Reviews

I was a sci-fi/fantasy nerd attending my freshman year in college when NBC debuted what they hyped as the first of five sword-and-sorcery adventures to be telecast over the course of that coming summer. And, to my surprise, I found myself enjoying it, immensely! It had a great instrumental score (especially during the fight scenes). It had great special effects (for a made-for-TV imitation of Conan the Barbarian). And it had a literally stellar cast for the time. George Kennedy (from the original CHARADE); Richard Moll (pre-original NIGHT COURT); William Windom (pre-MURDER SHE WROTE); and Belinda Bauer (pre-ROBOCOP 2).

Imagine my disappointment, then, when the Nielsen ratings evidently proved too low to air the four remaining TV-movies.

If anybody out there finds a DVD of it at a garage sale, this summer, snatch it up. You'll find it an enjoyable cult-classic.

But, you wouldn't initially know it. Not with the chimes and choral whistling that make this initially seem more like a spaghetti-Western remake of "The Guns of Navarone" directed by Quentin Tarantino!

But, it truly is a semi-fictionalized take on an actual WWII mission undertaken by a mixed bag of commandos and spies on behalf of British Prime Minister Winston Churchill. Alas! The cast are mostly unknowns to me. The one exception being Henry Cavill (from the last two Superman flicks plus "Mission Impossible: Fallout) who plays Agent March-Phillips. Under his action-packed leadership, the Good Guys prove victorious.

The photos of the real-life participants in "Operation: Postmaster" and their subsequent post-war lives are a nice added touch.

Wikipedia called this a loose remake of "Dracula's Daughter" (Universal, 1936). But, it came across, to me, as more like a cross between "Usual Suspects" and "The Ransom Of Red Chief." The former, of course, is that now-classic movie about a bunch of guys who get blackmailed into helping a crime boss they unwittingly double-crossed. While the latter is a classic short story about two low-life criminals who kidnap the spoiled brat son of a wealthy widower. But who come to regret it when he proves smarter than the two of them put together!

The only resemblance to "Dracula's Daughter" is the not-so big revelation that the title character is a vampire.

There were several other factors that made this just OK. The excessive amount of f-bombing. The over-reliance on literally bloody explosions. And the lack of any other recognizable name-actor in the cast besides Kevin Durand (who played Little John opposite Russell Crowe's Robin Hood). The one who played ex-marine sniper "Don Rickles" was not John Boyega (of Storm Trooper Finn fame) like I initially thought. And, sadly, I never heard of the ill-fated Angus Cloud till I saw this film earlier this afternoon.

Maybe if Big Daddy Lazar had been played by Javier Botet or Udo Kier or some other vampire-movie veteran, I might have given this a seven. But, alas, that did not prove the case. So, I give this merely half a dozen stars. And even that is only because of the actresses who played "Sammy" and "Joey."

I will never understand why so many people bad-mouth this film. It is a great thriller that literally kept me guessing when I first saw it in theaters. And I've never missed watching telecasts of it, ever since.

Convoluted? Maybe. But, no worse so than the Japanese film "Rashomon." In fact, I would go so far as to say that this cult-classic is what an American remake of "Rashomon" would have been like if it had been directed by Alfred Hitchcock!

The swearing gets a little excessive and the end song, "Black Betty" by Player, is hard to understand (it sounds more like they're chanting "Miranda Lambert"). But, Ms. Nielsen as Provost Marshal Osbourne has great chemistry with John Travolta as DEA Agent Tom Hardy. Tim Daly brings the appropriate military swagger to his version of an army colonel. And Samuel L. Jackson (as Sgt. West) and Giovanni Ribisi (as Lt. Kendall) seem to be having a great time as competitive scenery chewers!

I won't say anymore so as not to spoil the surprises for those who have never seen this before, at all. Except, of course, that those who don't hate having to really use their brains to guess who-done-it should love every single second of this unusual murder mystery.

It was really spooky how I learned about his death, last year, at the height of the SAG/AFTRA strike. I was watching a Perry Mason rerun called "The Case of the 57 Millionth Frenchman," with David as the framed Frenchman. Later that evening, I'm watching the 6PM news and I go "Whoa!" when I hear about his passing!

Then, last week, ex-FBI Agent Cole gets the phone call from Jimmy Palmer. And I just know it's the segue to this past Monday night's episode.

The writers did a very good job balancing the need for a good framing store with their even greater desire to show their intended respect for the masterful job David did, playing Ducky Mallard, all these years. And making Ducky's thorough record-keeping being posthumously responsible for bringing down a murderous multi-millionaire-turned-politician (who'd been using his company's work in Afghanistan as a front for heroin smuggling) succeeded on all counts.

