Tag: Anthony Zerbe

Frasier (1993) s07e12 – RDWRER

Despite the unfestive title, RDWRER is the third “Frasier” in a row to do a holiday. Two episodes ago, it was a birthday episode (sort of) for Kelsey Grammer, then last episode was a Christmas episode, and now this episode is the New Year’s. There’s no specific mention of the new elephant—Jane Leeves knows David Hyde Pierce had a crush on her, but he doesn’t know she knows. Instead, it’s a Crane Boys episode; Grammer, Hyde Pierce, and Mahoney go on a wacky adventure.

The episode starts with Grammer and Peri Gilpin talking about their respective New Year’s. Grammer’s requires a flashback (and the entire episode). He and Hyde Pierce’s plans have fallen through, so they finagle an invite to a Wine Country party; they just need to get there. Good thing dad Mahoney’s custom plates—RDWRER (Road Warrior, sound it out)—have just arrived for his Winnebago. After a short scene with Leeves (she gets one bit then exits), it’s a road trip episode, with Grammer and Mahoney never letting Hyde Pierce drive.

New-to-the-show-this-season credited writers Sam Johnson and Chris Marcil do a great job, and Grammer delivers on the directing front. As per usual, he showcases his fellow actors over himself—Leeves’s outburst about late Christmas cards, Mahoney getting into it with a rural cop, Hyde Pierce convinced he’s been kidnapped. Then Grammer lets himself have a great showcase talking to Hyde Pierce—telephonically—about the kidnapping. It’s an “event” holiday episode, much more than the preceding two. The show’s not letting the mega-plot get in the way of an episode this time.

There are a couple fun and weird bits. First, Mahoney’s obsessed with Austin Powers, even though Grammer assures him he’s missed the pop culture moment. It’s silly and ages awkwardly—if they were really betting on Mike Myers being ubiquitous, they bet wrong—but it gives Mahoney some absurd lines to deliver well. Then Rebecca Schull guest stars. She was on “Wings,” which takes place in the same universe as “Cheers.” I can’t remember if there was ever any post-“Cheers” crossing over with “Frasier,” but… it’s a good bit part. She and Anthony Zerbe are an old couple also on the road in a Winnebago.

I think there was an episode of “Wings” where Schull had an evil twin. Maybe she’s playing the third sister here.

Anyway.

Excellent episode. Clock’s ticking, though. The clock is ticking.

Star Trek: Insurrection (1998, Jonathan Frakes)

Star Trek: Insurrection has a lot of problems, but they’re peculiar ones. None of them affect the film’s overall quality. Sure, it’d be nice if the sci-fi action sequences worked out better, but they aren’t the point. Even though director Frakes clearly has some set pieces in the film, he always relies on his actors instead of the effects.

Given Insurrection has some terribly pedestrian CG, it’s a good move.

Characters disappear for long stretches of film–Gates McFadden gets a couple lines at the beginning, a kicker later on, and does hang out, she has nothing to do. LeVar Burton gets a tiny bit more. Michael Dorn gets to hang around Patrick Stewart and Brent Spiner. Frakes does give himself an amusing romantic subplot with Marina Sirtis. But, in the end, Insurrection gives everyone enough to do. The characters are appealing, have chemistry, make the plot work well.

Michael Piller’s script is this gentle, “extended” episode of the “Next Generation” show with Spiner going renegade and Stewart and company showing up to figure out what’s going on. It all leads to Stewart going renegade too (and cavorting around with the fetching Donna Murphy). Stewart and Murphy are great together, though Stewart’s just strong throughout. He has a fun time with the film. The light tone helps the film get through some of its other problems, like Herman F. Zimmerman’s questionable production design and Matthew F. Leonetti’s too crisp photography, which never matches the digital composites.

And villain F. Murray Abraham isn’t good. He’s goofy. Gregg Henry’s good as his sidekick though.

The film moves. It never runs long, never has to hurry through anything. It’s not good because it’s likable, it’s likable because it’s good. It’s just a shame the production values are so wonky, because Insurrection would be one heck of a Star Trek picture if the visual tone were right.

Jerry Goldsmith’s score, regardless of it heavily borrowing from his previous Trek scores, is good.

Insurrection stumbles all over the place, but always ends up firmly footed.

