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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RoboCop !   Ladies and gentlemen, boys and girls, and anyone who’s ever wondered, ” What if Dirty Harry was rebuilt by RadioShack?”

Set in a Detroit’s Dystopian future, where crime is so bad the criminals are looking for safe spaces.  Enter Omni Consumer Products (OCP), a corporation so evil they make Walmart look like a lemonade stand run by nuns. These guys have a plan: privatize the police force and replace them with RoboCop s. Because nothing says “justice” like a walking vending machine with a badge.

But wait! Before you get your ED-209 (that’s the corporate killer robot that looks like a Decepticon on stilts), there’s a human element; the RoboCop. Enter Officer Alex Murphy, who’s so wholesome he probably tucks his gun into bed at night. Murphy gets ambushed by a gang of psychopaths led by Clarence Boddicker. They blow Murphy up to the point where he’s more Swiss cheese than human.

OCP takes what’s left of Murphy—basically a spleen and a good attitude—and turn him into RoboCop, the ultimate law enforcement machine. He’s part man, part machine, and all cop. He’s like the love child of a Ford Pinto and a Terminator, with a voice that sounds like he’s been chain-smoking since the John F. Kennedy assassination.

RoboCop has got everything: satire, action, and more blood than a ketchup factory explosion. It’s like *Blade Runner* and *Die Hard* were surrogate donors for a baby raised by *Mad Max*. The violence is so over-the-top it’s almost cartoonish. People get shot, exploded, and melted in toxic waste. Begging the question, *Is this a movie or a PSA for gun control?*

The movie also takes some sharp jabs at corporate greed, media sensationalism, and the militarization of the police. Clarence Boddicker is the kind of villian who kicks puppies for fun and then bills you for it. And Dick Jones, the corporate sleazebag, is so slimy he probably sweats anal-ese. You love to hate them, and you cheer when RoboCop finally takes them down in the most spectacularly violent ways possible.

RoboCop isn’t just a shoot-’em-up.  Underneath all that chrome and circuitry, Murphy is still in there, trying to remember who he was. He’s like the Tin Man from The Wizard of Oz, except he’s got a gun that pops out of his leg. It’s the kind of movie that makes you gasp, and maybe even shed a tear—though that might just be from the sheer amount of shrapnel flying at the screen.

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Released in 1994, *The Crow* is a film that has garnered a cult following over the years, based on the comic book series by James O’Barr, the film stars Brandon Lee in his final role, which adds a layer of tragedy to the film’s narrative. The film’s story revolves around Eric Draven, a rock musician who returns from the dead to avenge his and his fiancée’s brutal and senseless murder.

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The film’s visual mix of gothic-noir is striking and contributes significantly to its atmosphere. Shot in Detroit, the city’s gritty urban landscape enhances the film’s dark tone, creating a world that feels both fantastical and hauntingly real. The use of shadows, rain-soaked streets, and stark lighting evokes a sense of foreboding that mirrors Eric’s emotional state. This visual storytelling is complemented by a haunting score that features contributions from artists such as The Cure, Nine Inch Nails, and Stone Temple Pilots. The music not only sets the tone but also encapsulates the film’s themes of despair and longing.

Brandon Lee’s performance as Eric Draven is central to the film’s impact. Tragically, Lee died in an accident during the filming, which adds a layer of poignancy to his portrayal. His embodiment of Eric is both powerful and vulnerable. As “the Crow” he conveys a sense of loss and rage while maintaining his fragile humanity. This performance has often been regarded as a defining moment in his career, showcasing his talent and charisma. The tragedy of his death has led many fans to view the film as a memorial, which further solidifies its emotional resonance.

At its core, The Crow is a tale of love transcending death. Eric Draven and his fiancée, Shelly, share a deep bond that is violently severed when they are attacked by a gang. Their love story, though short-lived, serves as the emotional backbone of the film. The poignant flashbacks that illustrate their relationship create a contrast to the dark and violent present, allowing the audience to empathize deeply with Eric’s pain. The film effectively portrays how love can be a source of strength and a catalyst for revenge, driving Eric to seek justice for Shelly’s death.

