BoomerDT

Ok, one caveat thrown in with that. If you're a baseball fan. Otherwise, you might find it a bit boring, although Bull Durham is more of a comedy about a unlikely romantic triangle. The trio is Susan Sarandon as Annie Savoy, a 40ish community college English teacher whose main interests are classic literature, baseball, and sex-preferably with one of the young studs on the Durham Bulls, a Class A minor league team in the Carolina League. Tim Robbins is Nuke Laloosh, a brilliant young pitching prospect the major league team has sent down for seasoning, blessed with a million dollar arm and a ten cent brain. Kevin Costner is Crash Davis, a talented career catcher in the minors whose been sent to teach Nuke the ropes on and off the diamond. They both become infatuated with Annie although Crash has no desire, at this point in his life, to compete for the affections of a woman.

That's about it for the plot. It was written by Ron Shelton, a former minor league player who became a very successful screenwriter and director, this being his debut. It's very funny and earthy, filled with the realistic language of a locker room and also plenty of sex, something young ballplayer's are obsessed with. Naturally, we know Crash and Annie will end up together, but how they get there is the fun part, along with following the season of the Durham Bulls. Very humorous, many memorable one liners and a great soundtrack.

TDVDS was a bit unique in that the show's plot lines were divided between Rob and Laura Petrie's domestic life in upper class New Rochelle and Rob's work life in NYC as the head writer of "The Alan Brady Show" This is by far the funnier of the two as it also is a great satire on the entertainment world, with Rob's co-writers Buddy Sorrell (Morey Amsterdam)] and Sally Rogers (Rose Marie) having to come up with comedy gold for the incredibly egotistical and obnoxious Alan Brady, played by show creator Carl Reiner. They didn't actually have the Brady character in that many episodes, but they were some of the best. Also the the insults thrown back and forth between Buddy and the shows producer Mel Cooley (Richard Deacon)...also Alan's groveling brother-in- law..are priceless.

At home, it is the presence of Mary Tyler Moore who steals every scene and every adolescent boy in the 60's dreamed of having a wife like her when they grew up. Incredibly funny and sexy, without working hard at it. As for DVD, great comedic actor although sometimes his bumbling routine gets a bit old. The only big negative to the show was Larry Mathews as their young son Richie who may have been the most annoying and whining kid in sit-com history. He was seen mostly in the first season and my guess is that Reiner decided that they really didn't need his presence-but they certainly couldn't have him die or get sent away to live with someone. Therefore Richie's absence was usually explained by him staying at a fiends house, at his grandparents or simply being in his room.

It's a very solid series about the 100th Bomb Group, part of the 8th Air Force, which had so much do with bringing the Third Reich and Nazi Germany to capitulation and suffered a horrific casualty rate in doing so. It's probably unfair to compare to BOB, which set a gold standard for these type of historical series and also had the advantage of being filmed in the 90's when there was still quite a few members of Easy Company alive and could provide insight to each episode's events. It's a must for those interested in WWII and also fans of aviation. The producers must have been able to get a hold of every available and still air worthy B-17 to use in the take-off and landing scenes, the actual combat scenes being CGI. Besides the air combat MOTA also showed life in the Luftwaffe POW camps which is where the airman who were shot down and fortunate enough to parachute out safely ended up. As always, some episodes better than others, but the finale was excellent.

At least I hung in all the way through this-I pulled the plug about halfway through the abominable 2022 Luhrmann Elvis bio which seemed to be more about Colonel Tom Parker, with Tom Hanks in an absolutely cartoonish portrayal of Elvis' manager. Speaking of the Colonel-here's nowhere to be scene in this although I would have thought he had the business sense to advise Elvis that bringing a 16 year old girl to live with him at Graceland may not be the best idea. Would have made a good scene. Also wondering why more time wasn't given to the motivation for Priscilla's parents in approving this? As for the movie, we get to see Priscilla modeling clothes, hanging out at Graceland with Elvis and his "Memphis Mafia" and being sexually frustrated being supposedly Elvis wouldn't consummate their relationship. Many factual errors in this poorly written and directed film. As for Sophia Coppola, having caught this and her tedious remake of "The Beguiled" which had been a taught, gothic thriller under Don Siegel-I'd say her best talent as a director is her last name.

