48 hrs is all they’ve got to catch 2 killers.  Unfortunately, they can’t stand each other. One’s a cop with a temper and bad fashion sense, the other’s a con with a mouth and in need of sex.  Together these two  are pure chaos.

48 Hrs.” — A Wild Ride Through Crime, Comedy, and Chaos

OK ladies and gentlemen, boys and girls, trans men and trans women, plus the non-binary option.  You need to hold onto your heads and keep your man bun hair clip handy, ’cause we’re rollercoastering into the 1982 buddy-cop blockbuster before “buddy-cop” was even a genre.   It’s the movie, 48 Hrs.! Set in San Francisco before human poop lined all the streets, it still managed to avoid being a typical Sunday afternoon stroll.   No… No…  No..  This is two days of madness, mayhem, and machine guns with extra hot sauce.

Directed by Walter Hill.  For this movie, he was the guy who took a film camera and asked the studio executives, “What if we made Clint Eastwood run a marathon of testosterone?”  A movie legend was made that day and 48 Hrs. is what you get when stick a cop and a criminal in a blender and hit “frappe.”  This is Eddie Murphy in his silver screen debut, and oh baby, the man does not just dip his toe in the water.  It’s his big chance and he cannonballs into the Hollywood pool wearing a prison clothes and singing The Police.

Nick Nolte is Jack Cates.

He’s a gruff, gravel-throated detective who looks like he eats broken glass for breakfast and washes it down with Jack Daniels. He’s a walking hangover with a badge, and he’s trying to catch a pair of psycho criminals who make Charles Manson look a Care Bear.  Normally he’s the man to get the job done but this time he needs help from a slick-talking criminal named Reggie Hammond.  Eddie Murphy enters the stage left with a laugh, a presence that has you forget that you’re watching a cop movie and think you’re watching stand-up at the Apollo.

There’s just one problem, they’ve only got 48 hours to catch the bad guys.  Yup, two days…. Just one weekend. That’s almost less time than it takes for Trump to destroy the stock market and these guys are chasing murderers, dodging bullets, and learning to love each other.

It’s a classic toxic masculinity bromance !

48 hrs is all about grit, balls, and glorious one-liners.  It’s so hardcore ‘80s that you can still smell the Aqua Net and hear the synthesizers. And Eddie Murphy is the cherry on top.  He’s the Cindy Lauper in the Madonna martini bar. He didn’t just steal the scenes but instead mugged the entire movie and rode off on a laugh.

But beneath the wisecracks and gunfights, 48 Hrs. kicked off a whole genre.  It’s the original mismatched duo, forced to work together, each one rubbing off on the other like sandpaper. There would probably never have been a Lethal Weapon, Rush Hour, or Bad Boys franchise, without Cates and Hammond trail blazing the way.

So if you haven’t 48 hrs,  grab some popcorn and take a ride in a beat-up car with a lunatic at the wheel with a con man riding shotgun. 48 Hrs. isn’t just a movie. Is early-’80s madness and baby, it’s fucking awesome

Here’s some late ’80s Robocop insanity

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The Nude Bomb is funny surprise, much finding a tuna sandwich in the glovebox of your car.  Before watching I advise that you strap in and zip up or maybe don’t zip up to truly be in the spirit of the movie. This is cinematic acid trip which deserves a review with all the chaotic energy of a triple espresso shot with an overdoes of Viagra

So what is “The Nude Bomb”? Well, you can start by imagining James Bond and Inspector Gadget had a baby, and then left it at a daycare run by Roger Rabbit.  It’s a spy comedy starring Don Adams, reprising his legendary role as Maxwell Smart — a man so clueless, he makes a Joe Bidon look like Sherlock Holmes. He’s got the trench coat, the shoe phone  and enough dry one-liners to desiccate an Egyptian mummy. But this time, he’s not fighting KAOS with bullets or brains — no sir — he’s going after a villain who wants to explode everyone’s clothes off. That’s right. It’s not a metaphor. It’s a literal bomb that nukes your underpants!

The villain is a baddie named Nudo — very subtle and very Bond-esque.   He’s built the ultimate weapon of mass undress destruction. This guy is like if Dr. No watched too many Hustler porn movies and said, “Yes, this is my origin story.” However, instead of taking over the world with lasers or robots, he’s decided, “Let’s get rid of clothes! BOOM! Now you’re naked!” You gotta admire the boldness of the plot. Or maybe call Dr Susan Block for therapy. Possibly both.

