to become embroiled in the deadly game of a sadistic killer.

Uruguayan actor George Hilton co-stars as the man who allegedly knows what women wants (his self-described specialty is seducing married women in the presence of their spouses, such confidence), whilst intense Italian leading man Rassimov features as a jilted ex-lover, both men implicated as the infamous razor killer but time's running out to learn the truth.

Director Martino deftly builds suspense with clever use of camera angles, tracking shots and eerie, isolating locations, whilst Giallo favourite Fenech and her trademark eyeliner are suitably anxious being taunted by threatening riddles attached to flower bouquets implying her date with the black leather-clad, razor-wielding killer is imminent.

Uncomplicated, fashionable thriller lacks the native English-speaking star which many Italian movies of the 70s employed for commercial reasons, but isn't diminished by this omission. Plenty of suspense, occasional jump scares and a satisfying climax shot on location in Spain make for a memorable movie, and a keeper for any serious Giallo collection.

Great cast feature in this stylish, 70s crime thriller that mimics the Hong Kong action pastiche with larger than life characters, garish set declaration and wardrobe, set to a funky Euro dance beat.

Silva is the scene-stealing co-lead, a hot-headed, trash-taking playboy hired by Cusack alongside brawny silent type Strode to capture Adorf after a drug shipment is sold from underneath the traffickers. Things go awry and the tables turn when Adorf hunts down the hitmen and their collaborators.

Aside from Silva and Strode, Adolfo Celi has a key supporting role as a local crime lord and his lovely 'Thunderball' co-star Luciana Paluzzi plays a highly capable fixer for the hitmen. Also noteworthy is no-nonsense Amazon Francesca Coluzzi and her huge blue hair as a nightclub informer, and then Euro starlet Sylvia Koscina in a small role as Adorf's estranged wife.

Cartoonish but still decent revenge action-drama with a notable cast, catchy soundtrack and high energy pace deserving of minor cult status.

Prison warden's (Reed) young wife (beautiful Belli) is kidnapped and he devises an audacious plan to get her back by enlisting a criminal (Testi) from the gaol he oversees. Things go awry when he discovers Testi's leverage is not as straightforward as he initially believed which leads them both on a dangerous cross-country chase to recover his missing bride.

Conspiratorial poliziotteschi is often talky and tedious, with Reed delivering his f-bomb littered (and badly synced) dialogue in an American accent, whilst Testi (whose gimmick is to drop half-smoked darbs on the end of the filter) looks genuinely scared of his unpredictable co-star. Greek-American actor Zaccharias has a small role playing a school teacher to whom they go for help, familiar-faced Marc Mazza is a detective-inspector and Daniel Beretta gets to croon a tune playing Testi's hippie friend and pop-star.

There's a scene in which Testi and Beretta engage in fisitcuffs like a pair of lightweight school kids in front of an unimpressed-looking Reed, and I questioned at that moment if he was bothering to act or waiting impatiently for filming to wrap for the day so he could hit the hotel bar.

Maestro Morricone's pulsating score is a highlight, and there's a plot twist or two for added interest, but it's easily 20 minutes overlong and hard-work persisting.

Tedious and talky, this small scale biopic about the famed author lacks an anchoring point instead meandering around the world as the intrepid seaman and then war correspondent ends up on the wrong side of the Japanese plot to overthrow China (and then USA).

O'Shea is a bit one-dimensional as the eponymous adventurer, confident and self-assured but generally a bit dry and unmoving. Hayward seems largely wasted as his romantic distraction, initially unable to coax him from a life of adventure into the relatively safety of marriage and comfortable domesticity.

Virginia Mayo (later Mrs O'Shea) has a small supporting role in her first credited feature film role, and Leonard Strong is prominent playing his ubiquitous Oriental villain warning London of the planned world takeover, however long it takes to achieve.

Disparate themes presented on a B-grade picture budget fail to create a continuous storyline, the result an uneven, melodramatic list of encounters that don't do the author's colourful life justice.

Despite a title which bares little relevance to the storyline and a somewhat irritating mariachi band score, this much maligned Ed Wood crime drama is no worse than many of the poverty row B pictures churned out in the 40s/50s.

Technically competent albeit more akin to a television movie, the acting isn't as awful as it's often reputed, with capable performances from Talbot and Rawlinson, whilst its interesting to see a young pre-bearded Mr Universe Steve Reeves in the minor supporting role as Talbot's detective partner. In apparent anticipation of things to come, Reeves gets semi-shirtless in one scene flashing the physique that would soon become well-known to millions as the original muscle-bound body of 'Hercules'.

Also worth noting is Theodora Thurman playing the part of the gangster moll in whose pad the fugitives seek sanctuary. A sultry, smoky-voiced accomplice, it's a shame she didn't have more roles (and acting experience) in her career because she has the looks and voice to leave an impression.

Not sure of the purpose of the Minstrel show part-way thorough, but a couple of the gags earn a chuckle and the climax has a satisfying twist that won't be forgotten.

Gritty social commentary rather than entertainment, Farrell & Grassle, Burton & Fields and Duff & Blondell play the respective couples from different socio-economic, demographic situations experiencing domestic abuse. The system is depicted as a perverted haven for wife-beaters, with no viable solutions to end the violence in fear of it merely escalating (which it appears it inevitably does either way).

