Alfred Hitchcock Presents – The Dangerous People (S2E39)

ahpdangerouspeople01Bellefontaine enters the train station as a siren whoops in the background.  In the office, another man is warming himself next to a pot-belly stove.  Bellefontaine tries to start a conversation, but the other man — Jones — doesn’t seemed interested.

The clerk in the station tells him the siren is coming from the Home for the Criminally Insane.  They had one go over the wall today.

Bellefontaine observes Jones’ tattered clothes, and the way he muses about the criminally insane as he fondles a fireplace poker.  He concludes that Jones might just be the escapee.  In a panic, he goes to the restroom and loads a pistol that he was carrying in his bag.

In the second act, Jones begins ruminating on the possibility that Bellefontaine is the escaped lunatic.

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And that’s when he developed his drinking problem.

There are lots of voice-overs as we hear each man’s rationale for believing the other is the escapee.  I’m not sure if it helps the story that we know neither of the men is the escapee, but maybe there is no other way the story could be told.

It is just a very dull slog. Bellefontaine gives a good performance, but the episode’s strength is that unnerving siren that periodically whoops in the background.

The titular danger here is being bored to death.

Post-Post:

  • AHP Deathwatch: Only bit-player David Armstrong seems to be among the living.
  • Jones was Danny Noonan’s father in Caddyshack.
  • Last episode of Season 2.

Night Gallery – Midnight Never Ends / Brenda (S2E7)

ngmidnightn everends01Wow, I have to combine these two vacuous segments to really have anything to grab onto.

Midnight Never Ends

In the first segment, Rod Serling is actually the subject of the featured painting.  His one meta-appearance in TZ was awesome, so you might think that would indicate this was something special; but consider how god-awful most of these oil slicks are.  And WTF is he holding a guitar?

The lovely Susan Strasburg is driving through a pitch-black night — and I mean that literally. The minimalist sets in this segment, including the car, are lit only in the immediate area where the actors are.  Anything outside of the car or the room they occupy is completely black.

She picks up a soldier holding a sign for Camp Pendleton.  They are perplexed that they seem to know things about each other.  It takes 20 minutes to get to an ending somewhat similar to Five Characters in Search of an Exit.

The sets are interesting, and Strasburg is good (however, the soldier is pretty bad), but the whole thing just feels like Serling phoning it in again.  And I think I saw this same premise as a sketch on a variety show many years ago.  Played more seriously, the build-up could have worked, but then the let down at the ending would have been just that  much greater (think M. Night Gallery Shyamalan’s The Village).

Even the synopsis on the DVD menu is half-assed:  “Two men can’t shake the uncanny feeling they’ve shared previous experiences.”  Yes, there are other men in the episode, but the soldier and the woman are really the main characters.

Brenda

ngbrenda03aA lot of potential in this one.  Laurie Prang plays a lonely young girl who has her moments of bitchiness — being rude, trampling over sand-castles, etc.  She encounters a monster in the woods — or is it a manifestation of her inner demons?  It is a menacing creature, but not horrific; it mostly just looks like a compost heap, not having any discernible head or limbs.

Laurie Prang is excellent in the role, and also sells her transformation when a year elapses and she ages from maybe 12 to 13.  There really is nothing wrong with this segment, and I actually enjoyed it as I watched it.  It just has kind of a meh ending; and after the first segment, I really needed something more.

Post-Post:

  • Twilight Zone Legacy:  Robert Karnes was in The Arrival, and Robert Hogan was in Spur of the Moment.  I saw Hogan in something a long time ago and wondered why they would have used the same name for the character in Hogan’s Heroes.  It also bugged me as a kid that there was a Sgt. Carter on both Hogan’s Heroes and Gomer Pyle.
  • There is more of a connection to Star Trek, where four of the actors in the episode appeared; most notably, Glenn Corbett as Zefram Cochrane (before Farmer Hoggett got the gig).

Tales From the Crypt – Carrion Death (S3E2)

tftccarriondeath01The question is, how much of a suspension of disbelief are you willing to concede.  I’m pretty lenient — I’ll normally check my brain at the door.  And I mean my door, before I even leave for the theater.  Sometimes, even the previous day.  There is one huge glaring flaw here, but it doesn’t prevent me from enjoying the episode.