The storytelling darts around like a gerbil on LSD. Maxwell Smart bumbles from one locale to another: ski resorts, fashion shows, underground lairs that look like IKEA on roids. He’s surrounded by an ensemble of agents and models and there’s even a talking typewriter at one point. The movie runs on logic on cartoon logic written by an infantile version of 80s toxic masculinity. .

Now this movie is damn funny but only you’re someone who enjoys a nostalgic high on disco fumes and wearing polyester pants.  But if you’re watching it now, stone-cold sober, you might feel like you’re being slowly attacked by dad jokes wielding banana peels. The humor is dated and from today’s perspective, it’s like being told that the Care Bares are teaming up with Dead Pool in the next sequel.

BUT! Don Adams sells it with his unforgettable his nasal delivery and eternal optimism, He’s like the weird uncle at Thanksgiving who tells the same joke every year, and dang it, you still laugh. There’s a charm, a weird nostalgic magic, like watching a roller disco ballet while blindfolded.

The Nude Bomb is a glorious, glittering missile with a happy face painted on it. It’s ridiculous. It’s nonsense. It’s got less plot than a Tiktok video. But it knows it’s ridiculous but that’s the point.   In a world of self-serious action flicks, sometimes you just need a naked bomb and a man with a shoe phone to remind you how weird things can get.

Need a laugh?  Then watch Up In Smoke

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Up in Smoke is a 90-minute contact high—just don’t ask what happened after the first toke. Though it does prove two things: vans should be made of weed, and cops should never chase guys who are too stoned to care.

Up in Smoke is a Hazy, Crazy Ride Through Stoner Paradise – Man, oh man, where do I even start with Up in Smoke? It’s like, the ultimate trip, man—both literally and figuratively. This movie isn’t just a film, it’s a lifestyle, a cosmic journey through the wild, weed-fueled minds of Cheech Marin and Tommy Chong. And let me tell ya, if you ain’t seen it yet, you’re missing out on one of the greatest cinematic experiences since, like, the invention of the bong.

First off, the plot

Or what passes for one in this smoky dream scape—is simple, man. You got Cheech as Pedro de Pacas, this streetwise Chicano cat with a heart of gold and a pocket full of primo, and Chong as Anthony Stoner, the ultimate laid-back, spaced-out hippie. These two dudes meet by fate (or maybe just because they were both looking for a score), and next thing you know, they’re cruising through L.A. in a van made out of weed, man. The cops are chasing ‘em, but they’re too high to notice, and honestly, that’s the whole vibe of the movie.

The humor? Oh, it’s dumb. Gloriously, stupidly dumb. But that’s the beauty of it, man. This ain’t some highbrow comedy where you gotta think too hard. Cheech and Chong have been advocating for the legalization of all things pot related since even before this film. Having achieved glorious success, this film is a historical anthem to their efforts. Their dreams didn’t go “up in smoke”, or get lost to history.  Nor were they burnt to the ground into a tragic pile of ashes. They have left a legacy.

So leave your lighter. Grab your pot laced munchies and spend some time with the comical genius of the legends who helped you have the freedom to get high. The soundtrack is like a time capsule of ‘70s stoner rock, with Chong’s band (because of course he’s in a band) dropping tunes so smooth, you’ll go up in smoke with him, riding the hazy cloud.. The whole movie feels like a concert where the audience got too baked to leave, so they just stuck around and filmed whatever happened next.

Later, dudes and watch the Toxic Avenger

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Blazing Saddles, is a bold, irreverent, and uproarious take on the Western genre, racism, and Hollywood itself and the least pc film you might ever find.

If you are sick of having Hollywood dictate what you can see or laugh at, you will love this timeless classic.  But if you get easily offended, this film will trigger you. Because Blazing Saddles has razor-sharp wit, and boundary-pushing humor.

From its anachronistic gags (like a jazz band performing in the Old West) to its meta-humor (the finale spills onto a Hollywood soundstage), the movie constantly surprises and delights. Blazing Saddles is a film that refuses to play by the rules. Brooks’ direction is fearless, using absurdity and exaggeration to expose the absurdity of racism and bigotry.

