Iâm not going to lie; I love a good blog party! So, when I discovered Heidi, from Along the Brandywine, was hosting the Valentineâs Day Period Drama Blog Party, I couldnât wait to sign up! Period dramas are not regularly covered on 18 Cinema Lane. While I do have a re-cap series for When Calls the Heart, I choose what films to watch based on how interesting their stories sound. There have been period dramas I loved, such as Swept from the Sea. But, for this blogathon, I wanted to review a film I hadnât seen before. For about a year, Iâve had the Hallmark Hall of Fame movie, The Love Letter, on my DVR. Because parts of the movie take place in the 19th century, I felt it fit Heidiâs time period requirement of the 1600âs to World War II. I try to watch as many Hallmark Hall of Fame titles as I realistically can. Prior to reviewing The Love Letter, the only Hallmark Hall of Fame movie from 1998 Iâve seen is Grace & Glorie, which was one of the best movies I saw last year! While not all movies from this collection are created equally, I do watch these movies with an open mind.
Since an image of The Love Letter‘s poster was featured on my television, I took a screenshot of it with my phone. Screenshot taken by me, Sally Silverscreen.
Things I liked about the film:
The acting: Because The Love Letter heavily relies on the performances of its lead actor and actress, this part of the review will focus on Campbell Scottâs and Jennifer Jason Leighâs portrayal of Scott Corrigan and Elizabeth Whitcomb. With Campbellâs performance, there was always a sense of focus in his character. This focus could be seen in Scottâs eyes. When he was inspecting the desk at the antique store or restoring that same desk, Scottâs focus showed how much he cared. This was a consistent part of the character and helped whenever he wrote to Elizabeth. In historical fiction/period films, it would be easy for the screenwriter to give their lead female character one distinct type of personality. Elizabeth Whitcomb, on the other hand, held a balance of two that brought something unique to the character. She had a youthful radiance about her, being a âromantic dreamerâ at heart. However, Elizabeth carried herself with a graceful maturity that prevented her from becoming childish or immature. Jennifer brought both aspects to Elizabeth equally and beautifully, allowing her character to be multi-dimensional.
The historical accuracy: I am not an expert on the 1860s and its historical significance. But based on what I do know about this particular period in time, Elizabethâs part of the story looked and felt historically accurate! The Whitcomb family home was furnished with pieces that appeared antique, from the couch in the sitting room to the desk Elizabeth and Scott share. Dark wood held these structures together, with green cushions and intricate carvings finishing the couch and desk. The costumes were very detailed and also reflective of the 1860s. Embroidery on Elizabethâs jacket and the overall design of her lacy parasol serve as two examples. Even the dialogue spoken by the characters sounded like it came directly from an era gone by. Pieces of the story like the ones I mentioned tell me, as an audience member, the creative team behind this film cared about the presentation of this part of their project!
A fantastical element: Most of the stories from the Hallmark Hall of Fame collection are grounded in reality, which means that fantastical elements are rarely found in these scripts. With The Love Letter, the story revolves around two people from different time periods who communicate to each other through letter writing. The idea of time manipulation is a concept that would likely be found in either a fantasy or science fiction film. While stories like Somewhere in Time and Portrait of Jennie have been dramas paired with this specific concept, I donât recall Hallmark Hall of Fame creating their own film like that before or after 1998. Because The Love Letterâs creative team chose to include a fantastical element into their overall project, it gave the movie an opportunity to stand out from other titles. This was a creative risk that worked in the filmâs favor!
Scott being engaged: A trope that has appeared in several Hallmark films is the male or female protagonist being engaged at the beginning of the story, only to fall in love with someone else by the end of that story. This trope has found its way into The Love Letter. For most of the movie, Scott is engaged to a woman named Debra. As he finds himself falling in love with Elizabeth, he strings Debra along and keeps the letter writing a secret. Scott does tell Debra the truth about his feelings, but this doesnât happen until the movie is almost over. Personally, I think this trope is pointless, as the audience is spending time with a relationship that will end up leading nowhere. Scott should have remained single so the script could give its undivided attention to his and Elizabethâs exchanges.
A rushed explanation: When fantastical or science fiction elements are included in a script, it helps to provide clear explanations to the audience so they can understand what is happening on screen. In The Love Letter, Scottâs mother tells Scott that an imbalance in the time-space continuum is the reason why he and Elizabeth are able to write to one another. However, this explanation was rushed, with Scottâs mother briefly bringing it up on only two occasions throughout the whole movie. She gives Scott stamps from the 1860s and had a special kind of writing ink made for him. Scottâs mother even found a post office that has existed since the Civil War era. These objects and the post office felt more like they conveniently benefited the plot instead of serving as âmacguffinsâ to move the story forward. As I already mentioned, this kind of story is rarely found in the Hallmark Hall of Fame collection. Despite this, a little more time should have been devoted to providing a clearer explanation.
Lack of physical interactions between Scott and Elizabeth: Because Scott and Elizabeth are from different time periods, it is not possible for them to physically interact with one another. Even though this is the nature of the story, it prevented the audience from seeing the on-screen chemistry between Campbell Scott and Jennifer Jason Leigh. One of the staples of a romance film is the on-screen chemistry between the lead actor and actress. Since that element was missing from The Love Letter, I was only invested in Scott and Elizabethâs relationship to a certain extent. While their words were romantic, verbal communication only plays a part among any given couple.
As I said in my review, most Hallmark Hall of Fame stories are grounded in reality. These stories are also on the simple side, with messages and themes that audience members can relate to. Even though The Love Letter has a fantastical element that is rarely found in films from this collection, it has a simpler story that works! Romance through words and thoughts is what carries the overall story, with important advice woven into the script. Forming a relationship with someone you truly love and never giving up on yourself are nice sentiments that can make audience members feel good about what they are watching. The movie also has the ingredients of a good Hallmark Hall of Fame title, like the level of detail when it comes to the filmâs historical accuracy. It is true the movie has its flaws. However, the execution of a creative risk like this makes up for The Love Letterâs weaknesses. Films such as this one make me wish Hallmark would be more creative with their stories and think outside the box more. With the ball in their court, I donât know what their next creative step will be.
Overall score: 8 out of 10
Have you seen The Love Letter? What Hallmark Hall of Fame movies would you like to see me review? Let me know in the comment section!
In February, Hallmark Movies & Mysteries will be airing two new mystery films! These movies are Crossword Mysteries: Terminal Descent and Chronicle Mysteries: Helped to Death. While I do plan on reviewing both films, they arenât scheduled to premiere for another week or two, as their release dates are February 14th and February 21st. Until then, Iâll be talking about Perry Mason: The Case of the Telltale Talk Show Host! I enjoy watching films from this particular series. In fact, this isnât the first time Iâve reviewed a Perry Mason movie. Last year, I wrote about Perry Mason Returns and Perry Mason: The Case of the Shooting Star, with both films receiving honorable mentions on my list of the best films I saw in 2020. Because I recently saw Perry Mason: The Case of the Telltale Talk Show Host and because I needed to publish my blog follower dedication review, in honor of my blog gaining 290 followers, this was the perfect opportunity to talk about another mystery film!
I wasn’t able to find a picture of this film’s poster, so I took a screenshot of this image from my television. Screenshot taken by me, Sally Silverscreen.