The Crow is a multifaceted film that combines elements of fantasy, horror, and romance to explore love, loss, and redemption. Through its striking visuals, a haunting soundtrack, and a poignant performance by Brandon Lee, the film resonates with audiences on emotional and intellectual levels. As both a work of art and a memorial, The Crow remains a significant cultural touchstone that continues to captivate viewers decades after its release.

Gummies for bigger & stronger erections

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Ashes to Ashes is the sequel to the critically acclaimed series “Life on Mars“. Returning to “Gene Hunt’s” world, this time the viewer visits 80s London. Blending elements of science fiction, and crime drama, the series explores themes of memory, trauma, and the blurred lines between reality and fantasy. Like it’s predecessor, all while paying homage to the iconic culture and music of the era.

The premise of the series revolves around Detective Inspector Alex Drake (played by Keeley Hawes), a criminal psychologist from 2008. In the first episode, she is shot during a police investigation, and instead of dying, she wakes up in 1981 London. Much like Sam Tyler, the protagonist of “Life on Mars,” Alex believes she is in a coma and that her experience in the 1980s is a product of her unconscious mind. Her primary goal is to find a way back to her own time, while also trying to unravel the mystery of why she has been sent to this specific moment in history.

Upon waking in 1981, Alex finds herself working at the Fenchurch East police station, where she is teamed up with DCI Gene Hunt (Philip Glenister), a brash, no-nonsense detective who embodies a rough-and-tumble approach to policing that was emblematic of the era. Gene is joined by fellow “Life on Mars” characters, DS Ray Carling (Dean Andrews) and DC Chris Skelton (Marshall Lancaster),  who mature considerably through this series.  Hunt’s methods often clash with Alex’s modern sensibilities, creating tension but also a compelling dynamic between the two characters.

The 1980s backdrop allows “Ashes to Ashes” to explore the social and political climate of the time, including issues like police corruption, the rise of Thatcherism, and the changing role of women in the workplace. The show also features a killer soundtrack, while the club scene is explored, as well as the crazy makeup of the era. Including hits from David Bowie, Duran Duran, and The Clash it’s a musical time capsule for viewers.

The show must be watched after the original series “Life on Mars” and to it’s conclusion. It culminates in a third and final season, which ties together many of the mysteries that have been building since the first series. The ending is both surprising and thought-provoking, offering a satisfying conclusion to the overarching narrative.  Not to be missed, but also not to be rushed. The conclusion is powerful because of the character development across the two series.

A remarkable expansion on the original series’ themes with its own identity. Its mix of nostalgia, psychological drama, and crime procedural elements make it a unique and compelling show. Whether you’re a fan of 1980s pop culture or drawn to complex, character-driven stories, “Ashes to Ashes” offers something for a broad range of viewers. Through its innovative storytelling and memorable characters, it stands as one of the BBC’s finest dramas.

 Life on Mars was also made into a Korean Drama

season 01

season 02

season 03

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Super Fly was directed by Gordon Parks Jr. and starring Ron O’Neal as Youngblood Priest, a successful cocaine dealer who wants to put the drug trade behind him and make a clean new start. The film was popular with critics and the public. There was a remake of Super Fly in 2018. The original 1972 movie is widely regarded as one of the defining films of the blaxploitation genre.

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One of the key strengths of “Super Fly” is its lead performance by Ron O’Neal. O’Neal brings a charismatic intensity to the role of Youngblood Priest, making him both a compelling and complex character. He captures perfectly the character’s ambition, frustration, and sense of morality. O’Neal’s performance is one of the highlights of the film.

Curtis Mayfeild composed the excellent soundtrack. The music perfectly captures the energy and mood of the film. The 1970s funky grooves are interlaced with powerful lyrics, providing a powerful commentary on the themes of the film. The soundtrack was a commercial success in its own right, and is still regarded as one of the best soundtracks of the 1970s.

First you get clean then we help you get dirty

Another standout aspect of “Super Fly” is its visual style, with its stylish cinematography and lush production design. The film’s cinematography perfectly captures the mood and energy of the film, with its striking imagery and powerful use of color. But it is violent, as expected given it’s a crime drama that focuses on drug culture. Unfortunately, some criticize this as stereotypical portrayal of black characters The film’s visual style is a key component of its overall impact, and helps to make it a memorable and powerful film, albeit one that might possibly glamorize the drug trade .

