Broken Hearts Club, 20 Years Later

DATELINE: Sexy Romantic Comedy?

stellar cast

Of all the weird elements of the Broken Hearts Club is its subtitle, a Romantic Comedy.  It is nothing of the sort, but rather a version of a gay sex farce. That takes nothing away from its polished and entertaining qualities.

The other oddity, still years later, is the cast of all-straight men, mostly at the start of their big careers, and all playing mincing gay boys of different stripes. It’s like one of those World War II platoons with different ethnicity and stereotypes.

The cast is stellar, including Timothy Olyphant (of Deadwood and Justified) giving a slightly off performance that nearly convinces us he is gay. Of course, his kissing abilities are hot, but he has been married for years.

So has Dean Cain as the Lothario of the group and Zach Braff as the gayest queen.

The ragtag friends work part-time in some capacity or other at Jack’s a gay friendly restaurant in Los Angeles, and they play softball for the business. This gives the actors a chance to prance around in queenly fashion.

When dramatic moments are called for, the actors are highly polished and strong, even in their disappointments with love. They seem to avoid falling into bed with each other, but when it happens, look out.

Greg Berlanti writes and directs with aplomb and wit, though stereotypes are required. The young men are all 20-somethings, in the tail end of the AIDS crisis and not really part of it.

We would like the director to do a sequel and show us these men and their dissipated lives at age 50. It might prove more instructive, if not frightening, to see what happens to handsome gay men in middle-age.

Children of Giant: Mexican POV in Marfa

DATELINE: Unavoidable James Dean Strikes Again

Children of Giant Children of Giant!

If you know anything about our Hollywood history books on the story behind making movies, you know that we would be hot on the trail of George Stevens’ 1955 classic epic Giant. 

Made On location in Marfa, Texas, with Elizabeth Taylor as an early feminist in 1920s Texas, and Rock Hudson as the laconic cowpoke who owned Reata, a cattle ranch, you are overwhelmed with James Dean who stood out on the landscape,

However much the director wants to make this a movie about the Mexican discrimination in Texas, James Dean is there to steal the movie. He dominates everything in the fascinating film called Children of Giant.

Actor Earl Holliman is still around to give his perspective, and Jane Withers appears to have declined to participate.

Director Stevens’s son, notable Hollywood producer George Stevens, Jr., offers many insights. They say little about Dean.

It was the film James Dean died making. It was a Western that showed the yellow rose of Texas was a yellow streak of Jim Crow laws against Mexicans. The children loved him, and they saw him as someone special and caring.

Today Marfa’s racism almost seems quaint, next to the horrors being inflicted on Mexicans under Trump.

New York historical novelist Edna Ferber was spot on depicting wild cat billionaire Glenn McCarthy (aka Jett Rink in the movie and book). James Dean’s makeup and style mimics McCarthy in his late middle-age.

Dean is remembered fondly by the Mexican children and adults whom he befriended in Marfa, Texas. Indeed, if you are looking for stories about Dean’s public urination in front of town onlookers, or even the tale of Dean going after director Stevens in a fight over his performance, you will find only slight nods in that direction.

Yet, as a social history document about a social history movie, you could not find a more spot-on documentary. It features townsfolk giving their insights and sharing their unusual photos.

It is nirvana for a movie maven who delights in the behind-the-scenes activity. This little PBS documentary packs a wallop and a message from the children of Marfa in 1955. Unfortunately, James Dean is still the big draw. George Stevens and Edna Ferber could not avoid him then or now.

 Dr. William Russo wrote The Next James Dean, which is available as an ebook and print work on Amazon.

 

Bend Unbroken, Stir Unshaken

DATELINE:  James Bond Satire

Chris Lew Kum Hoi Dr. Tu Yung

How amusing is a gay parody of James Bond? Well, if you tune into Matt Carter’s one-hour spoof, you may be more than pleasantly surprised. It is not too violent, nor too sexual.

It’s Jayson Bend: Queen & Country.

So, it falls into a Goldlocks world of gay cinema. And, thank heavens, it is not about teenagers with a coming out angst and done on videotape.

Some of it is heavy-handed, as it is always difficult to satirize a satire—and people often forget that James Bond was Ian Fleming’s satiric secret agent. He is taken too seriously.

Matt Carter seems to have his name and paws all over this little film. It stars Davis Brooks as Jayson Bend (not Bent), but it’s Jayson with a “Y”—and don’t ask.