What makes this movie truly remarkable is its ability to tackle serious issues like racism and prejudice while maintaining a lighthearted, comedic tone. The film doesn’t shy away from using racial slurs or depicting the ignorance of its characters, but it does so with a purpose: to highlight the absurdity of racism and challenge the audience to confront their own biases. Brooks’ approach is both subversive and inclusive, using humor as a tool to unite rather than divide.

Each character adds to the film’s chaotic energy, creating a comedic ensemble that is as unforgettable as it is outrageous. While Blazing Saddles is undeniably a product of its time, its themes and humor remain relevant today. The film’s critique of systemic racism, political corruption, and Hollywood’s tendency to sanitize history feels just as potent now as it did in the 1970s.

A comedic tour de force that defies convention, Blazing Saddles challenges us to laugh at the absurdities of life. Its blend of slapstick, satire, and social commentary makes it a film that is as thought-provoking as it is hilarious. Whether you’re a fan of Westerns, comedy, or just great storytelling, Blazing Saddles is a must-watch—a film that proves laughter can be a powerful weapon against ignorance and prejudice.

See Pretty Baby

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Open All Night, a short-lived but beloved television series, on ABC. The show blends elements of workplace comedy with quirky character dynamics, offering a snapshot of life in a small convenience store. The series introduces Bubba Smith, the retired NFLer in his first regular comedic acting role. Personally, watching the first episode, I think Bubba’s dominating presence saves the show from boring and trite mediocrity.

The Premise

Set primarily inside a small, independently owned convenience store, Open All Night revolves around the lives of its eccentric staff and customers. The store is, as the title suggests, open 24 hours a day, is in the “bad area of town” and has been subject to burglaries.

The store is owned by a hopeful middle-aged man named Gordon, played by the talented actor George Dzundza. Gordon is the heart and soul of the store, desperate to balance his family life with his professional responsibilities. The first episode had the store owner working all night because he needs a new night clerk. His wife, whines that she wants him in bed, and keeps trying to give her irresponsible teen-aged son, the job of night clerk.

Open All Night plays with situational comedy in a way that makes the store itself almost a character in the show. The fact that it’s open 24 hours creates a never-ending series of events. The nighttime setting enhances the bizarre quality of the situations. Dealing with sleep-deprived customers and navigating the unusual interactions that arise when people venture out in the middle of the night. The show captures the oddball nature of the nighttime world.

Although Open All Night was short-lived—lasting just 13 episodes—its influence on television comedy remains significant. It paved the way for a new era of sitcoms that blended absurdity with grounded character relationships. It also probably catapulted Bubba Smith as an actor, leading to his part as High-tower in the Police Academy movies.

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Here Comes Mr Jordan stands out as a classic example of early American rom-com fantasy. Directed by Alexander Hall, this black and white treasure deftly intertwines humor, romance, and philosophical musings on life and death. Its enduring charm and insightful narrative continue to resonate with audiences, making it a noteworthy entry in Hollywood’s golden age.

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*Here Comes Mr. Jordan* begins with a whimsical premise: the story revolves around Joe Pendleton (played by Robert Montgomery), a young and promising boxer who meets an untimely death in a plane crash. Pendleton’s demise, however, is no ordinary death; he is mistakenly taken to the afterlife before his time. This clerical error, in the celestial bureaucracy, sets the stage for a comedic yet thought-provoking exploration of fate and destiny.

The film’s title character, Mr. Jordan (portrayed by Claude Rains), is the celestial bureaucrat who oversees the administration of souls transitioning from life to the afterlife. Rains’ portrayal of Mr. Jordan is both authoritative and affable, infusing the character with a blend of gravitas and geniality that enriches the film’s narrative. His role is pivotal as he becomes instrumental in correcting a subordinate’s  mistake.

As the story unfolds, Pendleton is given another chance at life, but with a twist—his soul is placed into the body of a wealthy, but nefarious man, who has just been murdered. This second chance serves as a catalyst for Pendleton to confront various aspects of human nature and morality. The film’s comedic elements emerge from Pendleton’s attempts to navigate his new life, adjust to his altered circumstances, and interact with the people around him, all while trying to return to his former life as a boxer.