Just watched this again, maybe 6th time-there are so many plot twists and turns that it really takes a few watchings to completely understand the complexity of the lovely and sexy Matty Tyler Walker's elaborate plan to use sex to lure sleazy attorney Ned Racine into helping her murder her rich husband and inherit his entire estate.

As pointed out, the plot is quite similar to "Double Indemnity" and "The Postman Always Rings Twice." Lawrence Kasdan authored a wonderful script and did a solid job in his directorial debut. An excellent ensemble cast-although BH was going to either sink or swim on the performance of the primary leads, the incredible hot Kathleen Turner as the femme fatale and William Hurt as the horny shyster attorney. A pre-"Cheers" Ted Danson plays an assistant DA who is also Ned Racine's friend quickly figuring that Matty is playing a con and using sex to play Ned as a chump. Screen veteran Dick Crenna is the unsuspecting husband, Mickey Rourke is an ex-con arsonist, and J. A. Preston is a scrupulously honest homicide detective investigating the murder. An excellent and haunting film score by John Barry to accompany a script where virtually everyone smokes, sweats and complains about the FL heat.

I loved the original series. Was excited about it coming back, but was more and more disappointed with every episode, various reasons. I understand this was based on another Elmore Leonard novel that the Raylan Givens character wasn't even in. Regardless, Raylan has been sent to Detroit and having to deal with a ruthless criminal and murderer, one Clement Mansell. Mansell gets out of his predicaments because he's represented by a slick attorney, Carolyn Wilder, who knows how to manipulate the system. The problems with "City Primeval":

A crime series needs a good villains-or at least interesting ones. In the original there were some terrific ones. Boyd Crowder and Johnny Crowder, Wynn Duffy, Arlo Givens, the idiots Dewey & Dickie, Limehouse, Quarles, Markham, Mags...in the reboot Mansell is simply a sadistic creep with a dimwitted girlfriend. There's also a subplot about Albanian Mafia types who aren't interesting or bright either.

The first 3 episodes also include Raylan's daughter Vivian, now 15. She's obnoxious and it was a relief to have her depart, presumably back to her mother Winona in Miami.

Raylan's love interest turns out to the sleazy attorney. For some reason the producers thought it was important that she also be black, evidently so they could have an interracial romance. No problem with that, except Carolyn is more than a bit overweight and not very attractive. Raylan was quite the babe magnet in the original. Also there doesn't seem to be any chemistry between them, plus Raylan has nothing but contempt for attorneys who manipulate the system to let the bad guys go free.

Why are the overwhelming amount of scenes filmed in dark settings? This is something I noticed in "Ozark." I know, murder, drug dealing and extortion are dark subjects-but it makes it hard to follow.

In any case, at the end of the episode, having taken care of matters in Motown, Raylan has decided to retire back in Miami, sharing custody of their daughter with Winona, whom he exchanges wistful glances with. Meanwhile, we go to a prison in KY, where we finally get to see Boyd Crowder, fully exchanged in his prison ministry. Then while he's being transferred to another prison, he escapes with the help of a hot looking female guard who has been seduced by the charm of Boyd Crowder and they're on the way to Mexico, as Raylan receives a BOLO text from the US Marshall's service. And thankfully, with Boyd and Winona back in the picture, we are set for a new series, similar to the original. I'm glad the producers finally woke up to what a mistake this reboot was.

Watched this for a second time, I believe first time through I never saw the final season. Quite a few of "The Sopranos" creative types involved with this, Terence Winter being the creator as well as several acting talents. Inevitable comparisons about a couple of gangster shows, the most obvious difference is that Boardwalk is taking place in the 1920's. For me the biggest fault of BE is that there are too many characters and too many superfluous story lines being followed over too many episodes. I never read the book it is based on, but certainly story lines and characters could have been condensed or eliminated to better move the story. Also BE doesn't have the humor " The Sopranos " did. Still, there are quite few compelling performances, beginning with Steve Buscemi as Nucky Thompson, based on Nucky Johnson, who ran Atlantic City in the wide open 1920's. Some excellent sets and costuming in this, bringing back to life a fascinating period in Americana although this is a historical piece very loosely based on fact.