We start off in a town that reminds me of the facades of Rock Ridge (when they come in to destroy the real Rock Ridge, they’ll actually be destroying the fake Rock Ridge, but they’ll think it is the real Rock Ridge, but we’ll know . . .).

Hoping to steal a few G’s, including a 2nd one for last name, Earl Digs (Kyle MacLachlan) has just robbed the local bank.  This, after escaping from Yuma Prison where he was to be executed for the murder of 3 student nurses (during a slumber party — just speculation on my part).  The radio says he escaped in “a late model” Cadillac, although the one on screen looks pretty beat-up.

tftccarriondeath08Driving through the desert, Digs notices a cop trailing him.  The cop pulls up beside Digs and immediately takes a shot at him.  Digs edges him off the road and he and the bike go down.  But he bounces back, rights the bike and continues his pursuit.  I’m starting to like this guy.

When Digs hears the siren again, he spins the car around and begin charging the cop.  The cop rolls off his bike and down a rocky hill, but the bike continues riderless and rams Digs car creating a huge fireball like the car was made of C-4 and the bike was made of anti-matter C-4.

Digs decides to make it on foot, using the little-known route to Mexico.  This cop is like a Terminator — he regains consciousness, climbs back up the hill and pursue Digs on foot through the desert.

They finally have a showdown in an abandoned store.  The cop is able to handcuff his wrist to Digs, but Digs is able to grab a gun and shoot him.  The cop’s last act is to swallow the key.  So now Digs is free to head south of the border down Mexico way, only 6 miles away, but he has a dead man attached to his wrist.  He resumes his trek with the cop slung over his shoulder.

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Bloody hell — It’s always just after you washed the car!

Here is the problem:  There is a simple, obvious solution to his problem — just hack the cop’s hand off at the wrist.  Find a sharp rock, bite it, or just break his wrist and start a-twisting.  Digs can’t be squeamish, after all he was in the can for murdering 3 student nurses (in their lingerie — again, just speculation on my part).  He even admits to killing another 5 in Chicago.  So a little cop’s blood isn’t going to phase him.

The rest of the episode is a Weekend at Bernie’s scenario with him dragging or carrying the cop to Mexico.  It finally does occur to him to hack the cop off at the wrist.  But it doesn’t work out as he planned.  And the buzzard makes another appearance.

Despite that one oversight, it is a fun episode.  Although, would have killed them to have a flashback to the — just speculating here — nude pool party where the nurses were killed?

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I always appreciate the use of the official “$” logo’d bank robbery bag.

Post-Post:

  • I could also take issue with the title.  Like Lower Berth, someone here doesn’t seem to know how puns work.  Carrion Death makes no sense because Carry-On Death or Carrying Death is not a well-known phrase. A better title would have been Carrion Baggage.
  • Surely that title was not dreamed up by Steven E. de Souza.  He has writing credits on Commando, Die Hard, Die Hard 2 and 48 Hours.  I think he knows what he’s doing.
  • Digs, not Diggs?

Outer Limits – Mind Over Matter (S2E5)

olmindovermatter15At Horton University, Dr. Sam Stein (Mark Hamill) is giving a demon-stration of his Computer Aided Virtual Environment (CAVE) system. He is assisted by Dr. Sarrazin and Dr. Rachel Carter (Debrah Farentino).  The subject is a paranoid schizophrenic who has visions of his dead father telling him to kill his girlfriend.

Stein and the patient are hooked into the CAVE which basically puts them in The Matrix. Together, they occupy a virtual setting which can also be televised to observers. The virtual space is a nightmarish construct of roaring hell-fire.  It is later revealed that Stein can control the environment, for instance, to be a tranquil lake setting.  Maybe this would have been a better setting for therapy of the homicidal maniac.

olmindovermatter07There is a strange series of hiccups in logic in the next scene:  1) Dr. Sarrazin interprets a 78% chance of recovery as meaning the patient can “absolutely” be cured.  2) The CAVE system asks for more input on the emotions of fear and love, yet we were just told “everything written on human psychology is cataloged in the CAVE’s RAM.”  And 3) Stein comments on skiing:  “Call me crazy, but sliding down an icy hill on two planks of wood just seems to challenge the laws of gravity.”  Well, that’s more a demonstration of gravity than a challenge of it.