We find the cute girls are replaced by cute boys—and Dr. Tu Yung is an adorable villain (played by Chris Lew Kum Hoi).

What may be a great surprise is that this film has a big budget look about it. The color is bright and bold, and the fast cars and special effects are just right. The only violence is at the start, and the sex is chaste: hints by kiss.

It’s safe for straight guys.

Out of Time and Out of Clues

DATELINE: Dean Cain & Denzel Back in 2003

Dean & Denzel

Like Bruce Willis, for twenty years or more, Denzel Washington has showed a knack for picking interesting films and character roles. One of these is called Out of Time, a hackneyed suspense drama.

In 2003, he tried his luck as a semi-corrupt small-town sheriff in the Florida Keys. The film has all the workings of film noir in the 1940s that Robert Mitchum could have played.

Denzel is an anchor among some flashy performers, and the opening wit is entertaining before it devolves into a mystery muddier than anything Raymond Chandler could dredge up.

You will enjoy seeing Sanaa Lathan and Dean Cain as a couple of reprobates, but their general dubious crime associations are masked by their attractiveness. The first-half fun is replaced by a phony suspense device in the second half.

Eva Mendes as Denzel’s ex-wife and John Billingsley as his slob of a medical examiner are worth having their own pictures. Sanaa Lathan and Eva play ping-pong with Denzel’s balls.

Plot holes start to do in the viewer as the complications become less amusing and more ridiculous. It seems Denzel’s sheriff is a dope (self-admitted by film’s end) and must work to extricate himself from a set-up that, for unknown reasons, makes him a fall-guy.

Since he is a charmer and likeable, we figure that drug dealers have it in for him. We might be wrong, as usual. However, clever clues are not forthcoming to help armchair detectives figure out the thriller mystery. Yet, Dean Cain and Denzel are at the peak of their youthful good looks in this one, and they are highly watchable.

All your natural action ingredients are tossed in, and there is a time handicap that never really becomes a deadline of importance. The suspense is botched.

Yet, for Denzel’s fans, it is another masterful performance in a well-produced movie. For the rest of us, it’s a ho-hummer, beating the clock for an hour.

 

Two Mrs. Carrolls Lacks Noir

 DATELINE: Oldie May Not Be Goodie

  Stanwyk & Bogart Great Stars! Abysmal Script!

Back in the late 1940s, it was tough to find leading ladies who were strong enough to stand up to Humphrey Bogart. Usually producers fell back on his wife, Lauren Bacall, for a counterpoint.

In a rare miss, Bogart was teamed with one of the big misses of the era.

Big women movie stars on the screen—like Joan Crawford and Bette Davis—did not measure up to the scripts that suited Bogart.

On the other hand, Barbara Stanwyk was also a tough cookie to play against. She was so tough that her leading men came off as Neanderthal, if not pussycats. Gary Cooper was a regular costar, and after that, you were facing weaker characters (played by Fred MacMurray or Ronald Reagan, or the nice guys like Bill Holden).

After Sorry, Wrong Number, she took on more nasty victims, and so we come to teaming Bogart and Stanwyk, almost deserving of each other in the dull-witted murder-thriller The Two Mrs. Carrolls. Stanwyk is hysterical on the telephone once again, and rest assured, the rainy Scottish weather means that Bogart will don his obligatory trench-coat and fedora for at least one scene. It isn’t enough.

It was post-World War II and tough-guy actors were stretching into demi-villains. Thus odd-ball film is set in Scotland with an American cast of apparent expatriates. Nigel Bruce (Dr. Watson) is on hand as a dotty doctor for Stanwyk as she is poisoned, and Alexis Smith is the new muse for the diabolical painter.

You keep wondering when Sydney Greenstreet will show up to trap Bogart’s bad guy.

As Geoffrey Carroll, Humphrey Bogart loses interest in his latest wife as muse, murders her, and finds another. It is kind of Andrea del Sarto as Bluebeard.

He plays an unconvincing American artist in this one, not a detective, and he seems to have headaches when the word “death” echoes behind him. He exhibits a bunch of the Deadly Sins—including rage, pride, jealousy, among others.

His alleged successful paintings are deplorable.

These are not good signs for Bogie in the last days of noir. They may be worse news for Stanwyk as victim. She is made so demure that the point of putting a strong woman opposite Bogart was lost. Bogart feeds poisoned milk to his wives, like Cary Grant in Suspicion by Hitchcock. It’s that kind of copycat movie.