The Parallax View (1974, Alan J. Pakula)

Not quite halfway through The Parallax View, the film loses its footing. Director Pakula keeps the audience a good three car lengths from not just the action of the film–with long shots in Panavision–but also understanding the action of the film. Parallax even goes so far to introduce protagonist Warren Beatty with a proverbial wink.

But Beatty isn’t a traditional protagonist. Screenwriters Dean Giler and Lorenzo Semple Jr. don’t just keep viewers from passing judgement on Beatty, the writers keep viewers from even thinking they might want to think about the character at all. Beatty moves through the film just fine, but he’s being endearingly indignant or running most of the time. It’s not a hard job.

It’s especially not a hard job since a lot of the effectiveness comes through due to the technical aspects of Parallax. Gordon Willis’s photography is amazing, even if Pakula does mostly utilize the right side of the frame for action; the left tends to be for setting information and the shots are beautiful, just beautiful with too much free space.

John W. Wheeler’s editing is also of note. Every cut in Parallax, which is always trying to surprise the viewer–whether with big conspiracy stuff or, in the first half, Beatty’s roguish behavior–and it works thanks to Wheeler.

Well, Wheeler and composer Michael Small. Parallax’s a cynical take on a patriotic hero story; Small’s music plays to it sincerely.

Parallax may have its problems, but it’s also gorgeous filmmaking.

2.5/4★★½

CREDITS

Produced and directed by Alan J. Pakula; screenplay by David Giler and Lorenzo Semple Jr., based on the novel by Loren Singer; director of photography, Gordon Willis; edited by John W. Wheeler; music by Michael Small; production designer, George Jenkins; released by Paramount Pictures.

Starring Warren Beatty (Joseph Frady), Paula Prentiss (Lee Carter), William Daniels (Austin Tucker), Walter McGinn (Jack Younger), Hume Cronyn (Bill Rintels), Kelly Thordsen (Sheriff L.D. Wicker), Chuck Waters (Thomas Richard Linder), Earl Hindman (Deputy Red), Anthony Zerbe (Prof. Nelson Schwartzkopf) and William Joyce (Senator Charles Carroll).

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KISS Meets the Phantom of the Park (1978, Gordon Hessler), the theatrical version

What’s there to say about KISS Meets the Phantom of the Park? It moves pretty fast. Wait, I didn’t specify nice things to say about the movie. Oops.

There’s a lot of bad things to talk about. The easiest targets are KISS, who frequently seem lost–supposedly they got fed their lines immediately before shooting–but also vaguely uncomfortable. Especially Gene Simmons, who has a very painful-looking gait. Paul Stanley probably gives the best performance of the band members; he’s still awful, but doesn’t swagger as much as the others.

Once it’s clear the band doesn’t show up immediately, which is too bad because it never feels like “Scooby Doo” and KISS as Scooby Doo would be a lot better, the story plays out rather predictably. Deborah Ryan loses track of boyfriend Terry Lester, who works for mentally unstable amusement park designer Anthony Zerbe. Zerbe’s awful as the Phantom of the Amusement Park, but he’s still leagues ahead of the rest of the cast. Ryan’s risible. Lester might be much better, actually–he spends half the movie as a zombie, which doesn’t require a lot. Carmine Caridi is real bad as the amusement park boss.

But, like I said, Phantom of the Park does move fairly well. There are a few somewhat effective montages with the music (it’s all KISS, obviously) and they usually last the entire song.

Phantom of the Park never manages to be distinctively bad, however. It’s just a crappy TV movie with KISS. It doesn’t have a single surprise.

0/4ⓏⒺⓇⓄ

CREDITS

Directed by Gordon Hessler; written by Jan Michael Sherman and Don Buday; director of photography, Robert Caramico; edited by Peter E. Berger; music by Hoyt Curtin; production designer, James Hulsey; produced by Terry Morse Jr.; aired by the National Broadcasting Company.

Starring Peter Criss (Cat Man), Ace Frehley (Space Ace), Gene Simmons (The Demon), Paul Stanley (Star Child), Anthony Zerbe (Abner Devereaux), Carmine Caridi (Calvin Richards), Deborah Ryan (Melissa), John Dennis Johnston (Chopper), John Lisbon Wood (Slime), Lisa Jane Persky (Dirty Dee) and Terry Lester (Sam).

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THIS FILM IS ALSO DISCUSSED ON BASP | KISS MEETS THE PHANTOM OF THE PARK (1978) / DETROIT ROCK CITY (1999).