In the early 70's I had a buddy who worked at the local Cineplex, so he would let his pals sneak in for free. Saw a lot of good films that way. This wasn't one of them. We were quite excited about a Paul Newman/Lee Marvin pairing in a Western, no less. We all were bored to tears. So 50 years later, decided to give it another shot, caught it on TCM. Thought perhaps the film was over my teenage brain in 1972. I was correct the first time. The only reason this gets a very generous 4 is for the star power of Newman and Marvin, they were at their career peak. But absolutely nothing happens in this, no fights, no sex-you'd think in a story taking place in Mexico that they could get them in a cathouse-and all though the script tries to have some clever dialogue, it fails miserably. Both stars seem as confused as to how to play this as we were watching it.

I'm a sucker for airline disaster flicks, having worked in an earlier life for a legacy carrier. Caught this for this first time on TCM today, had a good time laughing at the silly and campy dialogue. The actual air disaster doesn't take up that much screen time, maybe .15 at the end. The rest of this is soap opera, filled with flashbacks and voiceovers of each character's thoughts. Good cast and if you're of a certain age you'll remember most of them. WB had a very successful stable of tv shows in 1960, various detective sagas and westerns and a number of those actors are featured. Efrem Zimbalist and Troy Donohue are in the USN fighter jet and Dana Andrews is the Captain of the airliner headed into its path. Sexy Anne Francis is one of the stewardesses, who is also, as she reminds us several times, a "tramp." Keenan Wynn is along, trying to seduce his traveling companion Jean Willes, who was the femme fatale in a handful of Shemp era Three Stooges shorts. For good measure sexy Rhonda Fleming plays Zimalist's wife looking lovely after sharing a a final sexual encounter with him before he leaves. Another movie that had to be an inspiration for the Zucker Brothers and "Airplane."

I've seen nearly all of John Wayne's A list films, but never caught "Blood Alley" til a recent showing on TCM. Looking at the credits I was pleasantly surprised that this 1955 offering was filmed in color, Panavision and directed by the great Wild Bill Wellman. It is gorgeously filmed and the action scenes are plenty and well done, as The Duke is a South Seas Captain sprung from a Communist Chinese prison to pilot a paddleboat that will take oppressed villagers from mainland China to freedom in Hong Kong. BTW, Wayne looked remarkably fit and healthy after 2 years in solitary confinement. He also acquired, to keep his sanity, a habit of talking to an imaginary character he calls "Baby." This may have been a good device in author Albert Fleischmann's novel, but in a movie script it's annoying. Lauren Bacall is the daughter of a missionary and even in the hot and stultifying humidity her hair, makeup, and clothing always look perfect. Naturally her and The Duke fall in love, but there is no chemistry. As mentioned, some great action scenes as storms, treason, and the Red Chinese Navy tries to stop them.

Absolutely hilarious and feel good movie movie about Rudy Ray Moore, better known by his alter-ego "Dolemite!" Rudy was a singer, dancer, comedian, entrepreneur, who virtually willed himself into success, first in the club and record business, then in film, specializing in low budget and quite amateurishly produced "blaxploitation" films that had a heavy emphasis on violence, sex, vulgarity, and humour. Rudy knew his audience and gave them what they wanted. Eddie Murphy is perfect in this role, wearing a bit of padding around his waist to make himself authentic as the quite beefy RR Moore. Plenty of laughs in this, good story, fine supporting cast, but it's Eddie who makes this work. If you like this try watching a couple of Rudy's actual "Dolemite" movies. One or two are enough, but they are a riot.