This British play is devoid of wit, suspense, plot, action, or anything that could be saved by the high-powered actors at the top of their careers. This was not a Warner Brothers film, or it would never have been made like this.

The final few seconds are the high-point when Bogie offers warm milk to the policemen about to take him away. (Oh, it’s laced with that poison).

What a disappointment for the most part.

 

 

 

Code-breaker: Rebel Genius

DATELINE:  Einstein of Computers   

 real Turing

Alan Turing, age 14.

The inspiration for the movie with Benedict Cumberbatch as Alan Turing, entitled The Imitation Game, was a small British documentary called Codebreaker back in 2011.

The term “codebreaker” refers to two distinct segments of Turing’s life. He was a war hero who invented computers in the early 1940s and broke the German Nazi secret code.

Later in his life, he broke the social morays of staid British sexuality with his gay lifestyle.

Some dim-bulbs on IMdB have criticized the film for forcing them to endure his terrible, tragic second half of life, that included sex scandal, arrest, and chemical castration by the government he worked assiduously to save.

The film is also strengthened by the performers who re-enact Turing and his psychiatrist, Franz Greenbaum. With many moments of fraught faces, we have a definitive portrait of anguish.

Ed Stoppard and Henry Goodman give masterful performances. They regard each other perfectly as patient and doctor, later as friends. Goodman’s paternal father figure looks with pain upon Stoppard’s victim of cruel treatment.

Their looks make the re-enacting of Greenbaum’s medical journals quite compelling.

The film is fleshed out with interviews from Greenbaum’s now elderly daughters who knew Turing and his coworkers in breaking the Nazi code.

What you have here is a powerful indictment of how governments abuse and use people ruthlessly. In many ways this documentary is far more fascinating than the tale of the man who invented computers in the Imitation Game.

The Eagle: Too Gay or Not Gay Enough?

DATELINE: Blue Man Group?

blue man group Whose Slave Is it?

Back in 2011, Channing Tatum and Jamie Bell commenced a series of roles in which they seemed to be walking on the wild side of homoeroticism. In one of their early incarnations, they went gladiator school for us.

The Eagle has over 400 Amazon Prime reviews—and only two picked up on the bromance tell-tale marks.

Like the Mechanic with Bronson and Jan-Michael Vincent and probably Top Gun with Tom Cruise and Val Kilmer, the Eagle is about two men in an intense bromance—with all the bedroom scenes on the cutting room floor. You may gnash your teeth, or breath a sigh of relief.

You are left with a Roman Empire story about a handsome soldier and his slave-boy. Uncle Donald Sutherland knowingly buys the lad for his nephew Marcus. Later, Esca (Jamie Bell) reveals he has taken an oath of honor never to leave Marcus (Tatum). It’s about as close to nuptials as you lay it on in Ancient Rome.

The two go on a spiritual journey to recover the Roman Eagle lost by Tatum’s father in a battle in northern England where the Briton savages reign beyond gay Hadrian’s wall.

When they arrive, we have a switcheroo: in the land of beautiful men covered in blue dye, Bell is the master and Channing the slave. How their bromantic fortunes bounce.

The savage blue Britons also dance magnificently, the best we have seen English men dance since, well, Billy Elliot.

A few critics disbelieved Tatum and Bell were lovers in the script, as there were not enough smoldering looks to convince them that something was afoot. Since there are no closets in Rome or Britain of the age, we are unsure whether they were hiding there.

With intense battle scenes and violence, we have here a seminal bromance movie that will warm the cockles of your heart. It’s also the best Roman slave movie since Spartacus.

Unlocked: Bloom of Youth Gone?

 DATELINE: Spies Who Came in from the Heat

bloom Fading Bloom?

Unlocked is a gender-bender spy tale in which the producers take a routine story and make the hero a heroine, casting the burned-out case of an agent from man to woman. In this case it is Noomi Rapace or is that Roomi Napace?

You can’t tell CIA agent without a scorecard or iPO address.

She is a manly girl, and so is her butch boss, Toni Collette, playing one of those MI6 supervisors in conflict with her American counterpart in the CIA, John Malkovich.

There is some deadpan humor evident, but the main point is whom can you trust? And is anyone really dead?

Don’t make any bets.

Michael Douglas is Noomi’s mentor in a few clipped scenes. He takes a clip or two more than once.

Orlando Bloom looks haggard and covered in tattoos to diminish his once-boyish charms as some kind of thug-cum-wish-come-true.