I was a little disappointed, of course, that Pauly Perrette and Mark Harmon couldn't make uncredited guest-appearances alongside Michael Weatherly. But, the latter showing up to help Jimmy, with his bow tie, just before the funeral (followed by some nostalgic banter with McGee) was still a nice touch.

Adieu, Docteur Mallard. And RIP, Mr. MCCallum.

In a case somewhat reminiscent of the suit against a certain former POTUS, at the height of the pre-pandemic "Me Too" craze, Sam Waterston sings his swan song as Jack McCoy.

A woman is found dead in Central Park and, initially, suspicion is focused on an early-bird hot dog vendor with a prior conviction for sexual assault. Then, the cops latch on to a Princeton graduate who's like a cross between Donald Chump and Steve Jobs. In short, a billionaire who thinks he's literally above the law.

When Mr. Princeton's personal friend, the Mayor, pressures MCoy's Senior Assistant DA to offer a misdemeanor-level plea deal to the billionaire suspect to avoid being fired in public disgrace by McCoy's political opponent, MCoy takes over as prosecutor and wins. He then resigns in order to force the governor of New York State to appoint a new Chief District Attorney for Manhattan.

I love the wistful way he gazes at the court house as he walks off into the night. Because it made me just as wistful!

I remember the episode in which Sam Waterston first debuted as Jack McCoy. Arriving at the courthouse parking lot in a black leather jacket and motorcycle helmet while dismounting a Harley-Davidson! I also remember when he got on the wrong side of a senile judge and wound up in city jail for contempt of court. But, my favorite McCoy-centric episode is the one where the cops thought they had arrested a copycat killer. Only to determine that he was also guilty of the original murder.

Meaning the Bronx resident doing time for that first murder is innocent!

MCCoy tries to get the latter unconditonally pardoned. But, the state appellate court in Albany splits down political party lines. So, McCoy--in an effort at being bitterly sarcastic without going to jail for it--exclaims:

"I find this court's reluctance...difficult to fathom!"

Jack McCoy was a master of eloquent venom. And, as played by Sam Waterston, he will be sorely missed.

In the nearly sixty-five years I've been alive, I've only watched four Super Bowls in the entire history of that game. And, I've regretted it...each and every time.

First, there was Super Bowl 20, wherein the Patriots lost to the Chicago Bears, 45-10. Then came Super Bowl 53 (the Single-Digit Snoozefest), followed by Super Bowl 56 (only slightly less of a cure for insomnia). And, now, both last and least? This year's over-hyped get-together between the Kansas City Chiefs and the San Francisco 49ers.

Nineteen points a piece by the end of regulation time. And most of those by field goals? Don't even get me started on the lackluster half-time show with Usher.

I don't know about the rest of you folks. But, I'm starting to think this game is getting even more meaningless than the collegiate Rose Bowl (which has now been demoted to a mere semi-final game).

I mean, let's face it. This is just a knock-off of the two above mentioned shows. And a relatively cheap knock-off, at that. They certainly did not spend enough money on publicity. Because I literally never heard of this show till today! And that's only because I saw a commercial hyping the imminent premier of Season 2. I never even knew there had been a Season 1. And, frankly, I'll be shocked if we hear of a Season 3.

So, do yourselves a favor and just boycott this needless self-parody. Especially if you're a long-time fan of the two higher-quality docu-series that "inspired" it (emphasis on the sarcastic quotes).

Most people don't know that among Agatha Christie's lesser known works was an anthology called "The Hound of Death And Other Stories." The title story being one of her few forays into genuine occult fiction. Another being a short story, from the same anthology, called "The Last Seance."

Though I cannot prove it, I strongly believe that the script writers for this latest Hercule Poirot movie incorporated some of its elements into the screen play otherwise mostly based on Dame Agatha's 1969 mystery novel THE HALLOWE'EN PARTY. One of the things changed by the screenplay, of course, is the setting. Venice, Italy, on Oct. 31, 1947 rather than 22 years later in Great Britain. Perhaps that was to avoid competing with the latest Indiana Jones flick which has the same chronological setting. But, I could be wrong.

In any event, Poirot has retired to Venice, emotionally burned out from all the death he has witnessed, both as an expert solver of homicides and as a veteran of two World Wars. Along comes mystery novelist Ariadne Oliver (Dame Agatha's metafictional American counterpart played by Tina Fey) with an elaborate scheme to perk him up.