A very solid and mostly comedic series about an almost classic Jewish American Princess in 1960 that decides after catching her husband philandering, to pursue her dream of being an an edgy stand up comic. Rachel Brosnahan is excellent in the title role and believable performing as an on stage comic, not easy to do. It's also not easy to write 43 episodes that are in the .50-one hour range and still be funny. This may be one of the few faults of the series, episodes tend to run a bit long. Good collective cast. Marin Hinkle and Tony Shalhoub are hilarious as Midge Maisel's parents. A bit confused by her career choice. Michael Zegan does a solid job as her ex who still remains her best friend as well as still in love with Midge. Kevin Pollak and Caroline Aaron steal every scene as Midge's in-laws, seen in most episodes. Alex Borstein has the 2nd largest part as Susie her agent, another woman also trying to make it in a mans world. My thought is they went to to the well too many times with episodes centered around Susie's character, who gets rather tiresome after a while. All in all, well done. Fun to see the cars, clothes, and settings of the period.

"Don't stop, believing" Being more than a bit cynical when it comes to most business enterprises, especially in the entertainment industry and especially as phenomenally successful as "The Sopranos" were-my original thought about the ending was that Chase was leaving an opening should he and Gandolfini decide to bring the series back. He could have easily had this as another of Tony's dreams, as he wakes up in a jail cell several years later. [Remember, his attorney had told him indictments were coming.] However, Gandolfini unfortunately passed away 10 years ago and as Chase said at the time-without him as Tony, there is no Sopranos.

So Tony did get whacked at Holsten's, in front of his family, most likely by the guy in the members only jacket. Was the hit ordered by the NY mob, even after Tony had supposedly negotiated a peace treaty after taking out Phil Leotardo, something that couldn't have upset Butch DeConcini, now the new Capo? Or did Patsy Parisi finally get his revenge for Tony having ordered the hit on his twin brother Philly back in Season 1? Since his son was in a serious relationship with Meadow Soprano, he may have known where Tony would be that evening. Ambiguity.

In any case, after a recent 5th rewatch of the series, what may have happened, post-Tony. As for the Soprano/DiMeo crime family, it's finished. Paulie is the only one left from the inner circle as Tony, Chris, Vito, and Bobby are gone and Sil is on life support. Paulie is a valuable earner and enforcer and would most likely go to work for the NY mob, he has no interest in trying to pick up the pieces and run things. Junior is in the nut house, never getting out. Dr. Melfi might write a book about her years with Tony as her patient. As for the family-I can see Meadow becoming a criminal defense attorney, specializing in representing mob types. AJ- who knows? He's not very bright or ambitious and without Tony 's backing his career as a budding associate film producer may have no legs. As for the long suffering Carmela Soprano, she gets to join Rosalie Aprile, Angie Bompasarro, Kelli Moltisani, Ginni Sacromoni, Marie Spatafore, Gabriella Dante, and her obnoxious sister in law Janice in the widows club. As for her romantic life, would Furio, assuming he's still alive in Italy, be in her future? Ambiguity.

Good nostalgia trip if you lived through the era. The meteoric rise and subsequent crash of a FICTIONAL 70's R&R band, complete with the drugs and sex drama that seemed to define the bands of the period. Some have said this is based on Fleetwood Mac, I'll confess I don't know enough about their history. However it appears that Riley Keough, playing Daisy Jones, the lead singer and lyricist of most of their tunes, on Stevie Nicks as she performs on stage, right down to her costuming and constant twirling. There are 10 episodes in this, only a couple fall flat. Only one big star in this, Timothy Olyphant [Justified, Deadwood] He's a terrific actor, but has very little to do in this, playing a tour manager. The final episode is the only one he has much of a part in. Sounds like an easy paycheck.

There's quite a bit of criticism about the quality of the music, which was all original. That's the tough part about making this a fictional band. My credit to the song writers, I wouldn't call the material great but it was passable. The story had a decent finish.

Unless your idea of great comedy is watching a skit where WW2 GI's in a LST on the DDay invasion take turns throwing up in their helmets, from sea sickness and nerves. I'm a huge Mel Brooks fan. The Producers, Blazing Saddles, and Young Frankestein were three of the greatest and funniest comedic films ever made. At age 96, I have to wonder how much Mel Brooks actually contributed to this unfunny mess, other than getting a credit as one of many EP's and a writing credit. Perhaps he wrote a joke or two. I have no idea of who most of these actors are-a few people have mentioned they are improv "comedians"-in any case they're not very good comedic actors, but then again the material is awful. Two episodes and out.