Yes, there are twists galore and violence unremitting as we try to figure out who the terrorists are and why they are so sympathetic. It seems their cell in London wants to downplay terror attacks in multi-cultural London.

We recall the days when it was New York City that was the melting pot, but times and spies change the war terms.

The film is utterly brazen in its attempt to create a franchise, following the exploits of this female James Bond hopeful. Most of the cast likely could return in one role or another as the spies who loved each other.

 

 

Please Murder Me! TV Titans in Film Noir!

DATELINE: Perry Mason Meets Murder, She Wrote!

TV titans

When Perry Mason meets Jessica Fletcher, we have a murder mystery donnybrook, she wrote. Murder Me Please is a surprise of the first magnitude. Who knew?

In 1956, fresh off Godzilla, Raymond Burr took on another role in which he spoke into a tape recorder while murderous film history was made around him. It was likely this movie role, heroic and protagonistic, that won him the lifetime achievement as lawyer Perry Mason. This is his first true Perry Mason role.

Here, he must defend a woman he knows is guilty of murder—and live with the consequence of exonerating a danger and menace.

His nemesis is Angela Lansbury, looking all too femme fatale before moving into matron roles. Here she gives one of her last great villain acting jobs (culminating in Manchurian Candidate).

This film noir is so dark during the first 15 minutes that you want to scream at the screen to turn on a light.

It is classic 50s nighttime in Los Angeles among the upper-classes. The supporting cast is gem-laden:  Dick Foran is the cuckold husband, and John Dehner is the Ham Burger to Burr. Young Lamont Johnson is the callow artist in his final acting job before going on to direct movies.

This is a Peter Godfrey picture, meaning it is stylish and professional, before he slipped into directing routine television anthology shows.

The fireworks between Burr and Lansbury are worth your time. It was a forgotten B-picture in its era of 1956, with far more interest today as a sign of great actors having a field day.

One problem is the print of the movie, clearly abused by time with scratches, lines, and other distractions coming from careless handling of the prints. Yet, the film itself transcends with its harsh, hard-knocks, noir crime thrills.

Lansbury and Burr would become TV icons as Fletcher and Mason, but that is mere promise in this movie. This is acting war.

 

 

 

 

 

 

Hostiles: Not So Friendly West

DATELINE: How the Western Is Lost

 Bale's beard Bale’s Beard

A few more Westerns like writer/director Scott Cooper’s Hostiles and the Western will be killed unceremoniously, gutted “from stem to stern” as they repeatedly say in this movie. And don’t smile when you say that, pardner.

Though we might make a comparison to John Ford’s The Searchers, we’d be way out of line. Though Ford’s John Wayne classic dealt with Indian massacres and brutal revenge, it was also human in its emotions and veered away from tedium in the stunning Western settings.

Christian Bale is a laconic cavalry captain who participated in a massacre of native Americans at Wounded Knee—and now in his final assignment must take a hostile chief and his family to a Montana sanctuary by order of the President.

Constantly prattling on that he merely follows orders, he is prepared not to follow these orders. Yet, this hero is like a good Nazi soldier, doing only his job. Cruel violence pockmarks the storyline amid the tedium. All we hear is discouraging words.

In the older Westerns, you had some likeable characters and some sense of humor to keep sane in the desolate West. Here, the characters are driven mad by their dour natures.

The Captain rescues a woman whose family has been killed by Comanches, and she joins the odd caravan through desert and mountain settings. Along the way we meet Ben Foster as a nasty Indian killer (apparently along to re-team Bale from their successful work in 3:10 to Yuma). Also along briefly is young star Timothy Chalamet, wasted mostly as an inexplicable French horse soldier out west.

Costars are impressive actors like Wes Studi, Stephen Lang, and Scott Wilson. They give the film true grit, however unhappy their roles are.

Bale is so laconic that his imperial beard has more life than he. Not a twitch from that mustachioed hero

The film is so serious about its political messages, all mixed up with revisionism and apologies, that we recognized the genre only in fleeting glimpses. The movie is in the long run, long and predictable.

 

 

M/M: Sexual Identity Thief

DATELINE:  Weird Sex Thriller!

m:m M/M

Drew Lint is a director whose name we will watch in the future. His effort called M/M refers to Matthew and Mattias, two trendy young gay men in Berlin. However weird, this is not your usual gay love story. It is more a story of bizarre sexual obsession and identity theft. It’s Strangers on a Train on steroids.