Things I liked about the film:
The acting: As of February 2021, I have seen some of the movies from the Perry Mason series. Based on those films, Iâve noticed how the acting performances have always been a consistent strength. Speaking of consistent, Raymond Burr does a good job bringing his character, Perry Mason, to life! The dry sense of humor and serious demeanor Perry is known for has had a constant presence in every film he has appeared in, including Perry Mason: The Case of the Telltale Talk Show Host. Toward the beginning of the film, Perry is talking on the phone with a colleague. When the conversation was almost finished, Perry responds that he is going to meet the colleague in two hours, when he was planning to wake up. Because the audience only sees Perryâs side of the conversation, they see that he was spending the night working on paperwork instead of sleeping. Perry Mason: The Case of the Telltale Talk Show Host features some real-life talk show hosts in the cast. Two of them are Regis Philbin and Montel Williams, as Iâve seen episodes of their respective shows before. In this film, Regis and Montel portrayed characters that were different from the personalities they have presented on their shows. Regisâ character, Winslow, was an antagonist who was self-centered and mean to those around him. Meanwhile, Montelâs character, Boomer, was only looking out for himself and avoided talking about issues from his past. These characters not only gave Regis and Montel interesting material to work with, but it also gave the audience something new to see. Like any mystery film, Perry Mason: The Case of the Telltale Talk Show Host provided an opportunity to introduce new characters. Cathy Paxton was one of them. Portrayed by Alex Datcher, Cathy had a spunky personality and the street smarts to help her with undercover police cases! She and Perryâs assistant, Ken Malansky, also worked well together. Out of the movies Iâve seen from the Perry Mason series, it doesnât seem like Cathy made any appearances outside of this film. It makes me wish she would have joined the main cast of characters, as she fit in with the members of Perry Masonâs law firm so perfectly!
The inclusion of talk shows and their hosts: Like I just mentioned, Perry Mason: The Case of the Telltale Talk Show Host features some real-life talk show hosts in the cast. As their names were presented in the opening credits and based on the title itself, I was expecting the movie to focus on talk shows from television. But as I watched the film, I discovered it was about talk shows on the radio. To me, this was a pleasant surprise! It allowed the audience to see these hosts, like Regis and Montel, in a different media format. I also liked seeing the diverse personalities and shows within one radio station. When the story progresses and as each character is questioned by Perry, the audience can witness how they all bring something different to the table. A unique dynamic was formed because of this creative decision!
The mystery: On 18 Cinema Lane, Iâve mentioned there are mystery movies that adopt a type of story where the audience solves the case alongside the protagonist. The mystery in Perry Mason: The Case of the Telltale Talk Show Host is that kind of story. This case unfolds as the movie progresses, with Perry and his team making discoveries along the way. In that time, the audience learns more about the characters within the overall story. When Perry questions the talk show hosts from the radio station, we learn about their possible motives and even their backstories. It was a good way to incorporate character development. This kind of story worked for Perry Mason: The Case of the Telltale Talk Show Host because it maintained a steady amount of intrigue. My interest in this story also remained from the start to finish.
An overlooked murder: At the beginning of the movie, Sheila, Perryâs newest client, discovers a dead body in her house. She then calls the police and the body is removed from her home at a later time. After this happens, that murder is not referenced again. In fact, it has nothing to do with the main mystery. From a story-telling perspective, these two cases should had been related in some way. It would have prevented that early part of the script from being overlooked.
A glossed over tragedy: In a few moments of the film, Sheila mentions that her daughter died of a drug overdose. Outside of those moments, this detail is never explored to a fuller extent. Similar to the overlooked murder I previously mentioned, the tragedy doesnât really have anything to do with the main mystery. It would have made more sense if the movie had included a subplot where Sheila helps someone who is struggling with a drug addiction. This would have allowed her to work through her grief and make peace with what happened to her daughter.
The reveal of the guilty party: Whenever I review a mystery movie, I try not to spoil it for anyone, as there could be readers who havenât seen the film yet. That is the case for Perry Mason: The Case of the Telltale Talk Show Host, as I wonât be revealing the mysteryâs outcome. However, Iâm going to say that I didnât like how the guilty party was discovered. This is because it felt out of character for a series like Perry Mason. The best way I can describe it is itâs more like Murder, She Wrote; presenting an outcome that most of the audience would not easily guess. I know that Perry is known for creating theories and connections off-screen. But in the movies Iâve seen so far, the outcome could be figured out by the viewer.
The Perry Mason series is a collection of films I enjoy talking about. Even though I donât always get the opportunity to bring it up on my blog, I feel it is a series worth seeing. Based on the films I have seen from this collection, Perry Mason: The Case of the Telltale Talk Show Host is one of the stronger films! There are areas of the overall story that could have been elaborated upon or explained better. The murder that takes place at the beginning of the film and the tragedy in Sheilaâs life are two examples. However, the movie as a whole was a solid production! It incorporated creative elements that made the story stand out from the other chapters in the series. The film also selected choices that I, personally, havenât seen in any film before. Having real-life talk show hosts from television portraying talk show hosts on the radio is a perfect example of this. Before I end this review, I want to thank all of my 290 followers! I know this post is published later than expected, as the blog received 290 followers in January. However, I do appreciate your support.
Overall score: 8 out of 10
Do you watch the Perry Mason movies? If so, which one is your favorite? Share your thoughts in the comment section below!
2020 was a year that threw a huge wrench into a lot of movie-goersâ plans. As theaters shut their doors and new releases continuously changed dates, there were movie related content creators that had to either adapt as best they could or completely change their formula. Fortunately for 18 Cinema Lane, the impact of this yearâs Coronavirus didnât change the type of content published on the site. As with the previous two years, I saw more good movies than bad. This is honestly the first year where I had difficulty creating my top ten best movies list because of the quantity of enjoyable films that left a memorable impression on me. Since I published my worst movies of the year list first last year, Iâll post my best movies of the year list first this time around. As usual, I will begin the list with my honorable mentions and then move on to the official top ten list. Now letâs get this list started!
Crossword Mysteries: Abracadaver, Where Thereâs a Will, Generation Gap, A Beautiful Place to Die: A Marthaâs Vineyard Mystery, Sweet Surrender, Picture Perfect Mysteries: Dead Over Diamonds, Riddled with Deceit: A Marthaâs Vineyard Mystery, Mystery 101: An Education in Murder, To Kill a Mockingbird, Ruby Herring Mysteries: Prediction Murder, House of the Long Shadows, Up in the Air, The Crow, Mystery Woman: Game Time, Fashionably Yours, Finding Forrester, Cyrano de Bergerac (1990), Expecting a Miracle, Time Share, Little Lord Fauntleroy (1936), The Wife of Monte Cristo, Cry Wolf, Mystery Woman: Mystery Weekend, Perry Mason Returns, Perry Mason and the Notorious Nun, Perry Mason: The Case of the Shooting Star, The Terry Fox Story, Follow Your Heart, House of Wax, Funny Face, and The Christmas Bow
10. Nicholas Nickleby (2002)
Looking back on the four film adaptations of Charles Dickensâ work Iâve reviewed, I realize how lucky I am to come across those I enjoyed. Despite having never read Nicholas Nickleby, this production was both understandable and engaging! With the 2002 version of this story, its balance of joy and despair is a staple of the world-famous authorâs I recognize from his other stories like Oliver Twist. As I said in my review of Nicholas Nickleby, it can be easy to forget the beauty this world can offer, especially during a year like 2020. I donât often come across a movie that is so good, it makes me want to seek out its original source material. For this film, however, I just found an exception!
This is an interesting entry from the Breen Code era. Itâs a darker musical that is dark in nature for the sake of providing thought-provoking commentary. Like I said in my review, The Unfinished Dance does a good job exploring what happens when truth disappears from the world. All of the musical numbers in this film have a strong reason for being in the story, as opposed to typical musicals where the numbers feel more spontaneous than planned. Even though dance is emphasized more than the story, the quality of the routines themselves make this film worth a watch! The movie is a hidden gem that I wish more people knew about.
Iâm glad I was given an opportunity to re-watch this film, as it was just as enjoyable as when I first saw it! The story moves away from the aesthetic that most Christmas movies adopt. Instead, it relies on the messages and themes associated with the Christmas holiday. This creative decision is a breath of fresh air, bringing a different kind of narrative that isnât often found during that time of year. If You Believe is a film that does what it sets out to do. It also helps that it has stood the test of time.
This is the kind of Hallmark Hall of Fame movie I wish was made more often, one where unique concepts are explored and celebrated. Instead of following a plot, the story revolves around a debate. The subject matter was not only handled with reverence, but each perspective was shown in a respectful light. Iâm not a fan of this filmâs ending, but I respect Hallmarkâs decision to include it in the script, as it respects the audienceâs intelligence. Sweet Nothing in My Ear is a title from this collection that can be used as an introduction to Hallmark Hall of Fame!
