Reviews by TrekMedic

The events of 9/11 initially took the lives of 343 firefighters. I say "initially" because, even to this day, the toxic stew of jet fuel, building materials and vaporized body parts from Ground Zero has killed or disabled hundreds more in the ensuing years. PTSD-related and alcohol- and drug-fueled suicide is still killing more. But there's also another toxic stew in play on Rescue Me: survivors' guilt, a post-9/11 FDNY with a decimated command structure, and the alcohol and drugs to get through the little daily horrors of being a firefighter. The role of Tommy Gavin is the embodiment of all of this, played by Denis Leary (who has some FF bona fides: his cousin was one of the "Worcester 6" who died battling a warehouse fire in 1999).

Quiz Show is a movie I've watched multiple times since it's release. A quiet rumination on many things, it's one of those movies you sit back and watch on a lazy afternoon when you have nothing to do and all day to do it.
About those quiet ruminations: it's the 1950s and television is experiencing a nascent innocence. New York City is arguably the entertainment and financial center of the Western hemisphere and, therefore, many of the contestants on games shows are homegrown locals (unlike the later shift to Hollywood, where you needed to block off a day of your vacation to attend or participate in most games shows).
But underneath the champagne bubbles of post-WWII NYC life lay deep divisions: Manhattan vs the Outer Boroughs, old money vs a burgeoning post-war middle class, and an unspoken anti-Semitism in a city with a large Jewish population.
Herbie Stempel is the embodiment of many of those things: a working-class Jew from Brooklyn, he's keeping a roof over his family's head, while cashing in on his encyclopedic memory on a the quiz show "21." But Herbie isn't photogenic, he lacks the social graces of a Manhattanite and, obviously, Jewish. And 21's ratings are dropping because of it.
Charles Van Doren is an English professor at Columbia University. But he chafes under a career laid out for him by virtue of his family name and WASP upbringing. Yearning to make a name of his own, he applies to be a contestant on 21.
Photogenic, young and urbane, he is the answer to the producers' prayers! But what to do with poor Herbie Stempel? Ahh,...the curtain is now peeled back and ugly truth about 21 is revealed! The show is rigged: random and "hermetically-sealed" questions and answers are given to the champions in advance. Herbie is forced to throw the game in favor of Charles. And rubbing salt into the wound, he "loses" on a simple question near to his heart. Embarrassed, he limped back to Brooklyn with his tale between his legs. Spurred to anger by his wife, Herbie calls out the inherent anti-Semitism on the show (in reality, a Jewish champion on 21 was always succeeded by a Christian who made significantly more money during their reign). Of note, the real Charles Van Doren made nearly $2 million adjusted to 21st Century's economy!
Word reaches up-and-coming Congressional lawyer and "shadow" Jew, Dick Goodwin. Intrigued by Herbie's claims, he smells a rat. But Goodwin is conflicted as well: his Jewish roots tell him he should support Herbie, but his desire to advance up the social ladder is forcing him to hide his Judaism. This has him admiring Charles and all the social graces of his stature.
Goodwin initially turns a blind eye, but more proof piles on and Van Doren's house of cards, guarded by Goodwin, and viewed by Stempel, comes crashing down. In the end, even Van Doren's family name can't save him from disgrace and the show shuts down under the weight of new television oversight and rules.
The real 21's producer, Dan Enright and host, Jack Barry, went on to continued fame in various game shows through the 60s and 70s.
In an era where "reality TV" is scripted, manipulated and poorly-acted, you can see where it all began.

This one was really hard to watch! Not because of the near-endless violence, or knowing this was yet another iteration of the nouveau-Batman saga, but because it was really, REALLY dark. Not in an emotional way, mind you, but the actual film was really dark! I tried watching during the day, during the evening and even with the lights out in my living room and I STILL couldn't follow half of the action on the screen! Maybe someone will go back some day and remaster the damned thing so you could actually see it! Until then, I'm only giving it 5 stars.

Imagine Dr. Pepper with a little tinge of iodine and, voila! You've got Moxie! Never had it until about 5 years ago, when a local store started carrying it, then it just disappeared,...sigh,....