If Jean Cocteau were still making movies, this would be his updated Beauty of a movie. If Rene Clair were making movies, this would be his update of a Highsmith story. Drew Lint writes and directs this film that rises far above the usual fare of gay-themed movies.

Hitchcock dared to make a movie like this, without overt sex in Rope.

Dialogue is sparse throughout the film, but it is definitely international with dollops of French, English,  and German, often in minor conversation or background.

Matthew is an artist, and Mattias is a bademeister (or glorified pool boy). Mattias wants to become his near twin, and there is a Patricia Highsmith Purple Noon quality here.

Stealing your life and sexuality may be more daring than taking your purse.

Whether parts of the tale are a dream (as Mattias notes in the opening, he dreams of statues come to life), you may be left guessing. Since Matthew may be involved in computer sculptures, you have a connection.

The dream twins become more and more alike, which may be why they both are devotees of techno music. How Mattias comes to take over Matthew’s life is intriguing and almost expected from stalking.

If you are not squeamish about sexual peccadilloes, the deeper psychological by-play between the characters sexually will be part of the sophisticated puzzle of the movie.

Prepare for a roller-coaster of creepy psychological games.

 

 

Giancana: Recognizing Truth & Disbelieving Sam(e)

DATELINE: Unimpeachable Crime

sam Sam Testifies to Congressional Hearing!

Mobster Sam Giancana’s great nephew wrote and produced a documentary on the notorious and contradictory mob leader. It is fascinating and entitled: Momo, the Sam Giancana Story. If you wondered about an inspiration for The Godfather, here it is.

Giancana’s daughters oversaw the production and participated in giving personal details about their father.

What came out of the life of a Chicago mobster, one of the successors to Al Capone, is a dapper and dangerous figure who wanted to be a globe-trotting figure of celebrity. He hobnobbed with the likes of Frank Sinatra and was boon companion to Phyllis McGuire of the famous singing sisters.

He had tentacles everywhere but managed to keep his life compartmentalized. He was a kindly family man—and to his associates he was a bad-tempered businessman.

Reconciling the elements reaches a state of improbability that turns viewers into cartoon version of “Believe or Not!”

Giancana made deals with Joe Kennedy to make his son president. He made deals with the CIA to murder Fidel Castro for taking away the mob’s Cuban casinos. He made deals to run Las Vegas—and he was a man who liked to control influence over powerful people. He shared mistresses Judith Exner Campell and Marilyn Monroe in order to gain an advantage.

He had close ties to Jack Ruby, a mob nightclub owner in Dallas, who often did business for Giancana. One of Lee Harvey Oswald’s brothers was hooked into the New Orleans mob.

The stretch or reach of Giancana may be disturbing beyond having turned Oswald into a patsy and hired Chicago killers to murder John Kennedy, hired J.D. Tippitt to kill Oswald, and then had it all go awry.

On the verge of talking to a U.S. Senate committee in 1975, his flamboyant mob boss attitude perturbed more than a few in the criminal element who ordered him assassinated in his own home. His flashy style did him in.

With corruption so total and human nature so contradictory, the life of Momo Sam Giancana takes on a sense of reality that may have you shake your head in recognition and in disbelief.

 

 

 

 

Dead Again, Hysterical Satire

DATELINE: Reincarnation Mystery

kookoo mystery Kookoo Noir Takeoff

There was a time nearly 30 years ago when Kenneth Branagh was considered the reincarnation of Orson Welles, with a dollop of Laurence Olivier thrown into the mix.

So, the time has arrived to re-assess one of his early efforts called Dead Again from 1991.

He was a promising and brilliant director of unusual fare and acted well too. This looney mystery deviated from his usual Shakespearean play adaptations by entering the film noir, detective story, broadly copying Warner and Parmount features of the late 1940s.

What most missed back then was the fact that this overwrought tale of reincarnation and murder was overdone deliberately. We cannot believe Branagh was dumb enough to think this was not a comedy.

The film does double duty: telling a modern case of a detective Mike Church in LA today, and the strange killer, Roman Strauss, a composer and conductor of 1948, who was executed for murdering his wife. The black and white noir flashbacks are spot on for 1940s imitation. Dick Powell and Lizabeth Scott are suitably channeled.

Branagh is a little weird as a detective (his reincarnated self) who is an LA sleuth with a Brooklyn accent. That might be the first mistake, or first clue.

The cast is equally impressive, with Emma Thompson as Strauss’s wife, the concert pianist victim, and the modern woman with amnesia that Church must help.