6. From Up on Poppy Hill
Studio Ghibli has a reputation for giving it their all when it comes to making movies. Besides their signature animation style, they also take the time to create fantastic worlds and memorable characters. While From Up on Poppy Hill doesnât contain any of the magical elements that can sometimes be found in Studio Ghibliâs stories, the project doesnât feel out of place in their collection. The plot is a simple one, but the inclusion of interesting characters and world-building is what makes it work. It also contains a great message about history that fits into the script very well.
Batman: Mask of the Phantasm is more than just a story about Batman. Itâs a chance for audience members to see a side of this superhero that doesnât often get presented in the world of film. The movie is a good example of how impressive 2-D animation can be. Even though the world has moved on to the wonders of 3-D and computer graphics, there will always be a place for older styles of animation. Despite having seen only a handful of Batman films, I can honestly say Batman: Mask of the Phantasm is one of the better options! The story itself is just as interesting as the world of Gotham City.
Grace & Glorie contains Hallmarkâs favorite clichĂŠ of featuring a woman from a big city moving to a small town. But what sets this story apart is how that clichĂŠ is not the main focus of the film. Instead, the plot revolves around the friendship of Grace and Gloria. Because the titular characters were portrayed by two strong actresses, it made the dynamic between Grace and Gloria interesting to watch. Similar to From Up on Poppy Hill, this Hallmark Hall of Fame title has a simpler plot that works in its favor. Grace & Glorie is a type of story that is rarely seen on Hallmark Channel or Hallmark Movies & Mysteries. The movie is also an underrated gem that I wish more Hallmark fans were aware of.
3. Matinee
With the way the theatrical landscape was affected in 2020, it kind of feels weird that a film like Matinee would appear on a best movies of the year list for 2020. But instead of making me miss the cinema or feel jealous of the characters as they get to see a movie in a theater, this particular 1993 title reminded me of what I love about film. Because I have a special place in my heart for Phantom of the Megaplex, Matinee showed me that there is more than one story that could show people how movies can be fun. One of the messages of this narrative is that film can provide a much-needed break from the troubles of the real world. With the way 2020 turned out, Matinee seemed to come at the right place and time.
Every year, there is that one movie that catches me by surprise because of how good it is. The Boy Who Could Fly was definitely that film in 2020! I was pleasantly surprised by how well the overall story has aged. Given the subject material and the time it was released in, I can certainly say that my expectations were subverted. While The Boy Who Could Fly would be considered a âteen movieâ, it doesnât follow a lot of the patterns that most of these types of stories would contain. The themes of showing compassion for others, dealing with grief, and understanding peopleâs differences are given center stage.
Who knew a Frank Sinatra movie would become the best one I saw in 2020? When I look back on this film, I remember how much fun I had watching it! As I said in my review, I spent most of my time smiling and laughing, which shows how the filmâs joyful nature can certainly help anyone improve their mood. Anchors Aweigh is a strong movie on so many different levels. The acting, story, and musical numbers alone showcase how much thought and effort went into the overall production. If I were to introduce someone to the Breen Code era or musicals in general, this is the film Iâd show them. Anchors Aweigh was certainly a bright spot in a year like 2020.
For the last Genre Grandeur of 2020, the theme is âAlternative Christmas Moviesâ. Whenever I think of this term, films where the story doesnât rely on typical Christmas elements always comes to mind. After watching and reviewing If You Believe, I remembered another â90s Christmas movie I hadnât seen in years: To Grandmotherâs House We Go. However, when I thought about this film, it didnât seem to focus on the Christmas holiday like other titles, such as those found on either of Hallmarkâs networks. Sure, both Mary-Kate and Ashley Olsen are wearing Santa hats on the movieâs poster. You can also see Christmas lights behind the Olsen twins in the aforementioned image. But the story itself is not one that is exclusive to the Christmas movie genre. In fact, the idea of siblings running away to another family memberâs house can be found in a plot from any time of year. Even the title, To Grandmotherâs House We Go, doesnât contain any Christmas references. Now that this introduction is almost over, Iâll take another trip down memory lane by reviewing this film from 1992!
To Grandmother’s House We Go poster created by Jeff Franklin Productions, Green/Epstein Productions, Lorimar Television, and Warner Bros. Television.
Things I liked about the film:
The acting: The appeal of any Olsen twins production is watching Mary-Kate and Ashleyâs characters go on adventures that most of the audience will never experience. Though it has been years since Iâve seen any of their movies, I remember Mary-Kate and Ashley giving their characters a sense of likability, no matter the situation. This is what happened in To Grandmotherâs House We Go, as Julie and Sarah were a delight to watch as the story progressed! Despite their young ages, Mary-Kate and Ashley had good comedic delivery. A good example of this is when Julie and Sarah give a street musician chicken drumsticks, using the edible item as a tip instead of money. It should also be noted that Mary-Kate and Ashleyâs characters came across as genuine throughout the story. In a scene where they overhear their mother, Rhonda, telling her friend her daughters are a handful, the looks on the twinsâ faces display feelings of sadness and betrayal that immediately makes the audience feel bad for Julie and Sarah. It also helped that Mary-Kate and Ashley worked alongside actors who can, acting wise, stand on their own! One of them is Cynthia Geary, who portrays Rhonda. When Julie and Sarah are missing, genuine concern can be seen on Rhondaâs face. Because the twinsâ journey lasts the majority of the movie, it allows Cynthiaâs performance to contain a good amount of consistency.
The inclusion of western movie scenes: Eddie is a delivery man who frequently visits the convenience store Rhonda works at. When something happens in Eddieâs part of the story, scenes from various western movies are shown to visualize how Eddie views his life. Usually, these scenes mirror what Eddie is doing in the âreal worldâ. An example is when Eddie is taking a short cut to the convenience store, as a scene of Roy Rogers riding off the beaten path is presented while Eddie is driving his truck. The reason why these western scenes were included in the film is because Eddie loves westerns and dreams of owning his own ranch. What I liked about this element is how it provided a unique way to present a characterâs perspective that isnât usually seen in Christmas films. In movies of this nature, dream sequences or flashback scenes are given to a character when the story needs to share their point of view.
The messages and themes: A common component in family-friendly movies is the messages and themes that can be found in the overall story. This is especially the case for productions involving the Olsen twins. In To Grandmotherâs House We Go, Julie and Sarah overhear their mother say her daughters are a handful and that sheâd like a vacation. This causes the twins to run away to their grandmotherâs house, in an attempt to help their mother. When all is said and done, the overarching lesson is how our words can, for better or worse, affect the actions of others. Doing the right thing is a theme that can also be found in To Grandmotherâs House We Go. Harvey, one of the bandits in the film, helps his wife, Shirley, steal Christmas presents in order to sell them for money. As Harvey and Shirley spend more time with Julie and Sarah, Harvey starts to wonder what his life would be like if he wasnât a criminal. While I wonât spoil the movie for anyone, Harvey does take the filmâs aforementioned theme to heart.
Rhonda and Eddieâs inconsistent relationship: At the beginning of the film, Eddie wants to go on a date with Rhonda. No matter how many times he flirts with Rhonda, she politely declines, as sheâs only interested in being his acquaintance. After Eddie finds out Rhonda is a single parent, he gives up pursuing her as a potential significant other. For the rest of the movie, Rhonda and Eddie go back and forth between liking and disliking one another. Their disagreements are resolved rather quickly and they get along for a short amount of time as well. While Cynthia and J. Eddie Peck work well together as actors, the inconsistency of their on-screen relationship prevented me from becoming fully invested in it.
The lottery subplot: Throughout the movie, Eddie is convinced he will win the lottery. He frequently purchases lottery tickets, hoping to win the jackpot so he can afford his dream ranch. This wasnât a bad subplot, as it effectively connected to the main plot. However, with the majority of the plot revolving around Julie and Sarahâs journey, as well as Rhonda and Eddieâs search for the twins, the lottery subplot felt like it was included to provide an extra conflict. To Grandmotherâs House We Go has enough going on to satisfy the run-time, so this specific part of the story didnât necessarily need to be there.