Mel-you should have gone out on a high note, with your reboot of The Producers as musical for the stage and as a film. Saw both productions. Funny stuff and true entertainment.

I recently viewed "The Verdict" again-perhaps for the 7th time and once again was just mesmerized by Newman's performance as Frank Gavin, an extremely flawed and alcoholic attorney, who nevertheless pulls it together to bring justice to the family of woman who was left in a coma after physician negligence while in delivery. The delivery of his summation to the jury is absolutely brilliant. Give credit where due, writer David Mamet and direction, Sidney Lumet. Excellent cast, the always reliable Jack Warden as his partner, James Mason as the top partner of a silk stocking law firm representing the doctors and the hospital, and Milos O'Shea as a sleazy judge. Didn't particularly care for or find Charlotte Rampling that believable in her part as a plant from Mason's firm to get information from Galvin.

Another Jack Lemmon comedy of the 60's, in which he is having to pretend he is actually married to his wife's (Dorothy Provine) best friend and neighbor, sexy Romy Schneider, so she can cash in on a $15 M inheritance. Predictable, but if you watched TV and movies from this era, a memorable cast. Mike Connors, "Mannix" plays Romy's estranged husband. Louie Nye is a private eye. Also along are Neil Hamilton- Batman's Commisioner Gordon and perpetual elderly grumps Charles Lane and Edward Andrews. And if you can remember the "Fun Girls" from "Andy Griffith Show" well... Joyce Jameson is a sexy hooker. Even EG Robinson has a small part, guess he needed the money.

A few words about the female leads. Romy Schneider sadly died at age 44, heart attack. The previous year her son had been killed in an accident. Dorothy Provine retired from acting a few years later, not sure why she didn't make it bigger. Talented singer and dancer, beautiful and sexy. As another IMDB reviewer wrote "the poor man's Doris Day"

Very few of us will ever get to see the actual work done by the USN on their carriers. Even though this was filmed nearly 70 years ago, I would imagine that most of the principals still apply. This is about carrier action in the Korean War, the first with fighter jets and the scenes showing the the fighter take-offs and landings are fascinating. William Holden plays a WW2 fighter pilot, called back to fly by his reserve unit. He's been a successfull attorney, with a beautiful wife (Grace Kelly) 2 daughters, and now with everything to live for, he's having to risk it all. Very good cast in this. Frederic March is the Admiral in charge of the task task force. The great Charles McGraw is the group commander, Mickey Rooney is good as a chopper rescue pilot, a very young Earl Holliman is his crew assistant. The only weak part is in the middle when Kelly and the daughters come to visit with him on leave in Tokyo. Nevertheless, this is made up for on the thrilling finale when Holden, McGraw, and their unit fly the mission to destroy the Bridges and Holden is forced to land in N Korea and Rooney and Holliman come to attempt to rescue him. Great action and drama-it's just too bad this wasn't shot in Panavision.

Recently watched on TCM, hadn't seen a complete viewing since back in college, with a lovely date, if I remember correctly. I had forgotten how many cars were demolished in this buddy cop flick. Jimmy Caan, a big deal at the time after "The Godfather" is paired with the alwys reliable Alan Arkin as a pair of SF Vice cops who in their pursuit of some numbers kingpin manage to put hundreds of innocent civilians in danger with a series of wild car chases on The Streets of San Francisco. Good place for that kind of thing and watching it almost 50 years later it's a nice time capsule, plenty of cool looking old cars from the 50's and early 60's were no doubt purchased cheaply for destruction. Caan and Arkin are good together in a completely un-PC script. A pair of popular TV actresses of the time, Loretta Swit of MASH and Valerie Harper of "Rhoda" have brief parts that have nothing to do with the plot. Oh yeah, 2 bad guys get shot in public restrooms-you'd think the script author could have found only done one potty killing.