It's a departure from the lighthearted TV that Grassle, Fields and Farrell were co-starring in at the time, whilst Burton was fresh off the plantation fields of his ground-breaking show 'Roots'. Also good to see veteran Blondell in one of her final roles, even if it's a tragically sad state of affairs for her character, suffering at the hands of her husband (Duff) an abusive alcoholic.

Also featuring in smaller roles are Diana Scarwid playing Blondell's adult daughter trying to escape her own struggles, and Ketty Lester (also from 'Little House on the Prairie') playing Fields', no-nonsense, tough-love neighbour.

Three different stories (two which overlap) and three distinctly different resolutions offer some glimmer of hope but it's regularly uncomfortable and at-times distressing, typical of the halcyon era for telemovies in the 70s/80s, not as cultivated as motion pictures would handle the subject matter, but still capable of moving an audience.

Reasonably taut supernatural thriller with Donna Mills starring as an overseas student boarding with her friend (Carne) in an old guest house in which the tenants are strange and visitors habitually disappear.

Aside from Mills & Carne (Mills made anxious by the behaviour of the tenants, whilst Carne adopts a more rational posture), Alethea Charlton features prominently as the controlling landlady Mrs Oxhey, Peter Collier as a lace thieving closet creep, and David de Keyser plays the mysterious man upstairs.

The sets shake when they shouldn't and the action is confined with limited exterior photography (and an overused cafe sound stage), but the story is fairly compelling despite under-cooked supernatural themes which might've been handled more effectively in the contemporary 'Night Stalker' series.

Shy American traveller in rural England (lovely Feldon) is swooned by dashing young businessman (Powell) in a whirlwind romance before marrying and settling down in his remote countryside pad. Is he the real deal, and is she just a lonely traveller? Greed and jealousy could be their undoing.

There's a decent yarn being woven albeit with more than a few contrivances to bring all the loose threads together. Feldon is well-cast as the unassertive lonely-heart, whilst Powell's stunning elocution almost compensates for the limitations of his character's dialogue. T. P. McKenna is very good in a pivotal supporting role, although the plot relies too heavily on his character in my opinion, and consequently the climax appears under-developed and rushed.

Nice use of exteriors and sophisticated set design, a moody score and occasional intrigue, but the overall impression whilst dramatic is no heart-stopper.

Good but not great curtain fall might've benefited from being presented as a two-parter, with more detail in the stunning court case revelations which seemed rushed and undercooked. The sudden 'star witness' cliche wasn't really such a shock, and felt a bit casual in its treatment.

Kellerman's final solution seemed a bit whimsical for a career soldier of his training and experience, and Mahone's 'come to Jesus' moment lacks the courage of his convictions, but at least there's some semblance of justice having been served, even if it's too little, too late. There's a trail of destruction and a morgue full of collateral damage for which someone still has to be held accountable, and fortunately still a few loose ends who can unwittingly fill that void.

A pity Bellick, T-Bag and Sucre didn't get the memo, paving the way for an unnecessary third series which is shaping up as a mimic of series one, albeit much less civilised. There's an almost satisfying (perhaps even poetic) symmetry in the closing shots, and it could be possible to leave the series at this juncture, although it's tempting to give series 3 an opportunity to prove itself before preserving the legacy of seasons 1 & 2 for posterity.

The series reaches a thrilling climax as Michael and the others discover the truth about the President's plan, and an uncomfortable secret he threatens to expose unless a public pardon is issued. But the chinking beer bottles and back-slapping is predictably premature when the savvy president plays her own show-stopping gambit (veteran actress Wettig making her solitary season two appearance after having won a lead role on the aptly titled 'Brothers & Sisters' show).

C-Note's special delivery is a bit too overt to be believable, whilst Sara's encounter with Mahone turns into a now all-too-familiar counselling session as the good Dr psychoanalyses his addiction, Mahone's grip on lucidity showing signs of fracturing under the strain.

Meanwhile in idyllic Panama, things are getting crowded when Bellick shows up to shake the cage and T-Bag adopts a new identity en-route to the Central American unofficial reunion where Sucre is already enjoying pistachios, cherries and the company of alpacas. It's the two-minute warning mark, and the last play is just around the corner.

Nice to see Stacy Keach again, a pair of safe hands selling something you know you're going to want to buy. Here he's asked to do the desperate fugitives a solid which is so beyond the pale it's farcical. Nevertheless the screenwriters have managed to concoct a paper-thin justification for why he might accept the challenge, now all we have to do is wait and see whether they can pull off the audacious plan.

Meanwhile C-Note is making poor choices which seem out of character as he lurches from one bind to the next, Mahone hot on his heels at every wrong turn, and T-Bag appears to suffer a crisis of conscience after he relives his childhood house of horrors.

Not the most convincing plot lines (given it's the second time it's happened in the series I'm going to ask respectfully, since when do people just lend their laptops to strangers?), but the reappearance of Keach even if only briefly is welcome, and there's at least a sense forming that a resolution is now a possibility even if it's still out of reach for the time-being. Average episode, though still watchable.