“Super Fly” is a powerful and unforgettable film that remains a landmark of the blaxploitation genre. With its memorable lead performance, iconic soundtrack, and striking visual style, it is a film that continues to captivate audiences to this day, despite the argument that it perpetuates negative stereotypes about African Americans.. Whether you’re a fan of crime films, blaxploitation, or simply a good story, “Super Fly” is a must-see film that is not to be missed.

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Elia Kazan directs and all star cast including Brando as Terry Malloy. Eva Marie Saint in her motion picture debut plays Edie Doyle, who becomes Terry’s love interest after her brother is killed. Karl Malden plays Father Pete Barry, who tries to get the longshoremen to stand together against the tyranny. (A long lived actor in both film and television, you’ll remember him best as the face for American Express traveler’s cheques…”Don’t leave home without them”). Playing the antagonist Johnny Friendly, is Lee J. Cobb (Death of a Salesman). Fred Gwynne (Car 54, where are you? & Munsters) plays a cop named Mladen “Slim” Sekulovich (Karl Malden’s real name). Unaccredited actors who went on to be stars in their own right include Katherine MacGregor (Little House on the Prairie) and Martin Balsam (Psycho).

This movie has be rated in the top ten of best American movies of all time. Worth the watch.

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The story opens when Famous Belgian detective Hercule Poirot must return home from Istanbul. He is friends with the man in charge of the train, Signor Bianchi who gives up his own first class quarters for the detective. Through the night, the train comes to a standstill in Yugoslavia, due to snow on the tracks. An uncouth American businessman, Samuel Rachett is found murdered and the detective must discover who among the other passengers is guilty.

The train is filled with men and women of various ages, nobility and wealth. They include a count and countess, a princess, a governess, the elderly Mrs. Caroline Hubbard, a couple of businessmen, and a missionary, a doctor and a couple of assistants/ attendants. The clues point in all directions and the defective knows that they are planted since he had one article of evidence added to his personal belongings. He relies on interviews and broken tidbits of conversation he overheard prior to the murder and his own intuition and experience to piece together the guilty, the motive and double identities.

It’s a classic who done it, not to be missed.

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“Life on Mars,” is a compelling blend of crime drama and science fiction. It explores a unique narrative where a modern-day detective finds himself transported back to the 1970s. The 2006 BBC series begins with Sam Tyler (John Simm), a detective in contemporary Manchester. Tyler while investigating a string of violent crimes, is hit by a car and wakes up to find himself in 1973. He is now working under the command of the brash and unconventional DCI Gene Hunt, portrayed with charisma and intensity by Philip Glenister.

“Life on Mars” brings to life the 1970s environment with extreme attention to detail and well placed era music. The show examines the changes in attitudes and what is socially acceptable by juxtaposing Tyler’s modern identity and memories with the 1970s realities that he had to deal with. Tyler’s modern sensibilities and psychological trauma clash with the retro attitudes and methods of the 1970s police force. The show is both a tribute to and a critique of the period’s social and political atmosphere, exploring themes of morality, justice, and identity.

“Life on Mars” stands out for its innovative storytelling and strong character development. The chemistry between Simm and Glenister is outstanding. John Simm’s portrayal of Sam Tyler is particularly noteworthy. His performance captures the emotional turmoil of a man caught between two worlds, and his struggles to adapt to the 1970s’ social norms are both poignant and relatable. Simm’s nuanced acting brings depth to a character who is both a product of his time and a relic of modernity.  Philip Glenister’s DCI Gene Hunt is a force to be reckoned with. His portrayal of the tough, often politically incorrect detective is both humorous and chilling. Glenister’s dynamic presence creates a perfect foil to Tyler’s more introspective character.

“Life on Mars” also benefits from its sharp writing and engaging plot twists. The series explores complex themes, including the nature of reality and the impact of time travel on one’s psyche. The blend of crime drama with speculative elements keeps viewers on the edge of their seats, eagerly anticipating each new revelation.  The series went on for 2 seasons and it’s fan base led to a continuation of Gene Hunt’s world in the 80s centered series Ashes to Ashes which ran for 3 seasons, saw a carryover of several Life on Mars characters and eventually gave audiences closure on the nature of the time travel involved. 

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