Great idea, making a series about the making of "The Godfather." Now I don't know where the truth ends and the fictional part takes over...the film world has been known to embellish the truth. But as is it's a great story about producer Albert Ruddy as he succeeded in adapting author Mario Puzo's best seller into a great film. The adaptation was faithful, there was nothing in the film that wasn't in the book, although quite a bit had to be left out. According to "The Offer" the Mafia didn't want the film made, but Ruddy was able to convince Joe Columbo that it wouldn't be a deragatory presentation. Also Paramount studios, who were now owned by Gulf & Western, were more concerned about production costs than quality and much of the story deals with this infighting. The only weakness is that it becomes too much of a story about Paramount Sr VP Robert Evans, legendary Hollywood womanizer, coke head and egotist, who did throw restrained support to the project, and to Ruddy and Director Francis Coppola. Solid performances from a large cast, quite a bit of humor. One other complaint-signing up to Paramount Plus for a free trial is difficult. As is canceling after completion. Also it has commercials. No thanks, there are better streaming services.

Released in 1953, this was probably best appreciated at a drive-in, the 2nd or 3rd feature, maybe cuddled up with your teenage girlfriend on a date. "The Hitch-Hiker" is a film sure to terrify virtually all girls-and most boys-in a story about a random killer who is picked up hitchhiking in Mexico by a pair of buddies on a hunting and fishing expedition. It's basically a three man film with a trio of excellent character actors. Edmund O'Brien and Frank Lovejoy are the good guys and William Talman, best remembered from TV's "Perry Mason" as DA Hamilton Burger, who never could seemingly get a conviction, at least against Mason, is Emmett Myers, a true sociopath murderer, without any redeeming features who holds O'Brien and Lovejoy hostage for most of the film. A taught thriller well-directed by veteran actress Ida Lupino with great location shots. Some cool old cars. And at the drive-in your frightened date would have been wanting you to hold her close.

I was introduced to Bond, James Bond-with this at a local movie house with my uncle when I was 10 and to say the least, I was properly awed. "Goldfinger" was the third 007 flick and all the exciting elements of the first two films, "Dr No" and "From Russia With Love" such as incredible action and fight sequences, a suspenseful storyline, exotic locations, beautiful women and sex, and Sean Connery's masterful portrayal of the supersuave and resourceful Bond, Agent 007-with a License to Kill, were brought back. But "Goldfinger" also notched up the series to another another level by introducing the dramatic opening theme song-right after Bond again cheats death in an action sequence opener-with Shirley Bassey belting out the title number. Indeed, "Goldfinger" has an incredible brassy music score and a variation of the title theme is used through out the film, reaching it's pinnacle in the final action sequence, the attack on Fort Knox.

"Goldfinger" also introduces the character of Q who is in charge of all the various cool gadgets 007 needs in the field and whose give and take sarcasm with Bond becomes a feature. Q also delivers Bond his greatest ride, the Aston-Martin, well equipped with various gadgetry.

A Bond flick is only as good as the villian and Gert Frobe as Auric Goldfinger is terrific. He's an exception to virtually all the other films in the Connery series, in which Bond battles the evil crime organization Spectre, run by the criminal mastermind Ernst Stavros Blofeld. Goldfinger is an ex-Nazi who is a legitimate gold bullion dealer trying to corner the gold market by setting off a nuclear device in the gold depository in Ft. Knox. "Goldfinger" also adds a new element with the introduction of the virtually indestructible and totally subservient henchman, Odd Job, a North Korean who also doubles as Goldfingers bodyguard, valet, chauffeur, and rather hilariously, as a golf caddie in the early social meeting between Bond and Goldfinger, which becomes a staple of the series.

Bond Girls: some great ones in this. Bonita, a sexy Latino who is setting up Bond for murder in the opening sequence; Dink, a lovely bimbo who is accompanying Bond on vacation in Miami; Jill Masterson, a drop dead gorgeous blond we meet while sunning in a tiny bikini and also helping Goldfinger cheat at high stakes gin; Tilly Masterson, her sister, who tries to kill Goldfinger after he's killed her sister-by painting her gold, in a dramatic moment; and last but not least, Honor Blackman as Pussy Galore, Goldfinger's personal pilot whose "flying circus" of other gorgeous female pilots are an essential part of Goldfingers plot to take over Fort Knox. Absolutely the greatest name of any of the Bond girls. Pussy wasn't the best looking of the Bond women, she was a bit older, but still very sexy and Blackmon is excellent as the bad Bond girl who initially rebuffs Bond's sexual advances- indeed indirectly indicating her preferences are for women-but finally succumbing to Bond's masculinity and as a result, helping to thwart Goldfinger's evil plot. Her initial meeting with Bond, coming out of a coma, also gave us with of the best bits of dialogue in film.