So,...I'm something of a sucker for low-budget movies. Some, like [Link removed - login to see] were diamonds in the rough, waiting for a professional polishing from Hollywood. Others, too many to list here, look like a pair a stoners with too much money and easily-entertained friends made them for the heck of it. Then some are just right where they are - the kind of stuff you watch at the local "art house" theatre during a film festival.
The Siren (a/k/a The Rusalka) is one of those movies. A rumination on fate, redemption, hatred, jealousy and vengeance.
Nina, the titular Siren, we are told at the beginning, was once a beautiful woman who drowned in the lake and was transformed into a murder-driven monster. Through flashbacks, her Siren self-realization is filled with horror, resistance and, ultimately resignation that she must drown all those she encounters in the lake. (The murders are mostly implied or a quick tug under the surface).
Al, a widower, is drawn to the lake, believing the drowning death of his husband was at the hands of the Rusalka.
Tom, a mute minister-in-training, is staying at a rented lakeside house ahead of his baptism and end of his ministerial training. Tom meets Nina one day while walking along the shore. Charmed by her beauty, he communicates with her as best he can. Nina, coyly seductive, is equally charmed by Tom and, resisting her fate, swims away from the shore, dreaming of a human life at his side and in his bed.
Tom and Al, as lakeside neighbors, become friends and share their encounters with the enchanting Nina.
The idyllic romance between Tom and Nina comes crashing down during a impromptu barbeque with the three. Al realizes, with horror, that his beliefs are true, as Nina reveals her true nature to him. Tom also comes to the realization that Nina is an evil being, albeit one he can save through his faith.
In the end, none of them fulfill their dreams. Tom's failed attempt at saving Nina leaves him seeking the solace in the ministerial duties. Al succumbs to his attempt at revenge and Nina, having lost the love of Tom and all hope of returning to the world, retreats to the depths of the lake.

(sigh),....the things my children make me watch! Nothing special here,...don't read too much into the movie, grab a beer or two, and enjoy it for what it it,...

Ask yourself this: what if Shyamalan was the show runner of the late, great series "Lost," but the show's primary funding source was AARP and Shyamalan started channeling the sentiment of the anti-Big Pharma crowd? Congratulations, now you've got where this movie was going!
After Shyamalan's de riguer Hitchcock-like cameo, the plot was pretty much a giveaway - something nefarious was afoot and Shyamalan's character was facilitating it. Too, too much talking and psycho-babble, too little plot twists and red herrings.

Distaff (and Irish) take on the [Link removed - login to see] genre. I'm certain it's getting more airplay here in the US because of Olivia Cooke's high-profile role as Alicent Hightower on [Link removed - login to see]

Frank Herbert's novel, Dune, is a daunting read by any measure. The "plans within plans," the metaphysical, computer-less future that defines it as sci-fi, and the controversial messianic tones make for a great read, if you're up to it.
In the run-up to [Link removed - login to see][Link removed - login to see], I read through Dune, and several of the sequels, to pass the time at the station's night watch desk.
Imagine my disappointment when that movie came long! Whether the limitations of the 80s SFX abilities forced Lynch to present the story with a steampunk tone (and make the Bene Gesserit's "weirding way" into a tangible weapon!) can be argued, overall, I left the theatre wholly unfulfilled.
(Side note: The SyFy Channel's [Link removed - login to see] and [Link removed - login to see] mini-series were passable, if more soap opera-like, interpretations.)
Now, comes Denis Villeneuve's two-part take. 21st Century SFX clearly helped interpreting Herbert's dense metaphysics, but overall the movie was a much more satisfying experience. The ending, which sets up the 2023 sequel, doesn't feel like the rushed afterthought of the Lynch version.
I honestly can't wait to see Part II later this year!

The Wrecking Crew, the final Matt Helm film was, improbably, the best of the bunch. Dean Martin acts like he's finally shed his beaten-to-death Rat Pack schtick (seen more overtly in [Link removed - login to see] and [Link removed - login to see]) and concentrated more on actually spoofing the spy film juggernaut that was the James Bond franchise. There was even a semblance of a plot! Borrowing heavily from Goldfinger, with smatterings of From Russia With Love and You Only Live Twice, it's the reason why it ranks highest for me. Sadly, Sharon Tate, who was really used more for eye candy than acting, was murdered shortly after the film was completed.