Exposing a Chinese-American medium called Miss Reynolds as a fraud.

What follows is a suitably creepy film that literally keeps you guessing as to whether or not Poirot (masterfully played by Kenneth Branagh) is hallucinating from survivor's guilt as the tension, the body count, and the flood waters just outside the crumbling palazzo all steadily rise. Those flood waters being the result of an almost stereotypical thunderstorm that, nevertheless, enhances the aforementioned creepiness quite effectively. Isolating Poirot and his suspects not only physically (no police intervention possible); but also mentally and emotionally.

To say anymore would needlessly ruin this film for those of you who loved Branagah's first two forays as Poirot. I will just wrap this up by saying that movie-goers could not have a more suspensful bridge between the end of the Summer Blockbuster season and the Spooky Spectacular season.

It was certainly a lot better than the book sequel! More straightforward action; far less soap opera elements; and no bastardization of established paleontology. By that, I mean that I never bought the concept of kronosaurs devolving to the point where they (once again) had gills a la modern-day mud puppies!

That's why I prefer to think those saber-tooth tiger salamanders were some previously unknown species of Eryops. That, I find more scientifically plausible!

Now, on to the major pros and cons of the movie, itself.

Pro Numero Uno: Sophie Cai returns as Meiying. Now playing Taylor's stepdaughter... and acting just like a modern teenager should.

Con Numero Uno: the apparent unavailability of the actress who played Suyin to reprise her role as Meiying's mother (and Taylor's second wife). But, at least they had the COVID-19 pandemic as a legitimate in-story reason on which to blame the absence.

Pro Numero Dos: the return of DJ and Mac from the first movie. Once again playing Taylor's staunch allies. Con Numero Dos: they've also been partially demoted to comedy relief. At least, that's how it looked and felt to me. And that didn't sit well with me.

Last, but not least? Pro Numero Tres: the return of Jason Statham as Taylor (of course)! Con Numero Tres: that there's a third novel by Steve Alten that makes a second film sequel virtually guaranteed.

In short? It's a nice time-killer on a muggy summer weekend afternoon. But, don't expect an Oscar nominee.

First of all, in a nice refreshing change of pace, the turtles are voice-dubbed by actual teenage actors! Secondly; the martial arts moves are just as seamless as the lip movements of the characters. But, as for the characters, themselves...?

I'm sorry. But, those particular images were like stop-motion versions of papier-mache for me. As in; similar to WALLACE & GROMIT. But, on a lower budget.

The only saving grace is Leatherhead and other 'mutanimals" finally being introduced. Rather than just rehashing the feud with Shredder (central as that is to the turtles' back story).

So, if you're a parent looking to entertain your bored kids, this weekend (and you don't want them scared by a post-Shark Week Megalodon), take them to see this. Just don't expect to find it enjoyable by anyone over age 25.

Well, it's finally here. The one film that might instantly demote "Indiana Jones & The Dial of Destiny" to second place. And it lives up to the advance hype!

The prologue is like a cross between "War Games" and "Hunt For Red October." As there's a Russian Federation sub, in the Bering Strait, testing a new navigational system controlled by an experimental artificial intelligence. But, the AI evidently goes rogue when it causes one of the war game scenarios to back-fire on the captain and crew. More importantly, however, is the mysterious disappearance of the fail-safe deactivation key from the captain's personal effects when the bodies are ultimately recovered!

This key becomes the McGuffin (a term first invented by Alfred Hitchcock for a vital plot gimmick) for "Dead Reckoning Part One." Fueling half the action sequences. The other half is fueled by the sexual tension between Ethan, Ilsa, and half-innocent bystander Grace. Plus the psychological tension between Ethan and Gabriel!

Grace and Gabriel are the relatively new faces to this film franchise. The former is played by Hayley Atwell, who's probably better remembered as Captain America's WWII girlfriend and British master spy, Sergeant Peggy Carter. Although, with much-longer hair, in this role, she initially looks more like Michelle Monaghan as Julia (Ethan's ex-wife-turned-medical missionary).

Gabriel, on the other hand, is played by Esai Morales. Most of his fans will always remember him best as the older brother of Ritchie Valens in "La Bamba." But, in this film, he channels some of that same cold-bloodedness he demonstrated playing Robert Davi's enforcer in the 007 film "License to Kill." Adding just a touch of New Age nihilism into the bargain.