Pussy: "My name is Pussy Galore" Bond: "I must be dreaming."

Saw this at the show with a buddy, when I was about 12. Although much of it went over my head, such as the analogies of Newman's Luke being crucified like Christ after the egg eating scene and later when he is laid out in the hole he was forced to dig for punishment, I was mesmerized by CHL and knew I was watching a film on a different level I was used to. Recently caught it again on TCM, for at least the 12th time. Still as impressive as Newman shines in a large cast of talented actors in a prison movie taking place in the mid-60's, somewher in the Deep South. Luke's been sent up a couple years for basically being drunk and stupid, breaking into municipal parking meters in a small town while on a bender. He's been sent to a road crew work repair prison among what seems to be a non-violent segregated prison population in for writing bad checks, stealing cars, violating parole, parole violations, failure to provide child support, etc. There's really no rehabilitation attempted but it does provide cheap labor to work on the local roadways.

Like any place, there is a prison hierachy that is led by Dragline, superbly played by George Kennedy. He probably became ex post facto leader by being the biggest, strongest and toughest among the population. He's illiterate, but clever and has learned how to survive in prison-indeed one gets the feeling he has spent the majority of his life in various confinement-reform schools or prison. He's learned the system and to show the proper respect and defer to the "bosses" i.e. The warden and guards. Newman's Luke as the new fish is one who will at first subtly, then overtly challenge the establishment hierachy.

The film becomes a series of entertaining sequences showing the prison life, some funny, some heartbreaking. The convicts going out daily for back breaking work clearing brush, the "titillating" well endowed local girl who teases the crew by washing her car in the flimisiest of dresses (at age 12, this was my favorite memory) the boxing match when Dragline knocks the absolute hell out of Luke, who refuses to stay down, ultimately earning the respect out of Dragline and the other prisoners. There's the comedic egg eating scene and later a sad reunion with Luke and his dying mother, well played by Jo Van Fleet who stops by for a final visit.

Many other excellent performances and some familiar faces, including a pre-MASH Wayne Rogers, Dennis Hopper, JD Cannon, Harry Dean Stanton, Ralph Waite and Harry Dean Stanton. Most notable.is veteran character performer Strother Martin, as the warden, AKA The Captain who tries to mask his cruelty with his phony benevolence with Luke sees through instantly. Indeed, Martin delivers the film's most memorable line after smacking Luke with a cane numerous times after backtalking to him.

"What we have here men...is a failure to communicate"

Circus movies were a sort of genre in the 50's and early 60's. There was DeMille's "The Greatest Show on Earth" which incredibly won the Oscar as Best movie in 1952, Victor Mature did on called "The Big Circus" Doris Day did one called "Jumbo" and one of Disney's best full length cartoons was about the Circus, "Dumbo." Probably a few others-the was the last era when the Circus coming to a town was really a big deal. "Trapeze" is about a Parisian circus and the romatic triangle that develops between a trio of trapeze performers, the catcher (Burt Lancaster) the young flyer (Tony Curtis) and another sexy flyer (Gina Lollabridgia) The flying stunts are incredible to watch, as is Gina in her tight one piece costume! Definite star power in this one. Lancaster is intense as always, Curtis does well and Gina is the eye candy.

It's a good way to spend an hour and a half, especially if you enjoy travel. Never did a Eurpoean bus tour, but did a very nice river trip and there are similarities. The story is entirely predictable, but enjoyable. Nia Vardalos plays almost exactly the same character she did so well in "My Big Greek Wedding" except she's an unhappy and lonely tour guide in Greece, leading a bus tour of typical stereotype mostly American tourists. It's amusing, with a few giggles, not really big belly laughs type of stuff. I must say that Nia looks really, really good in this. I find her quite sexy. Richard Dreyfuss is probably featured the most of the tourists, playing a widower and doing his usual Dreyfuss spiel.