Stein is hot for Dr. Carter, but too shy to make his move.  Once he finally approaches her, she is run down by a car and put into a coma.  Luckily, he has an app for that.

olmindovermatter22Stein is able to meet with the comatose Dr. Carter in the CAVE. But they are not alone  — there is another entity.

There is a great story here, but it is somewhat undermined by Mark Hamill who is just a terrible actor.  I never once got the feeling he was the character or had any idea of the meaning of the medical jargon he was using.  On the other hand, Debrah Farentino is going to be awesome anywhere she appears.

Post-Post:

  • Peter Breck gets a strange “Special Cameo Appearance By” credit.  And is it technically a cameo if you are in two scenes?
  • Jonathan Glassner also wrote Valerie 23.  His stories are good, but the casting is awesome.
  • Debrah Farentino is the daughter of James Farentino from Since Aunt Ida Came to Stay.
  • Can it be just coincidence that there is a Dr. Sarrazin in this episode and Michael Sarrazin starred in the previous week’s episode?
  • Is it just my imagination, or were Dr. Carter’s breasts about 50% bigger in the CAVE?  It could have actually been justified by the denouement.  Now that’s good writing!
  • Hulu sucks.

Ray Bradbury Theater – The Murderer (S4E2)

rbtmurderer07The episode starts out like Koyaanisqatsi with a fast-mo montage of clouds moving across the sky, cars racing along the freeway, people rushing through a train station, people walking down the street.

Dr. Fellows is going to see Albert Brock in Meadowbrook Penitentiary.  En route, he gets a cell call from his son asking for a tele-transfer of his allowance, gets a pass printed out from a fax machine in his briefcase, punches in an electronic code to enter the prison, and enters another code to enter the the hallway, and enters another code to enter Brock’s cell.  So we kind of see where this is going.

rbtmurderer10Fellows comments on how quiet it is in the cell.  Brock demonstrates why it is quiet by biting a chunk out of the doctor’s phone.  And dropping his tape recorder in a glass of water; although, since it was set on Record, I don’t think it would have made much of a racket.  See, Brock is in jail  for murder . . . of machines.

He recounts the day he lost control. Awakened by a robot alarm clock, blasted by music in the shower, hit with cell calls before he reaches his desk, met with yards of paper spewing out of his cutting-edge dot-matrix continuous feed printer.  Back at home, the robot cook tells him to take dinner out of the oven, the robot maid tells his son to wipe his feet, and his wife won’t shut the hell up with her electronic interactive Spanish lessons.

The next day at work, he pours a pitcher of coffee into the videophone system.  Then he stomps on his cell phone.  And pours a chocolate milkshake into his fax machine.

rbtmurderer06The next day on the subway, he gleefully shorts out everyone’s devices with some kind of gizmo.

He complains of the tyranny of the majority:  “They figure that if a little music was charming and keeping in touch was good, that a lot of a good thing would be that much better!  But it’s not!”  Actually, I’m starting to like this guy.  Out with Barack, In with Brock!

After his adventure on the subway, he is arrested.  So he purchases an “equalizer machine” which looks a lot like a gun.  Fortunately, his rampage is limited to electronic devices spewing noise pollution.

Dr. Fellows returns to his office.  Besieged and assaulted (if those are not the same thing) by all sorts of noises that he had taken for granted before, he begins to sympathize with Brock.

There is a lot of truth and prescience in this episode.  That is good because the acting and script are pretty weak.  Although, there is none of Bradbury’s usual flower prose, much of the script is just set-up-and-spike exposition dumps from Brock to the doctor. Unfortunately, I think Bruce Weitz is a good actor who just made some bad choices in his performance.

rbtmurderer05Post-Post:

  • Roger Tomkins directed 5 RBT episodes.  Nothing else before or since.  I continue to ask, where did they get these guys? And where did they go?