A drawn-out story: Even though the main plot of To Grandmotherâs House We Go is straight forward, there are plenty of twists and turns to keep the plot going. But some parts of the story do cause the overall project to feel drawn-out. In an attempt to raise $10,000 for a kidnapping reward, Rhonda and Eddie plan on selling other peopleâs Christmas gifts, with the intention of buying those gifts back after the twins have been returned. The entire process of their plan is shown in the movie, lasting for several scenes. This part of Rhonda and Eddieâs subplot could have limited to one or two scenes, as to help tell the story in a shorter amount of time.
Calling To Grandmotherâs House We Go an âalternative Christmas movieâ is tricky. On the one hand, there are scenes in the movie that rely on typical Christmas elements more than others. One of them is when Julie and Sarah are building a tiny snowman in front of their apartment building. But, as I said in the introduction, the story itself could be found outside of the Christmas season. For the sake of this review, Iâll call this film a âpartial alternative Christmas movieâ. As for the movie itself, To Grandmotherâs House We Go is a fine, harmless, family-friendly title. Similar to what I said about The Strange Monster of Strawberry Cove, the 1992 picture will be more appealing for a younger audience, as the main story revolves around young children going on an adventure. Personally, I have no desire to re-watch it. Despite this, I am glad I was able to revisit the film.
Overall score: 7 out of 10
Do you remember watching any of the Olsen twinsâ movies? If so, which one was your favorite? Let me know in the comment section below!
For last yearâs Happy Holidays Blogathon, I reviewed the 2014 Hallmark Channel movie, The Nine Lives of Christmas. Even though it was my first time seeing the film, I found myself understanding why it has become so popular among Hallmark fans! Originally, I wanted to write about the 1999 film, If You Believe, and the 2020 Hallmark Movies & Mysteries film, Holly and Ivy. But because I wasnât able to watch Holly and Ivy this week, due to a schedule that was busier than usual, I decided to stick with the one review of If You Believe. This is a film I have seen before, one I remember enjoying. However, it has been over twenty years since I last saw it. As Up Network was airing If You Believe one day, it was a perfect opportunity to take a trip down memory lane! From what I remember, this movie had a pretty unique concept for a Christmas story. In this film, the protagonistâs inner child comes into her present world to help her grow during the Christmas season.
Screenshot of If You Believe‘s poster taken by me, Sally Silverscreen.
Things I liked about the film:
The acting: When you have a story that revolves around a young character, that specific role needs to be given to a young actor or actress who has the right amount of talent to carry that film. Even though Hayden Panettiere is the main supporting actress, she single-handedly steals the show! While portraying a younger version of the protagonist, she had so much charisma for an actress so young. The versatility found in Haydenâs performance also added enjoyment to her portrayal of Suzie. Some of the best scenes in If You Believe show Suzie interacting with the filmâs protagonist, Susan. This is because both Hayden and Ally Walker had good on-screen chemistry and worked well together. Speaking of Ally Walker, I liked seeing her performance as the protagonist! She brought a wide range of emotions to her role, allowing her character to feel like a realistic individual. This was shown in a scene where Susan and her brother are having a disagreement. Throughout the conversation, frustration and anger could be seen on her face. When her brother says he doesnât want to see her anymore, Susan immediately starts tearing up.
The cinematography: I was pleasantly surprised to find some creative cinematography in If You Believe! A perfect example is when Susan and a writer named Tom have lunch at a local restaurant. As they discuss Tomâs book, the camera zooms in on Susanâs and Tomâs meal at various moments. This was meant to show how much time was passing during their interaction. Another good use of cinematography can be seen toward the beginning of the film. When Susan is leaving her office for the day, there is a shot of her walking in the hallway. This location is lit with a row of fluorescent lights from the ceiling. As this scene plays out, these lights provide a good contrast to Susanâs dark colored outfit.
The messages and themes: If You Believe is a movie that relies more on the messages and themes of Christmas than the aesthetics of the holiday. Even though these messages and themes could be found in films outside of the Christmas season, the script provides a solid argument for why they should be included in a Christmas movie. One of the biggest themes of If You Believe is believing in yourself. What starts Susanâs journey of personal growth is when she tries to dissuade her niece, Alice, from believing in Santa. This is because she stopped believing in things such as dreams and the magic of the season because of those around her putting her down. As the story continues, the audience sees Susan regain her confidence and start believing in herself again, with some encouragement from Suzie. A perfect example is when Suzie coaxes Susan to read a manuscript called âPhooeyâ in order to find the next bestselling novel for her publishing firm, instead of avoiding another new author to help.
A drawn out first half: I found the first half of If You Believe to be drawn out. A few scenes lasted longer than they needed to, which caused this problem to occur. Suzie wants to go out on the town, as a way to help Susan move out of her comfort zone. Susan objects this idea, arguing with Suzie during their entire conversation. While this is an important moment in Susanâs journey, I feel the scene could have been shortened by a few seconds. This way, the point could have been reached sooner.
Telling instead of showing: At several moments in the film, Suzie recalls memories from Susanâs past where she was confident and stood up for herself. She shares these memories in various conversations with Susan, but the audience never gets to see them. I know thereâs only so much content that can be shared in two hours. However, there should have been at least one or two flashback scenes. That decision would have helped illustrate the points Suzie was trying to make.
Glossing over mental illness: In If You Believe, Susan has a writer friend who happens to have a mental illness. When she suggested her friend take medication, he said his medicine ruined his creativity. This friend doesnât receive much screen-time and his issues are resolved rather quickly. While Iâm glad to see Susanâs friend receive the care and attention he needed, the subject of mental illness was glossed over in this story. Even though this was not one of the main topics of the film, it would have been nice if mental illness were given a little more focus in the script.
As I mentioned in the introduction, If You Believe is a film that was released in 1999. Despite this, the film still holds up! Even though there are some flaws in this production, the creative team behind the film did a good job at expressing their intended point to the audience. Like I said in my review, one of the messages of this story is believing in yourself. What Susanâs journey tells us is if we believe in ourselves, then weâll have enough confidence to believe in others. If we believe in others, we are able to believe in the magic of the season. While If You Believe is a more unconventional Christmas project, itâs one that is definitely worth the two hours! If you are able to find this film, please take the time to watch it.
Overall score: 8.3 out of 10
Have you seen If You Believe? Which â90s Christmas movie do you like watching? Please tell me in the comment section!
Recently, I purchased The Crow: The Movie, a book that explores the production of the 1994 film. While reading that book, I learned that Bai Ling, who portrayed Myca in the movie, guest-starred on an episode of Homicide: Life on the Street. The Crow: The Movie also revealed that Jon Polito, who portrayed Gideon, was a regular on the aforementioned television show. As of November 2020, I havenât seen much from either actorâs filmography. Until a few days ago, I didnât even know this show existed. Fortunately, I was able to find Bai and Jonâs episode online, which is one of the reasons why Iâm reviewing it. Like my other television episode reviews, I will write about what I liked about the episode, what I didnât like about the episode, the story itself, the other factors from the episode, and my overall thoughts. But similar to my episode review of Touched by an Angel, I wonât be sharing my thoughts on Homicide: Life on the Street as a series, as Iâm only focusing on one episode.
Screenshot of Homicide: Life on the Street‘s title card taken by me, Sally Silverscreen.
Episode Name: And The Rockets Dead Glare
Season 1, Episode 7
Premiere Date: March 17th, 1993
What I liked about this episode:
As I mentioned in the introduction, I have not seen much from Baiâs or Jonâs filmography. In fact, the only projects of Baiâs Iâve seen is The Crow and the Lost episode, “Stranger in a Strange Land”. Her roles on those programs, Myca and Achara, are presented as mysterious individuals who convey a sense of mysticism. This is portrayed through the charactersâ actions and choices. Because Baiâs character on Homicide: Life on the Street, Teri Chow, is not mysterious in the same way as Myca or Achara, this forces her to rely on emotion instead of actions. âAnd The Rockets Dead Glareâ shows Bai effectively using emotion when interacting with Jon Politoâs character, Steve Crosetti, and Meldrick Lewis, Steveâs detective partner. In the beginning of the episode, Teri tearfully reveals the identity of the murder victim and the likely cause of his death. Baiâs performance not only shows how murder can affect those surrounding the victim, but the battles some people may face as well. I also found her to be the stand-out actor in this episode!