Equally unrecognizable, as a Marvel Films alumnus, is Pom Klementieff as Paris. Without her Mantis garb and make-up, she looks and acts more like Devon Aoki's ninja character from the "Sin City" films! And Gary Elwes radically departs from his comedic Good Guy roles by playing a double-dealing Washington, DC, bureaucrat.

The returning cast members look and act just as you think they will. Only more so, given the stakes in this first installment! So, for those of you who haven't seen it, yet? Expect a virtual roller coaster of a movie. For those, like me, who plan to see it a second time? You won't regret it.

I was hoping that they wouldn't. But, they did! Disney made a half-live action/half-CGI remake of the film that launched their Great Renaissance in the late Eighties/Early Nineties. And it was just as I feared.

It was more lackluster than blockbuster.

Javier Bardem was suitably convincing as the temperamental King Triton. And Hallie Bailey (which, to be honest, sounds more like a stage name hodge-podged from Halle Berry and Pearl Bailey ) was suitably charming as Ariel. Although, only with the spoken dialogue. Because her rendition of the songs sounded more like she was lip-synching to the Jodi Benson originals. Just as Melissa McCarthy sounded more like she was lip-synching to Pat Carroll's songs as the original Ursula!

Then there were the needless attempts at character "development." Like making Ursula and Triton estranged siblings; or making Prince Eric an adopted son. What was even the point of the latter? Because all that made me do is think: "Are Ariel and Eric going to be ret-conned as long-lost twins?!"

The only reasons I don't give this just one star? The quaint charm of the two new songs...and the Hitchcockian cameo by Jodi Benson (the once-and-future voice of Princess Ariel).

But, to be honest, it comes across more like a blaxploitation-style remake of the psychological horror film "Antebellum" from 2019. And, while there is no denying Ms. Palmer does a much better job of acting in this film than she did in "Nope," it still comes across as more lackluster than blockbuster. Especially when she winds up dressing like Pam Grier and Tamara Dobson at the end!

But, no far less convincingly kick-butt.

In short, then? This is a rather enjoyable time-killer if you love to see silver screen bullies get what their characters deserve. But, in terms of justifying Ms. Palmer's previous claims of being "a hotbed of talent," I'd still have to say...nope!

I'll admit it. I watched the entire first season because I loved the original Arnold Schwarzenegger/Jamie Lee Curtis movie.* So, I was looking forward to the episode that guest-starred Tom Arnold (the original Gib).

But, right from the very first episode, there were certain plot elements I could barely suspend disbelief over. Three times, for instance, after checking into their hotels under their cover names, someone somehow divined who they really were. Leading me to think: "Has some evil organization infiltrated the five-star hotel industry?"

After that, the attempts at comedy relief got dumber and dumber. And the subplots got soapier and soapier (a la the now-thankfully defunct CW Arrowverse).

The only good thing about the series finale (aside from being the series finale) is the production company finally tied in the original flick with the TV spin-off using some brilliantly edited-in footage from the former! But, of course, that's a case of too little/too late. The series has been cancelled...which must be the Phase 3 that Ms. Buxom Brunette Fatale was referring to just before the start of the permanent end credits. To which I can only add: "Thank God!"

* Indeed, I'm probably one of the few who thought the portrayal of Arab terrorists was spot on! No unfair racism present, at all.

Let's get right to the pros and cons.

The pros: all the fight scenes, of course. Plus, the bittersweet flashbacks that show Rocket's childhood; the bonds he formed with his fellow prisoners; and the unpredictable mood swings the High Evolutionary went through in his dealings with Rocket.

The cons: three-fourths of the intended jokes really weren't that funny. The attempt to establish a sexually tense triangle between Quill, Gamorra, and Nebula was futile. Dumming down Adam Warlock even more than Jeff Goldblum's version of the Grandmaster was totally unnecessary (as was making him look more like Firelord with a Superboy cape). The rating should have been "R" rather than "PG-13" due to the presence of the F-word. But, worst of all? The back story of the High Evolutionary was changed so that he was just a bipolar alien geneticist rather than a megalomaniacal Earthling geneticist from a fictional East European mountain.

In short? If you don't go see this movie, this month, you won't miss much. Plus, you'll probably save half the money you'd spend at the box office waiting to rent it on DVD.

Well, it took them thirty years! But, Hollywood finally got it right. They produced an adaptation of a best-selling children's video game using purely animation because live action is just not suited for such things!

