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About EricJ

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  • Birthday 06/14/1964

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  1. Sorry, I've already posted the "Dead Man's Treasure" racing theme. 😈
  2. Albert Brooks's entire ACT is neurotic New Yorker self-deprecation, like Woody Allen in his prime without the creepy stuff. That's how Brooks can play a stressed-out orange fish who can't tell jokes, a broadcast news writer who will never get the girl, and a dweeby 70's campaign worker who doesn't know why his girl is falling for a gun-toting loner. Apart from Lost, I wouldn't use the above examples as first-time watches to explain Brooks (The Muse brings up the question of "Why are the fictitious movies-within-a-movie in Hollywood satires so danged bizarre?"), but I would assume years
  3. I've had to show some first-timers, and my favorites are always the original B&W The Cybernauts (who became to the Avengers what the Daleks were to Doctor Who) of the'65-'66 B&W Peel era--or "Seasons 4-5" as disk/streaming calls it--the previously cited The Winged Avenger of the color Peel era, The 13th Hole, Death's Door, and Escape in Time for ingeniously devious baddie plots, and, if we're wandering into '68 Tara King territory, The Forget-Me-Knot as the perfect introduction. The first two have so many "aha, so he did it?" red herrings, it gets newbies hooked on the plots and humor
  4. And the climax where our heroes and the baddies (hoping to exchange foreign spies with the identities of disposable lonelyhearts clients) "change partners" while battling it out behind the scenes of the big school dance-formal. πŸ˜„ It's one of the silliest tongue-in-cheek episodes of the B&W era, ahead of The Gravediggers: Where baddies hope to take advantage of an old ex-train-conductor enthusiast, with his miniature-railway setup on his estate, as part of their nefarious sabotage plot...With Mrs. Peel once more in appropriate jeopardy: (The...folks who posted abou
  5. No, it's that obscenely-overgroomed poodles were the Paris Hilton purse-dogs of their day--Generally associated with the lunatics that fawned over them. And certainly more deserving than the chihuahuas that it became the cliche' to injure after "There's Something About Mary".
  6. Well, since they're only streaming on Amazon pay-VOD, and most of A&E's B&W DVD seasons are almost OOP, except for the one color season on Blu-ray, that's understandable. 😠 Nothing but clips on YouTube, though: https://www.youtube.com/watch?v=krouEsm9JvA
  7. Mostly from people who'd never seen the show, knew literally nothing about it except for two well-dressed 60's-fashion secret agents, and weren't accustomed to the show's um...lighter tones. (Like Sean Connery's rather, er, unusual disguises for holding a masked villain-meeting.) And, it didn't help that a nervous Warner chopped a half hour of coherence out of the plot, as if audiences weren't baffled enough already.. The best we can say about Ralph Fiennes and Uma Thurman is that they meant well, although Fiennes was too mannered to be Steed, and Thurman was too snarly to be Peel. Bu
  8. Although Jim Broadbent was actually a better Mother in the '98 Fiennes/Thurman movie, IMO.
  9. I saw the three-hour roadshow of Star! on disk, and it's every bit the marathon slog it's said to be...Maybe if they'd used some new songs?? But if we're talking minor Wise, I'll stick up for his making us sentimental for transatlantic dirigible travel, with a touch of wartime whodunit, in The Hindenburg (1976)
  10. No, Golan/Globus's theatrical CannonTales version (now reappearing, after MIA status on video, thanks to Cannon joining the MGM/Orion Orphans on streaming): (Vanessa Redgrave was in the Shelley Duvall version.) And FWIW, some of the CannonTales--particularly Rebecca deMornay in "Beauty & the Beast" and a singing/dancing Christopher Walken as "Puss in Boots"--are actually Not Too Darn Bad, for their 80's-Menahem-Golan budgets, an indescribable "Red Riding Hood" notwithstanding. Rigg does pretty well as the thrice-disguised Queen, and certainly has a lot more fun in a l
  11. And then there are some rules that disappear without a trace after one go, like "Minor Sound and Technical winners receive the awards in their seats, to keep the show moving along." πŸ˜„
  12. I remember it went extinct three years ago, after they realized that marathon phone operators taking phone pledges for checks was now obsolete when we could pay on the webpage with debit cards 24/7, so they reduced it to just a 2-hour PSA film, and then retired it after Jerry's death. Oh, did I mention, I'm in a wheelchair with a muscular dystrophy-related illness, and I ain't nobody's "Kid", least of all Jerry's? (I also remember a Mad Magazine spoof, about a Labor Day telethon for traffic fatalities: "Here's Ronald McDonald, with another twenty-three crashes from that pileup near
  13. So, we spend three "The Omen" films turning little Damien into evil Sam Neill in The Final Conflict (1981), put him just two minutes away from starting Armageddon, and...no. Don't even make me describe it. 😠 ...Let's just say if a cartoon safe suddenly fell on his head, it wouldn't be any less satisfying. In other news, Francis Coppola just announced that he's reshooting the ending for a new cut of The Godfather Part III (1990), where, presumably, Al Pacino's Michael Corleone has a more epic death than just...falling over.
  14. Haven't seen Clint Eastwood in The Beguiled (1971), yet, huh? πŸ˜‰
  15. HA!! Some of us do. πŸ˜„ (He's also great in the '99 Kevin Kline/Michelle Pfeiffer "Midsummer Night's Dream".) BTW, your on-a-Hammer-roll review on Captain Kronos, Vampire Hunter last month got me to bump it up on my Amazon Prime list over the weekend: I ended up focusing not so much on the studio or the genre (it's not a true Hammer if Peter Cushing isn't in it), as on writer-director Brian Clemens, a name I only knew as one of the head writers on the old Patrick Macnee/Diana Rigg Avengers '67 series. Every time I see his name on an outside credit like "Golden Voyage of Sinbad", I alw
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