What I didnât like about this episode:
Just like The Crow, Jon and Bai share only one scene on their episode of Homicide: Life on the Street. However, a major difference is the aforementioned scene was Baiâs only scene in the entire fifty-four-minute episode. Teri is referenced by Steve and Meldrick long after her initial introduction. But aside from that first scene, she doesnât make any further appearances. While Bai receives more lines in âAnd The Rockets Dead Glareâ than she did in her and Jonâs scene from The Crow, her character is not as significant in the overall story as I hoped and expected. It also doesnât help that the mystery in this specific storyline is overshadowed by Steve and Meldrickâs sightseeing adventure in Washington D.C. Because of this, the mystery remained unsolved. For almost an hour, a guilty party was not revealed, no clues were found, and there were no suspects being questioned.
The story itself:
When I first read the synopsis for âAnd The Rockets Dead Glareâ, I felt there was too much going on in the episodeâs overall story. After watching the episode, I still stand by that belief. âAnd The Rockets Dead Glareâ features four storylines; Steve and Meldrickâs murder mystery/Washington D.C. trip, another murder mystery involving drugs, a court case featuring two of the series regulars (Beau Felton and Kay Howard), and a member of Baltimoreâs police unit, Frank Pembleton, receiving a promotion. With four plots competing for screen-time, all of them ended up underwhelming. Even the one story I was the most invested in, Steve and Meldrickâs murder mystery, was not fully engaging because of the storyâs misfocus. The plot that received the most attention, Beau and Kayâs court case, revolved around events from the showâs previous episode. Because of this and because âAnd The Rockets Dead Glareâ is the only episode of Homicide: Life on the Street Iâve seen, I found the story to be uninteresting. Had this storyline been the main focus of a two-part episode, it might have worked better from a story-telling perspective. Every plot in âAnd The Rockets Dead Glareâ lacked a sense of urgency. It seemed like the characters spent more time having casual conversations with one another than actually doing their jobs. This screenwriting decision takes away the suspense and intrigue that is usually found on mystery/crime shows.
The other factors from this episode:
Pieces of media from the past can be viewed one of two ways: as products of their time or standing the test of time. Parts of âAnd The Rockets Dead Glareâ were reflections of the â90s that felt exclusive to that time period, with no room to expand beyond the decade. While waiting in the hallway at the court house, Beau asks Kay if sheâd like to watch Oprah, referring to Oprahâs day-time talk show. Because that show has been off the air for almost a decade, as of November 2020, it doesnât hold the same amount of relevance it did when âAnd The Rockets Dead Glareâ first premiered. Another example is a conversation Steve has with a government official that has aged poorly, where Steve compliments the official for his use of English.
I really liked Homicide: Life on the Streetâs introduction! All of the shots were filmed in black-and-white, with hints of red appearing on the screen. This reminded me of The Crow, where the filmâs color palette shared similar hues throughout the story. In the introduction, mysterious music could be heard in the background. This sets a tone that indicates a suspenseful outcome of what will unfold.
As I said in the introduction, I had never heard of Homicide: Life on the Street before reading The Crow: The Movie. Therefore, I did not see âAnd The Rockets Dead Glareâ when it originally aired. When I watched this episode for this review, I noticed how all of the on-screen text was backwards. I doubt this happened in March of 1993 when the episode first premiered on television. However, Iâm wondering if the person who uploaded this episode online made this decision for copyright related reasons?
My overall thoughts:
Now that I have seen Homicide: Life on the Street, I understand why it isnât well remembered. The episode I watched, âAnd The Rockets Dead Glareâ, was one of the most mundane programs Iâve ever seen. While it had a strong start and promising potential, the stories themselves were not as interesting as they could have been. Despite having seen only one episode of this show, it felt like Homicide: Life on the Street was desperately trying to ride the coat-tails of a show like Law and Order without fully grasping what made a program like that work. Going against Homicide: Life on the Streetâs favor is featuring four main storylines in the overall episode instead of one mystery case. The focus on characters having casual-style conversations with each other negatively impacted key areas of these plots. As stated in this review is how Steve and Meldrickâs trip to Washington D.C. overshadowed the murder mystery they were required to solve. If you are a fan of The Crow and are interested in seeing âAnd The Rockets Dead Glareâ, Iâd recommend watching the scenes involving Steve and Meldrickâs murder mystery for Baiâs and Jonâs performance alone. Everything else can be skipped, as itâll just lead you to disappointment.
Rating: A very low 3 out of 5
This is a screenshot I took of my copy of The Crow: The Movie. Screenshot taken by me, Sally Silverscreen.
This is a screenshot I took from The Crow: The Movie‘s page about Bai Ling. Screenshot taken by me, Sally Silverscreen.
This is a screenshot I took from The Crow: The Movie‘s page about Jon Polito. Screenshot taken by me, Sally Silverscreen.
Have you watched The Crow? If so, what TV show episode featuring a star of this movie would you like to see me review? Please let me know in the comment section!
Because I received positive responses for the way I wrote my review of The Crow, I decided to write another open letter. This time, Iâve addressed it to The Crow: City of Angels. As I mentioned before, this isnât the typical writing style I adopt for my reviews. But itâd only be fair to present this article in a similar fashion. Now, let me start this letter to The Crow: City of Angels.
The Crow: City of Angels poster created by Dimension Films and Miramax Films. Image found at en.wikipedia.org/wiki/File:The_Crow_2.jpg.
An Open Letter to The Crow: City of Angels,
Iâm pretty sure youâve heard of my editorial that I wrote back in May. You know the one; about how the Tim Pope cut should be released. A question youâre probably asking is âHow can you advocate for a cut of a movie youâve never seenâ? Well, Iâm glad you asked! I first learned about your experience with âstudio interventionâ from the Youtube video, âExploring The Crow City of Angelsâ. I was not happy to hear what you had to go through, thinking it a circumstance that should have never happened. While scrolling through the videoâs comment section, I read responses from people who expressed interest in seeing the Tim Pope cut. But despite this interest, it seemed like nothing was being done about the situation. From how I saw it, wishful thinking overshadowed any plans or ideas. After Justice Leagueâs Snyder Cut was announced for a 2021 release, I knew it was the perfect time to bring up the Tim Pope cut and explain why itâs important. When other films were brought up in the discussion of special cuts, you werenât really added to the conversation. So, Iâm actually doing you a favor by advocating on your behalf. By the way, my original plan was to watch you and your predecessor, The Crow, around Halloween. But Iâm guessing they told you about my change of plans.
Image of crow at sunset created by Rayudu NVS at freeimages.com. Photo by <a href=â/photographer/rayudu238-57835âł>rayudu NVS</a> from <a href=âhttps://freeimages.com/â>FreeImages</a>. Image found at freeimages.com.
Because of a grammatical error I stumbled across on the internet, where your title was written as The Crow, City of Angels, I honestly thought Vincent Perez had starred in your predecessor. However, when I discovered The Crow Wiki, I learned he was the lead actor in the second chapter. Like Iâve said about movies like Swept from the Sea and Cyrano de Bergerac, Vincentâs involvement is what made me want to check you out. In the previous films of Vincentâs Iâve seen, he always steals the show for the right reasons. He certainly did that this time around! Similar to Brandonâs portrayal of Eric, Vincent brought an emotional intensity that made his performance captivating to watch! However, he went out of his way to set his character, Ashe, apart by adding a sense of showmanship to his role. In a scene where some of the villains are shooting at Ashe in a club, Ashe acts performative about the situation, using the violence against him in his one-man show. He even bows after the villains have finished shooting. This acting decision ended up working in Vincentâs favor! Iâm not sure how much acting experience Iggy Pop had prior to his casting. However, I feel he did a fairly good job with the material he was given! While portraying Curve, one of the villains, Iggy effectively showcased the anger and frustration a person in that situation or environment might feel. This can be seen when Curve goes to Noahâs tattoo parlor and fights with Sarah. As Curveâs hostility grew, I quickly became concerned for Sarah and Noahâs safety. This scene showed me that Iggyâs performance was convincing. Speaking of Sarah, I liked seeing Mia Kirshner portray this character! Through her performance, she brought a calmness that the world surrounding Sarah was missing. Sarahâs gentle demeanor was a physical representation that hope wasnât completely lost. This definitely worked in Miaâs favor, as it helped her performance stand out!