The talents of Bob Hoskins, John Leguizamo, and Dennis Hopper were wasted back in 1993 as Chris Pratt makes a far more convincing Mario, Charlie Day makes a far more convincing Luigi, and Jack Black makes a far more convincing Bowser, King of the Koopas, respectively. And Anya Taylor-Joy I found absolutely superb as Princess Peaches! Primarily, because she reminded me so delightfully of Jody Benson (voice of the original and unsurpassable Princess Ariel of Atlantica).

In short; this film will suitably entertain all members of the family (especially little kids on Easter vacation) because it doesn't try to be something that it's not. Unlike the 1993 original which Hollywood Pictures ill-advisedly tried to make like a cross between Star Wars and Tron!

For one thing, most of the intended jokes were still only cringe-worthy rather than even mildly funny. There was also far more screen time devoted to Zachary Levi as Capt. Shazam and far less screen time devoted to Asher Angel as Billy Batson. And Ladon the Dragon? Well, let's just say he resembled the love-child of Groot and the 1998 version of Gojira that gave Matthew Broderick such a hard time in NYC. Which is definitely _not_ a good thing!

On the upside, however, Helen Mirren, Lucy Liu, and Rachel Zegler did very convincing jobs as the vengeance-seeking Daughters of Atlas (also known, in real-world mythology, as "Atlantides" and "Hesperides"). Which is why I totally enjoyed the in-joke reference to Ms. Mirren's recurring appearances in the post-Paul Walker "Fast and Furious" flicks!

I further admit that I got a little misty-eyed when Capt. Shazam finally became emotionally mature enough to be willing to make the ultimate sacrifice in defense of those who can't defend themselves.

Last but not last? Be sure to sit through _all_ the ending credits!

And I can't honestly say I missed much worthwhile with regard to the 95th Academy Awards. Don't get me wrong! I'm glad there was a greater number of Asian-American recipients. But, I still found it disappointing that "Wakanda Forever" only took one out of its five nominations. It almost makes me wonder if the Academy was getting some payback for the threatened African-American boycott back in 2016.

My predictions for Best Director, Actress, Actor and Picture also proved wrong. As I thought sure "The Fabelmans" would take three out of those four!

And, with regard to Best Animated Feature, I had not even heard of "Guillermo Del Toro's Pinocchio" until literally that moment.

I think, next year, I'll just wait for the next day's morning paper and read about the results.

For starters, there's the orientation expressed by Ethan Clade the teenage protagonist. One that his parents fully support and encourage (much to bashful Ethan's embarrassment). Nor does anyone else in their community (the somewhat geographically isolated Land of Avalonia) seem to object. No, the only social disruption depicted in this film is a classic intergenerational one. Ethan not wanting to follow in his father's footsteps anymore than Searcher wanted to follow in Jaeger Clade's.

Then, there's the big revelation of what Avalonia truly is. A revelation that seems to have been inspired by equal parts Vietnamese mythology (the legend of Kim Quy) and New Age ecology (Gaia Theory).

The only reasons I deduct two stars from a potential perfect ten? First; the writers' rather naive belief that the only way to prevent climate change is to revert to a non-technological lifestyle. Sorry, boys. But, as Aladdin might it put it, that particular genie is out of the bottle to stay.

Then, there's Ethan's own naive belief that there can ever be such a thing as a fantasy role-playing game without clear-cut Good Guys and Bad Guys.

Aside from that; parents with little children should enjoy this movie immensely.

Nineteenth century German philosopher Friedrich Nietzsche once said: "He who fights monsters should look to it that he does not become a monster."

Well, tonight, Robyn McCall found out that, when it comes to dispensing extra-legal justice, she's not the only game in town. But, the difference between her and this rival vigilante is that he uses lethal force as a first resort!

Not that he doesn't have somewhat just cause. In this case, his daughter and only child overdosed on fentanyl-laced ecstasy. And he has been killing his way up the organized crime pyramid that's been smuggling the drug into the country and peddling it on the streets.

I won't spoil the rest of it for you, except to say that the subplot involving Delilah being trained in martial arts, by Harry's wife, has been found out by Aunt Vee. And this raises the question: will she now practice what she has been preaching to Robyn concerning their agreement about much better disclosure when it comes to Rob's avocation?

This sequel begins with a montage of images featuring the late, great Chadwick Boseman as T'Challa. After which, we get an opening sequence that alternates between a special meeting of the United Nations in Geneva, Switzerland, and a Wakandan cultural outreach center in Mali, North Africa.

The juxtaposition (always wanted to use that word!) between Queen Ramonda's defiant speech (to the mostly Caucasian diplomats) and the kick-butt fight (between the mercenaries and the Dora Milaje) is awesome. Showing to movie-goers like me that Wakanda does not make empty threats when it comes to defending their autonomy.