The narrative structure of *Here Comes Mr. Jordan* provides a unique lens through which to view the human condition. Its portrayal of an afterlife bureaucracy, along with its exploration of human nature and redemption. One of the film’s standout features is its clever dialogue and witty script. The interplay between the characters, adds a layer of sophistication to the humor. The film balances its comedic moments with a reflective tone, exploring deeper philosophical questions without becoming overly heavy-handed.  *Here Comes Mr. Jordan* is a remarkable film that combines humor, romance, and philosophical inquiry into a cohesive and engaging story.

Watch the Philadelphia Story

The film’s influence extends beyond its initial release. It has inspired subsequent adaptations and remakes, including the 1978 film *Heaven Can Wait*, which echoes similar themes of mistaken identity and second chances. The original *Here Comes Mr. Jordan* remains a significant work in the genre of fantasy-comedy, illustrating how early cinema explored complex themes through accessible and entertaining narratives.

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A Vampire in Brooklyn was directed by Wes Craven, featuring a screenplay by up-and-coming screenwriter, and later established filmmaker, Roy Frumkes. The film stars Eddie Murphy, Angela Bassett, Allen Payne, and John Witherspoon. This unique blend of horror and comedy turns the idea of dark comedy on it’s head.

The film is set in Brooklyn,  and follows Maximilian (Eddie Murphy), a vampire who arrives in the city seeking a new place to thrive. Maximilian is on a quest to find his long-lost vampire queen, who, according to ancient lore, is the key to completing his eternal existence. He believes that she is a woman named Rita (Angela Bassett), a psychologist with a mysterious past that connects her to the vampire world.

Maximilian’s arrival in Brooklyn is marked by a series of gruesome killings, which capture the attention of the local police, including Detective Justice (Allen Payne).  Detective Justice finds himself increasingly entangled in the case, as the body count raises, it even intersects with his personal life. Meanwhile, Rita is drawn into Maximilian’s dangerous charm, and it becomes clear that her connection to him runs deeper than initially thought.

Throughout the film, Maximilian’s quest unfolds amid a backdrop of dark humor and urban eccentricities. The film combines traditional vampire lore with comedic elements, particularly through

“A Vampire in Brooklyn” attempts to merge the horror genre with comedy. Eddie Murphy’s versatile performance, which includes a dual role as Maximilian and a host of supporting characters. His portrayal of Maximilian is charismatic and adds a comedic twist to the traditional vampire archetype. Murphy’s ability to shift between comedy and drama provides a dynamic edge to the character and keeps the film engaging. Directed by Wes Craven, known for his work in the horror genre, the film brings a unique flavor to vampire mythology. Craven’s direction gives the film a distinctive style, blending suspenseful moments with light-hearted humor.

Angela Bassett delivers a strong performance as Rita, bringing depth to a character who is central to the film’s plot. Her role as a psychologist who is unwittingly connected to the vampire world adds a layer of complexity to the narrative. Bassett’s portrayal is the “straight-man” in the film, balancing out the comedic elements brought by Murphy.

A Vampire in Brooklyn, driven largely by Eddie Murphy’s performance, is an interesting experiment in combining horror with comedy. While it may not be a classic of either genre, it provides an entertaining and occasionally humorous take on vampire mythology. The film’s blend of a modern urban setting, coupled with Murphy’s versatility, makes it a notable entry in Wes Craven’s filmography.

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“The Gods Must Be Crazy,”  is Jamie Uvs, 1980 cinematic treasure that explores culture clash through humor.  The film explores the collision of two worlds—the traditional, harmonious life of the San people and the chaotic, technologically driven modern world. The vast and serene natural landscapes of the Kalahari desert are contrast against the chaotic man-made city.

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Examining the consequences of modernity on indigenous cultures, the movie revolves around the arrival of a Coca-Cola bottle dropped from an airplane, which disrupts the serene existence of the San tribe. The bottle, initially seen as a gift from the gods, soon becomes a source of conflict and chaos among the tribe members. The film uses this simple yet powerful premise to delve into complex themes of cultural clash and societal values.