Call in Derek Jacobi as some kind of psychic hypnotist to regress the woman to 1948, and you have another brilliant performer slightly out of place in an American movie.

Also hanging around in cameos are Robin Williams, Scott Campbell, and Andy Garcia. This film is no slouch when it comes to top-level talent. Yes, Wayne Knight is here too.

We are a sucker when it comes to transgender resurrection and timeless love stories.

Everyone immediately notices that Emma Thompson resembles a woman dead in 1948, but no one seems to notice that Kenneth Branagh resembles her convicted murderer, executed in 1949.

Oh, well, that’s Life Magazine for you. In the meantime, the movie moves more and more toward utter lunacy, skipping over plot holes like hopscotch gone to bad karma.

We like our twist of reincarnation with a bitter of gender bending. Add some lemons and you have Branagh imitating Paramount and Warner Brothers murder mystery thrillers of the 1940s with panache. We are Between Two Worlds and the Two Mrs. Carrolls.

Like a warm British beer, this movie is all frothy, and the suds will make you queasy. It’s eye-rolling fun.

 

 

In from the Cold? Richard Burton

DATELINE: Portrait of Welsh Rare-bit

Burton & Hamlet Yorick with Burton!

Just a few years after his death in 1984, a comprehensive documentary biography of the great stage and film actor Richard Burton stands as the definitive word on his career and life. It is called, overly rococo, In from the Cold? Portrait of Richard Burton.

To put Elizabeth Taylor and two-time husband Burton into perspective, they were the Tom Brady and Giselle Bundchen of their era.

A poor Welsh boy, Richard Jenkins found success through his good looks and well-modulated voice. His legal guardian was Philip Burton who helped him achieve his initial goals.

Only later did he seem to sell his soul for international fame and money. It seems to have brought him emptiness and unhappiness.

Generous to a fault, he supported dozens of people with his film revenue. It underwrote some of his great stage work:  Camelot, Equus, Hamlet, and even Private Lives.

We see him playing Edwin Booth as Laurence Olivier as Richard III. Indeed, Olivier asked him whether he wanted to be a great stage actor or a rich movie star. He was both.

The film contains some fairly unflattering interviews with Lauren Bacall, Joe Mankiewicz, and Mike Nichols, who seem to trace his downfall to the soul-selling deal with Elizabeth Taylor. Indeed, the film uses clips from Virginia Woof, Faustus, Wagner, and the Spy Who Came in from the Cold, as biographical annotations on Burton’s predicament, in his own words. He is hoisted on the petard ruthlessly.

The man was far gentler than his righteous angry young man personality—and dissipated roue of later years.

If Elizabeth Taylor was his Waterloo and Watergate, he was complicit in the lifestyle. The film skips over a few morsels but stays away from trivia that might be too revealing. He did a guest bit on The Lucy Show to satirize his own character. He gave interviews in which he seems to be acting, or not. It is hard to tell.

To hear that grand voice again, and see those notorious news reel clips, is shocking to reveal how long he has been gone, and how much he is missed. There has never been a replacement—in movies, or the sad last years of Miss Taylor’s life.

Karate Kid: Reboot to the Nose

DATELINE:  YouTube Returns LaRusso to Cobra Kai Saga

Zabka

We were never a fan of the 1984 Rocky-style movie for karate kids, but did find its stars interesting. Ralph Maccio never recovered, and William Zabka (the blonde pretty boy bully) should have had a grand career.

Reboot and kick on high might be a good way to go. This is also more interesting than watching Leave it to Beaver cast as adults, a few years back. There is something both alarming and satisfying to see that the child is father to the adult.

We followed Zabka as the son of the Equalizer on the 1980s TV show and were sorry he never caught on.

Now we find the twosome reunited in a YouTube series about the characters LaRusso and Lawrence 35 years later. It is a hit, and it’s not hard to see why. These actors and their character are now fully developed with middle-age. They are interesting—and have an appeal to a generation that grew up and older too.

Not much has changed in terms of their mutual differences and dislike of the other.

It makes the rivalry more interesting. Of course, the obligatory teenagers are at the core of mentoring through karate teaching. Copious film clips to the original action highlights the tales, though Pat Morita can only appear in flashback.

The actors are wonderful: indeed the bad guy of yore, Zabka, is now refreshingly antihero—and Maccio continues to play the obtuse victim of his own life.

The series has been renewed for a second season, which is good news because this is funny, fast, and well-done, much of a surprise considering it comes from a new TV/internet network where expectations may not be high.