Then comes the dramatic foreshadowing of the Homo mermani when a vibranium-prospecting crew (working for the CIA) get massacred. That literally had me on the edge of my seat wondering whether or not there would be even one survivor! But, I was to be slightly disappointed in that regard. Which is too bad, considering the prospecting supervisor was played by Lake Bell (who played the marine biologist on that one-season wonder NBC called "Surface" back in 2005)!

I won't spoil the rest of the film for those who haven't seen it, yet. Well, except for three things. The return of everyone else from the first Black Panther film. The introduction of Riri "Ironheart" Williams (a child prodigy probably smarter than Tony Stark and Peter Parker, put together). And Namor's comic book origin (half-Scottish/half-Atlantean) getting thrown to the way side, here. Instead, we get the mutant son of a 16th-century Mayan princess whose people were magically mutated by the bioluminescent algae equivalent of Wakanda's Heart-shaped Herb!*

Otherwise, Tenoch Huerta does a pretty decent job portraying the Submariner as an anti-hero. And the climactic fight scene aboard the Sea Leopard is suitably (for lack of a better term) super.

I highly recommend all my fellow friends of Marvel to going to go see it . They won't be disappointed.

*That is the only reason I give it nine-out-of-ten stars.

And I was immediately hooked!

First off, even though it was based on Time-Warner property, this animated spin-off of the 1989 Michael Keaton Bat-movie debuted on the Fox Network. Which, at that time, had previously only aired programs on Saturday and Sunday evenings (alternating with the daytime programs of Metromedia Television)! And, for those too young to remember, 20th Century Fox had been the production company that first brought the 1966 Bat-series, starring Adam West, to ABC.

The second thing that hooked me was the use of DC's most tragic anti-hero; Kirk "The Man-Bat" Langstrom as voiced by Marc "The Once and Future Beastmaster" Singer. Because it reminded me of the very first issue of Detective Comics that I ever purchased with my own money (even though it was drawn by Franks Robbins and Springer; an artistic team I've never been too crazy about).

Last, but not least? The voice-over done for the title character was by an actor I had never before heard of. But, who was probably the best alternative to either Adam West, Olin Soule, or Michael Keaton, himself.

I refer, of course, to the now-late, great Kevin Conroy. From now on, when I watch the episode that first introduced Zatanna the Magician (as initially voiced by red-headed comedian/actress Julie Brown ), I will think of you, sir, and literally salute you. Rest in peace!

...as sequel episodes within a series go, this one falls under the category "too little/too late." Because the original episode, Season 9's "The Monster," would have been a lot more appropriate as the first part of a two-part crossover with CRIMINAL MINDS. Preferably during the second half of the latter series' thirteenth season! Or (at the very latest) the first half of their fourteenth season.

Instead, we--the viewers--had to wait five years for a follow-up to this almost-forgotten dangling plot thread. And, now, it appears we may have to wait that long, again, because the trailers for next week's episode are obviously not those to the conclusion of a two-parter.

For that, and the relative obviousness of the Inside Mastermind, I have to deduct three stars from a perfect score of ten..

This was a TV-movie that premiered on CBS on a school night. But, my folks still allowed me to stay up and watch it. And I have been watching every repeat telecast ever since. Eventually buying this on DVD from a dealer at the Big E Fairgrounds in Massachusetts!

The director, William Norton, builds up the suspense quite expertly during the first forty-five minutes or so. Especially after the sun goes down and desert rat Uncle Willie (Woody Chambliss) tells Dr. Boley (Cornel Wilde) and his daughter Diana (Jennifer Salt, pre-SOAP) how he always bolts his doors after the sun goes down!

Of course, we--the viewers--eventually have to see the gargoyles in the flesh. And we are not disappointed! Well, I certainly wasn't. The prosthetic make-up for the extras playing the title creatures was co-developed by sci-fi legend Stan Winston (obviously quite early in his career). And for a TV movie-of-the-week from the early 1970's, it was pretty sophisticated!

Rounding out the multi-talented cast is Scott Glenn (as dirt biker James Reeger), also very early in his career; and the late, great Grayson Hall (Dr. Julia Hoffman on the then-concurrent series DARK SHADOWS) as motel manager Mrs. Parks.

All in all, a fun piece of nostalgia to stream or watch on DVD this coming Halloween. Especially if you enjoy jumping in your seat without getting sick to your stomach (from needlessly over-graphic violence).