One of the film’s strengths lies in its ability to navigate between humor and poignant social commentary. The comedic elements, often slapstick and exaggerated, serve as a vehicle to highlight the absurdities of modern society from the perspective of the San people. The juxtaposition of the simple, communal life of the tribe with the complexity and superficiality of the modern world provides a satirical lens through which the audience can reflect on their own societal norms.

The character of Xi, portrayed by the exceptional N!xau, becomes the unwitting protagonist in this cultural collision. His journey to dispose of the troublesome Coca-Cola bottle takes him on an unexpected adventure, bringing him into contact with characters from different walks of life. The film subtly comments on the folly of technological progress, and the impact of materialism,through Xi’s interactions. In doing so, it highlights the importance of simplicity and community.

Watch Romancing The Stone

“The Gods Must Be Crazy” is more than just a comedy; it is a thought-provoking exploration of cultural clashes and the consequences of modernity. As society makes it’s next technological leap embracing AI, one is left wondering what culture clash will modernity bring us next. How will it look? Will it be the city dweller who wanders into the wilderness and is bewildered and helpless without his gadgets and technologically fed instructions?

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Revenge of the cheerleaders was directed by Richard Lerner. The film flips gender roles on their heads when a group of high school cheerleaders decides to try and beat the boys at their own game, making a football team of girls.

The female cast was relatively uncommon in the 70s when the damsel in distress was more typical of Hollywood productions. The cheerleaders portrayed as strong and independent women, were more than capable of taking on the local football team and their chauvinistic attitudes. The message of female empowerment was seen as a feminist anthem. But unfortunately, this low-budget production was cliche, lacking depth of characters.

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An independent film, “Revenge of the Cheerleaders” was shot in 1974, but took two years to hit the theaters. Ahead of its time, it has become somewhat of a cult classic for paving the way for other all-female comedies, such as “Legally Blonde” and “Bring It On.” And while it helped increase visibility for women in the film industry, it is also credited as giving us 70/ 80s heart-throb David Hasslehoff’s first film appearance.

What really makes Revenge of the Cheerleaders stand out is that it was made at a time when competition and sexuality were mainstream. Today, female sexuality is cloistered to the adult industry and has a price tag attached to it, with a big chunk of that going to the corporate controllers of big-tech. In the 70s, female sexuality was equated to empowerment and could be either given away with a carefree spirit or used as a weapon to entrap a foe. But most of all, it was within the control of the woman wielding it.

Watch Dallas Cowboys Cheerleaders

Furthermore, aside from the entertainment factor of professional sports, today competition is both discouraged and vilified. The very nature of female sports which were only just beginning to become widespread in the 70s have almost been annihilated in a few short years recently. So “Revenge of the Cheerleaders” is a nostalgic quirky film appealing to fans of cheerleading and sports comedies. While not the most original or well-crafted film, it still manages to entertain and inspire, acquiring a position in the pantheon of classic cheerleading movies.

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Blue Summer, directed by Frank Perry, was overshadowed by other coming-of -age films released in 1973.  This feel-good movie really captures the care-free lifestyle and casual attitudes of the youth of the time. The film never gained widespread acclaim or a cult following because of poor marketing and for targeting a mature audience without the element of nostalgia.  Despite its intriguing premise and notable cast, there are several reasons why this might failed to achieve cult classic status.

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Perhaps too “real” for the mature audiences for which it was intended,  Blue Summer highlighted the sexual attitudes of the youth at the time, but may have alienated the more conservative older generation.  Coming of age films must either be time capsules of  personal experiences, capturing memories and nostalgia, or geared to a younger audience who dream of the liberties of making their own rules.  Blue Summer failed here because it had too much sexual content for the younger audience and was too current for the older adults.

Blue Summer tells the story of a group of teenagers who spend their summer vacation experimenting with drugs, sex, and rock and roll.  While these themes are fairly common in coming-of-age movies today, they were still considered taboo in the early 1970s, so many people missed the movie. Many people may have found the film’s depictions of drug use and promiscuity shocking or distasteful.

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Despite these factors, Blue Summer has since gained a small following of fans and enthusiasts. Many people appreciate the film’s realistic portrayal of teenage life and its willingness to tackle taboo subjects. But mostly, now it can offer some nostalgia  for the boomer generation. And in this modern era of widespread pornography, the titillating soft core film has it’s own almost romantic appeal.

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