Over the twenty-four years you have existed, Iâm guessing youâre tired of being compared to your predecessor. You so desperately wanted to be your own individual, but âstudio interventionâ prevented you from doing so. However, I made sure to notice how you were different from the first chapter. Eric and Asheâs face disguise are just one example. In The Crow, Eric painted his face to resemble a mask he and Shelly owned when they were still alive. Ashe, in The Crow: City of Angels, uses some paints his son, Danny, owned before he died. This contrast shows the personal, sentimental touches each characterâs appearance was given. Throughout the second chapter, Ashe moves around Los Angeles by primarily riding on a motorcycle. Because he was a mechanic before he became the Crow, this distinction makes sense. While weâre on the subject of Los Angeles, I really liked your set design! Itâs griminess and unruliness showed a different way a city can express chaos. The sets were also colorful, which is the opposite of your predecessorâs black-and-white color palette. Day of the Dead festivities certainly made a contribution, as various masks, flowers and other items related to the holiday helped scenes visually pop. Iâm glad you decided to use more light when presenting the story! This decision allowed me to clearly see what was happening on screen. It certainly sets you apart from the first chapter, as they only used a certain amount of light throughout the story.
Now itâs time for me to point out your flaws and mishaps. Iâm not doing this to be mean, but only to be honest, as I do recognize your horrible experience with âstudio interventionâ. All of the villains were weak imitations of those who came before them. One perfect example is Sybil, who was the mystical figure Myca was in your predecessor. In a scene where she is explaining the connection between the crow and Ashe to Judah, Sybil sounded like she was quoting Myca word for word. Because of everything I just said, these villains were not allowed to have their own stories and be their own characters. It also made it easier for me to root for Ashe, as the villains didnât have anything interesting or unique to offer. While I donât have anything against Grace herself, I found her to be insignificant in the grand scheme of things. She didnât add anything to the story or have a strong reason for being in that world. Iâm guessing this was a âstudio interventionâ related decision, where the studio wanted Los Angeles to have their own âSarahâ. The difference between Sarah in The Crow and Grace in The Crow: City of Angels is Sarah receiving a vital role in the first chapter, serving as a reminder for Eric to keep his moral compass. In the second chapter, Grace could have been written out of the story and not much would change.
Now that I mention Sarah, I was not a fan of her and Asheâs attraction for one another. This has nothing to do with the characters themselves or the actors portraying them. I just found this part of the story to be unnecessary. This is because nothing became of this attraction, which prevented it from going anywhere. Even Ashe warns Sarah against this attraction, as he tells her that nothing will likely happen. If Ashe knew this all along, then why would he even entertain this idea in the first place? I could see what you were trying to do; give Ashe a conflicting choice between life on Earth and the afterlife. This would have been an interesting concept had more time been devoted to it. Because Ashe and Sarahâs attraction for each other came about so quickly and with everything else happening in the film, it ended up as a spark that had trouble igniting.
The image I created with the hashtag, #ReleasetheTimPopeCut. Screenshot taken by me, Sally Silverscreen.
As a movie, youâre a fine, run-of-the-mill action film. But, as a continuation to The Crow story, you were weaker than your predecessor. I did cut you a little bit of slack because of the one thing Iâve been mentioning throughout this letter: âstudio interventionâ. Now that I have seen you, I still believe the Tim Pope cut should see the light of day. You do deserve to be the movie you were meant to be and we the audience and fans deserve to see that happen. On 18 Cinema Lane, I feature a crow image with the hashtag, #ReleasetheTimPopeCut, on the homepage. This is so people who come to my blog can easily find my editorial and read it for themselves. I also posted the aforementioned hashtag on all of 18 Cinema Laneâs social media accounts. If you know anyone who wants to see the Tim Pope cut, please tell them to speak up. Paramount, the studio you now call âhomeâ, will never hear the fans unless they say something. All Iâm asking is for you to be kind and respectful if you share this letter with others. I recently watched Leeâs video review from his Youtube channel, Drumdums. When addressing the horrible circumstance you went through, he contemplated the likelihood of the Tim Pope cutâs release. While he felt anything was possible, he also didnât believe this cut would ever be seen. As I close this letter, Iâd like to remind Lee and those who may have doubts of what Eric said in The Crow: âIt canât rain all the timeâ.
Sincerely,
Sally Silverscreen
P.S. Iâm giving you a score of 7 out of 10.
If you want to watch Lee’s review of The Crow: City of Angels, you can find it on Youtube by typing “The Crow: City of Angels Movie Review” into the search bar or visiting his channel, Drumdums.
For the Legends of Western Cinema Week, I was trying to decide if I should write a movie review for the 2015 film, Forsaken or create another television show review for Walker, Texas Ranger. Instead of selecting just one, I chose both options as my submissions for the blogathon! Prior to writing this post, I had never seen Walker, Texas Ranger. When I accepted my fourth Liebster Award back in July, I shared how I had never watched anything from Chuck Norrisâ filmography. Hamlette and Heidiâs event gave me an excuse to not only change that, but to also expand my cinematic horizons to more westerns. Similar to last Marchâs review of Murder, She Wrote, I have randomly selected three episodes that happened to be airing on the INSP channel. This time, the episodes will be in the order of when I watched them, instead of chronologically. Each episode will be broken down into five categories: what I liked about the episode, what I didnât like about episode, the story itself, other factors from the episode, and my overall thoughts. After reviewing these three episodes, I will share my final assessment of the show as a whole.
The title card for âThe Covenantâ. Screenshot taken by me, Sally Silverscreen.
What I liked about this episode:
My favorite scene in âThe Covenantâ takes place toward the beginning of the episode. During a karate class, Walker notices how one of his students, Ricardo, is missing their purple belt. When he asks Ricardo about the whereabouts of his belt, Ricardo tells Walker he placed the belt in his recently deceased sisterâs casket so she could take it to Heaven. After his confession, Walker gives Ricardo another purple belt. When this happens, Ricardoâs face immediately lights up. The music playing during this moment sounded like a tune youâd hear when an athlete in an inspirational sports movie reaches a breakthrough. This scene was both heart-breaking and heart-warming, allowing it to stand out in this episode!
What I didnât like about this episode:
Chuck Norrisâ claim to fame is his karate skills, which have become a huge draw for any of his productions. This fact is the reason why Walker is an intelligent karate master. While karate was incorporated into this episode, its presence was very limited. In fact, the story was 80% crime drama, with 20% action. Before watching âThe Covenantâ, I had expected the episode to be 50/50 when it comes to the drama and action. However, the only times karate could be seen are in a montage during a karate class and in the storyâs climax.
The story itself:
When I first read the synopsis for âThe Covenantâ, it caused me to ask two âwhat ifsâ about The Karate Kid (the original 1984 film). What if Daniel had never crossed paths with Mr. Miyagi? What if Daniel had joined Cobra Kai? I thought watching this episode of Walker, Texas Ranger would give me a basic idea of what these âwhat ifsâ might look like. But as I reflect on âThe Covenantâ, I realize that comparing the stories of Daniel and Tommy, a student of Walkerâs, is like comparing an apple pie to an Apple computer. While Cobra Kai was the villainous/antagonistic group in The Karate Kid, I donât recall any member of that group breaking the law. Meanwhile, the gang that Tommy interacts with are comprised of legitimate criminals with violent actions and police records. This makes Tommyâs situation more dire than Danielâs.
To me, this episode of Walker, Texas Ranger felt rushed, as the overall pace was faster than other shows of this nature. I donât know if this is because âThe Covenantâ was the first episode of Walker, Texas Ranger I had ever seen or if this was a legitimate creative error. But whatever caused this to happen, I found it difficult to keep up with the story. Another flaw I noticed was how context was missing in certain areas of the narrative. Even though this episode is called âThe Covenantâ, I am still confused as to what the covenant is in relation to the plot. Was it an ideology or a group? This question was never answered.
The other factors from this episode:
I was not expecting this episode to be Christmas-themed. However, the plot did not feel like a Christmas story. Sure, there were decorations shown in the background. But âThe Covenantâ could have taken place in any time of year and it wouldnât have made a difference.
Every television show is bound to have aspects that feel of its time. With Walker, Texas Ranger, there are elements that definitely look like it came from the â90s. This can be seen through the charactersâ clothes, the background graffiti, and even the opening montage. These things definitely make any show feel like a time capsule.
Throughout my life, Iâve seen established shows include real-life topics in their episodes. Sometimes, these topics are effortlessly woven in with the episodeâs plot. The anti-gang message of âThe Covenantâ seems like a PSA was wedged into the overall story. I was given the impression the showâs creative team had chosen to write a narrative around an actual issue. There was some dialogue that sounded more like potential slogans than actual conversation. Even a message at the end of the episode revealed how the âThe Covenantâ was dedicated to young victims of gang violence.
My overall thoughts:
âThe Covenantâ is the episode that inspired me to write about Walker, Texas Ranger. The âwhat ifsâ relating to The Karate Kid are also a part of that inspiration. This episode ended up being different from what I expected, as the limited presence of karate is one reason why this is the case. Even though I liked the inclusion of karate, there was less of the sport than I had been led to believe. This is because the episode leaned more toward the criminal/police procedural part of the overall story. If anything, âThe Covenantâ came across as part crime drama, part âafter school specialâ, with the anti-gang message being dropped into the story rather than woven in. While this is not one of the worst television episodes Iâve ever seen, it definitely could have been stronger.
Rating: A 3 out of 5
As Walker says in ‘The Covenant’, “These belts don’t come easy. You have to earn them”. Screenshot taken by me, Sally Silverscreen.
Episode Name: The Juggernaut
Season 3, Episode 16
Premiere Date: February 10th, 1996
The title card for âThe Juggernautâ. Screenshot taken by me, Sally Silverscreen.
What I liked about this episode:
In âThe Juggernautâ, Walker has a limited presence within the story because he has to attend a weekend tournament. This creative decision allows the stakes to be raised to a higher level. It presents a scenario where the hero isnât always readily available to save the day. It also forces the secondary characters to rely on their own skills to resolve the overarching conflict. Another component is how the episodeâs villainous character posed a legitimate threat to Walker and those around him. Connieâs husband, Brad, was a terrifying character because of his realistic nature. Patrick St. Espritâs performance added to Bradâs sinister persona as well. All of these elements helped make the episode suspenseful and it made me fear for the charactersâ lives.
What I didnât like about this episode:
As I just mentioned, Walker has to attend a weekend tournament. Because of this, Trivette steps in to host a self-defense class at a retreat for domestic violence survivors. I liked how the actual tournament was shown in the episode, as referenced events or situations arenât always visually presented in TV episodes. But what I didnât like was how the tournament itself seemed more like a karate clinic. This is because the referee was coaching the athletes during duels and the athletes were surrounding the ring as if listening to an instructor in a class. At the retreat, Trivette led his self-defense class in an interesting way, allowing the survivors to hit him while he was wearing multiple layers of padding. This helped the survivors become comfortable with striking an attacker. The actual lesson didnât take place until the episodeâs halfway point. In my opinion, this moment should have happened sooner in the story.
The story itself:
Unlike âThe Covenantâ, the topic of domestic violence was woven into the story of âThe Juggernautâ. Instead of dropping this real-life subject into the plot and making it seem like a PSA, the situation presented in this episode feels like it belongs in the showâs world. It gives the message an opportunity to organically grow within the story. Because the retreat is led by Alex, a deputy district attorney and a friend of Walkerâs, sheâs the one who takes charge of the plot. She was also able to use her skills and expertise to save the day. I like how Alex progressed the narrative forward, as it gave one of the showâs secondary characters a moment to shine. It reminded me of The Babysitterâs Club, where each book is told from a different perspective.
The other factors from this episode:
I thought Alexâs cabin looked cute, despite the living room being the only interior shot shown! The green porch was not only eye-catching, but inviting as well. I also think the grounds surrounding the cabin were scenic. I donât know if this is a real-life house or if it was a set created for the show. However, the location scout did a good job when choosing this particular spot!
During the retreat, C.D. tells Connie a story about a retreat participant who was able to turn her life around. After this story was told, C.D. asks Connie if sheâll write a happy ending to her own story. When Connie asks him why he wants to know, C.D. tells her how he wants to share her story with future retreat participants. To me, this was the sweetest moment of the episode!
Speaking of C.D., âThe Juggernautâ presented the second time Iâve seen C.D. become seriously injured. Iâm not sure if this happened often on the show or if itâs just a coincidence. But I felt like bringing it up as a factor of this episode.
My overall thoughts:
When I first reviewed Murder, She Wrote last March, I ended up liking the second episode, âFilm Flamâ more than the first one, âThe Legacy of Borbey Houseâ. The exact same thing has happened with âThe Covenantâ and âThe Juggernautâ, as I prefer âThe Juggernautâ over âThe Covenantâ. The story of the third seasonâs sixteenth episode contained a better written narrative. It also helped that the delivery of the domestic violence topic didnât feel forced or preachy. With Walker in the episode for a limited amount of time, it allowed the story to have higher stakes. It also gave secondary characters more screen time and opportunities to be involved in the plot. âThe Juggernautâ kind of reminded me of Touched by an Angel, where the seriesâ regulars approached real-life topics with their wisdom in tow and kindness toward those who needed their help. Maybe this is one of the reasons why I liked âThe Juggernautâ!
Rating: A solid 4 out of 5
This is one of the few shots of Alex’s cabin that was shown in broad daylight. I wonder how many times it was featured on the show? Screenshot taken by me, Sally Silverscreen.
Episode Name: The Lynching
Season 3, Episode 8
Premiere Date: November 18th, 1995
The title card for âThe Lynchingâ. Screenshot taken by me, Sally Silverscreen.
What I liked about this episode:
There were two scenes in âThe Lynchingâ where Walker interacts with Jonah, a man who is accused of killing a local woman. In the first scene, Walker is questioning Jonah about the murder. When he is asked why he ran away from the crime scene, Jonah reveals he was so afraid, that he wanted to go to âJonahâs Islandâ. It is implied that âJonahâs Islandâ is an imaginary world Jonah created in his mind. Another scene has Jonah stating that heâs âslow in the headâ. Walker tells him how thereâs nothing wrong with him and how some people get in trouble for moving too fast. These moments were emotionally touching and contained heart.
What I didnât like about this episode:
Wilma Casey, a local woman from a smaller Texas town, is killed in broad daylight. The people in this town are so upset by her death, that they form a mob against Jonah. Statements such as âWilma was a good womanâ were spoken among the members of the mob. Other than those vague statements, no explanation was given for why Wilma was so beloved. A small amount of information about Wilma is provided in this episode, revealing how sheâs wealthy and how she helped Jonah after his parents died. But her influence in the town is not told. Was she a philanthropist or a former governor? These questions were never answered in âThe Lynchingâ.
The story itself:
The story within the âThe Lynchingâ is a murder mystery, as Walker and other members of law enforcement come together to solve Wilmaâs case. With a variety of clues and some shady characters, this plot was intriguing as well as engaging! It also made more sense for the plot to rely on the criminal/police procedural aspect of the show, as the majority of murder mysteries incorporate law enforcement officers in the story. The actions and choices of the people involved in the case did raise more questions than I expected to ask. In one scene, Walker comes across an object that could be used in court. However, he chooses not to collect this object as evidence. These questions didnât take me out of the episode, but it happened more often than it should have.
The other factors from this episode:
Wilmaâs house in âThe Lynchingâ was absolutely picturesque! Most of this location was captured in exterior shots, with only the kitchen and office being shown on screen. Like Alexâs cabin in âThe Juggernautâ, Iâm not sure if this is a real-life structure. But whoever was the location scout for Walker, Texas Ranger deserves recognition!
According to INSPâs website, Trivette âis a little less âhigh noon,â and more âhigh techâ when it comes to fighting crimeâ. Based on the three episodes of Walker, Texas Ranger I saw, Trivette doesnât use technology more or less than the other characters. INSPâs description makes it seem like he is the go-to guy for technology, similar to Angelaâs adopted role on Bones. After seeing this show, I think the article from INSP is a little misleading.
At one point, Jonah has to be transferred from the jail to another location. Instead of taking him to a second jail, the people associated with Wilmaâs case take Jonah to a secret area. What surprised me was how Walker didnât suggest Alexâs cabin as a safer place for Jonah to stay. Even though the cabin is used for Alexâs domestic violence survivor retreats, Iâd like to think she wouldnât mind allowing Jonah to temporarily stay at her cabin.
My overall thoughts:
While I didnât enjoy this episode as much as âThe Juggernautâ, I did like it more than âThe Covenantâ. As someone who goes out of their way to talk about mysteries from time to time, the story was interesting enough to keep me invested in the plot. It contained the components that are usually found in a mystery: a collection of clues, potential suspects, some surprises, and suspense. Having this episode lean more toward the crime drama side of the show made sense with the narrative being told. This story is not without its flaws, however. Some of the actions and choices of the people involved in the overarching case were questionable in terms of believability. The lack of explanation for Wilmaâs importance also didnât help. Similar to âThe Juggernautâ, the situation in âThe Lynchingâ felt it belonged in the world of Walker, Texas Ranger. This episode could have easily followed the footsteps of âThe Covenantâ, placing a message in the script and writing a story around it. Instead, âThe Lynchingâ focuses on themes that the audience could relate to; such as treating others as they would like to be treated.
Rating: A 3.6 out of 5
Is is just me or does this house remind anyone of Laura’s boarding house from Little House of the Prairie? Screenshot taken by me, Sally Silverscreen.
My final assessment:
In my first review of Murder, She Wrote, I said the show as a whole, based on the three episodes I wrote about, was fine. I also said that Iâd watch the show if I had nothing else to do. With Walker, Texas Ranger, I thought it was fine as well. However, the overall quality of the episodes was more consistent than the ones from my Murder, She Wrote review. Even though âThe Juggernautâ was the best episode of the three I chose, I did enjoy watching âThe Lynchingâ. My least favorite episode was âThe Covenantâ, as I thought it was just ok. One aspect that stood out to me was how karate was only used during select moments of each episode. There was enough action in âThe Juggernautâ and âThe Lynchingâ to keep the plot interesting. However, I thought âThe Covenantâ was a little light on action. While I probably donât see myself watching Walker, Texas Ranger religiously, I wouldnât mind checking out an episode or two if it happened to pop up on my television. But who knows? Since last March, Iâve seen more episodes of Murder, She Wrote than I originally expected.
Have you seen Walker, Texas Ranger? Are there any episodes youâd want to see me review? Tell me in the comment section!
If youâve read my recent blog follower dedication reviews, you could tell that Iâve been trying to watch more films from my DVR. This has been a conscious decision, as there are several films that have been there for a year or more. One of those movies is Matinee, as it has been on my DVR since last February. What caused me to record it was how the movie revolved around a movie. Film is a topic that I am very passionate about. Because Matinee was about a subject Iâm interested in, it gave me a reason to watch it. While looking back on the movies Iâve reviewed within the past month, I realized that the last film I talked about from the â90s was the 1990 adaptation of Cyrano de Bergerac. This is another reason why I chose Matinee for my 220-follower dedication review, as the movie was released in 1993. Before I start this review, Iâd like to thank all of my followers! Iâm incredibly grateful for the success this blog has achieved!
The acting: Any time I have seen one of John Goodmanâs movies, I have noticed how his character has a larger-than-life personality. Even when John was voice-acting as Sully from Monsters, Inc., that characterâs personality was very jovial and memorable. When it comes to Johnâs performance in Matinee, Lawrence Woolsey also had a larger-than-life personality. The persona that John brought to his role was commanding, allowing the audience to focus on him whenever he came on screen. His performance was not only consistent in this film, but it also plays a consistent part in Johnâs acting career. Itâs nice to see actors you recognize from one movie appear in another one. Omri Katz and Kellie Martin are two good examples of this. Iâm familiar with Omri because of his performance in Hocus Pocus. Kellie Martinâs small-screen work is what I have seen from her filmography. Watching Omri and Kellieâs performance in Matinee was a joy to watch! They had good on-screen chemistry and both of their portrayals were convincing!
The historical accuracy: The story of Matinee takes places during the 1962 Cuban Missile Crisis. Because of this, the presentation of the film needs to reflects that moment in history. The historical accuracy in this movie was executed so well, I felt like I was transported to 1962. All of the costumes looked like the wardrobe youâd see on a typical episode of The Andy Griffith Show. Cars from that time period can be seen cruising down the street, sporting color palettes that are not often seen on todayâs roads. Lawrenceâs sea green convertible with matching interior is one example. Even the music set the tone for that environment. When Sherryâs ex-boyfriend, Harvey, returns to town, The Angelsâ song, âMy Boyfriendâs Backâ is heard. Even though this song was released in 1963, the overall sound reflects the soundtrack of that period in time.
The special effects: I was not expecting the creative team behind Matinee to incorporate any special effects into their project. However, these special effects were impressive! They were mostly used during the presentation of Lawrenceâs movie, Mant! At certain points in the fictional film, smoke and flashing lights could be seen. Matineeâs climax boasts even more eye-catching effects! In one scene, a section of the theater is being destroyed. During this moment, the theater rumbled as flames engulfed the background. The way these effects came together made this destruction look so real! They also looked very good for a movie released in 1993!
Relevant ideas: I was surprised to find ideas within this story that are just as relevant in 2020 as they were in the â90s or even the â60s. When Gene and Stan pass by their local grocery store, they see patrons shopping in panic. These patrons grab everything in sight, with one woman buying as much toilet paper as she can carry. While the Cuban Missile Crisis and the Coronavirus are two completely different events, both of them have caused a large group of people to panic. Toward the beginning of the Coronavirus, grocery stores were witnessing the fear their customers carried. The situation became so dire, there were reports about people fighting over toilet paper.
Theater seats image created by weatherbox at freeimages.com. âFreeImages.com/weatherbox.â
What I didnât like about the film:
Under-utilized characters: I found some characters in Matinee to be under-utilized more than others. One of them was Geneâs brother, Dennis. From a historical fiction perspective, I understand that Dennis is meant to show how younger children might have responded to an event like the Cuban Missile Crisis. But from the perspective of Lawrenceâs movie presentation, I asked myself why Dennis was in the story at all? This makes me wish this particular character had received his own subplot.
Weaker subplots: A few of Matineeâs subplots were either too straight-forward or didnât lead anywhere. A perfect example involves two of Lawrenceâs employees, who pose as a special interest group attempting to ban his movie. Like Dennisâ presence in Matinee, I understand that this part of the narrative contains historical context, showing how some people choose to publicly dislike something to the point of protest. But after they interact with Harvey, these employees disappeared from the film. They didnât receive a satisfying resolution and were forgotten about as the movie progressed.
Anyone who knows me knows that Phantom of the Megaplex is my favorite Disney Channel movie.It showed me how movies, as well as the movie-going experience, can be fun. Even though Matinee was released seven years prior, it reminded me a lot of the 2000 picture. They happen to share similar ideas, some of them beyond the subject of film. This is one of the reasons why I enjoyed Matinee so much! It was funny and, at times, clever, with relevant ideas woven into the story. The film also had solid components, like the acting and special effects. Most important is how Matinee was fun! In a year when so much has happened, movies can play a role in providing a form of escapism and making viewers feel like they can conquer something, even when events in their world are beyond their control. Before the presentation of Mant!, Lawrence explains to the theater employees why itâs important to release his movie at that given time. He tells them that, despite scary things appearing in his picture, he wants to remind his audience that everything is going to be ok. Lawrence also shares that he wants to remind his audience that his filmâs villain can be defeated.
Overall score: 8.5 out of 10
Have you seen Matinee? What movies involving movies have you enjoyed watching? Let me know in the comment section!
18 Cinema Lane 