Reviews

Definitely in the category of "if you only watch a few NCIS episodes, watch this one".

A lovely eulogy to the fighting men of the second world war. Charles Durning (an actual WW2 veteran) simply nails it as the retired soldier who, following the death of his wife, begins to obsess about wartime events some 60 years earlier.

The setup, the script, the acting, the ensemble nature of NCIS comes into its perfect peak in this episode from the second season of NCIS.

A nice crossover from Bellisario's earlier(and concurrent at this point) earlier "JAG" production is the present of Alicia Coppola as the JAG LtCdr Faith Coleman.

Everybody contributes to one of the most-effective episodes in the first 20 years of NCIS (review written in 2024 - how had I not reviewed this before?).

Gary Cole's acting skills are steadily being stretched; this trip down Parker's Memory Lane - back to a mis-spent youth in Philadelphia.

Excellent plotting, linking dead sailor to wildlife to druggie going straight to inter-agency linkages and a GREAT view of the backstory of a young Alden Parker. His grown-up schooldays friend was well-played by an actor whom I didn't recognise.

This was a pleasure to watch.

One minor defect - they seem to have time travel to get (repeatedly) to and from Philadelphia (a one-way distance of 152 miles per Google). This minor w.t.f. Really doesn't detract from the excellent storyline about friendship and redemption.

Oh brother - after the excellent "Helpers" last episode, we have this - dross!

This doesn't gel properly on SO many levels. I realise that characters need to be introduce (thank heavens, in this case probably "for one episode only") but the cardboard-cutout bad guy was clearly "phoning it in".

So many points where the audience simply have to stick fingers in ears and sing "la-la-la"!

Positives - it is great to know that Kayla has finished FLETCC. It is great to know that Leon Vance is a caring and loving father. It is great to see that (post-action) he can have an uncomfortable conversation with his daughter.

Beyond that... "NEXT!"

Sometimes you find a piece of television that is truly excellent in your view. Then you realise (and respect) that others have a contrary view.

Whilst this is better than the early Tony DiNozzo and Kate Todd in isolation after the "white powder" contamination episode early on, this was just not quite perfect - hence the "9" rating.

Lots of running around outside the lab, and excellent make-up tracking the deterioration of Jimmy Palmer and Kasey the new Abby (who is working well, I reckon).

I can understand the plot device for Jimmy being ready to move on - with Breena's blessing (nicely-shot scenes) and this sets up the Palmer-Knight arc. Overall, this was good television, just not perfect.

Obviously that is how his character has been written, but the "spoiled brat" attitude had now been polluting the Torres character for most of this 19th season - "GROW UP"...

Standard Spy vs spy fare covering stolen laptops, people smuggling, hostages, cage fighting - all in the classic "ripped from the headlines" Bellisario approach to plot development.

This was actually a pleasure to watch, because the new/token character got to do some sneaking around whilst Nick Torres - for the second week in a row after "Dead Calm" - got the carp knocked out of him as a cover until he could finally "win".

A fairly pedestrian episode, covering (useful) messages about gun safety (Kasie is still "processing" - aka recovering from having the crap scared out of her - from two incidents including Lemere holding her hostage in the squad-room earlier in this season.

There are thoughtful messages about female security and weapons selection, a friendly divorce and the demonstration (opening scene) that - on my side of the Atlantic - we do sometimes regard the Americans (note - *NOT* the Canadians!!") as being "armed and dangerous but we have to share the planet with them".

Parker is still working out whether to take the team-lead role.

Don Swayze returns, about 18 years after playing the country hick in a Kate Todd episode (so S1 or S2) about crop circles and a family feud in the Boonies.

This 6ixth episode brings together many elements which have made "NCIS" a great watch over the decades since it was spun out of "JAG".

Eye-opener (once I had gone through the "where the heck do I know her from" is Patricia Richardson - formerly the wife of "Tim the Toolman Taylor" in "Home Improvement" with Tim Allen some20 years ago - (now rocking a grey mop of hair) as Mrs McGee's mother.

Cue multiple sub-stories about mother-in-law having a sex life, hidden fiancé trying to get into her secure protective apartment (which is actually Maison Tim & Delilah) and a sub-plot about toxic waste. Cole is now in his stride, and the cast are raising their games.

I loved this not-at-all-serious episode. Bit silly so around a real 7.5 rating.

Finally, the 19th season begins to finally get into its stride,

Without giving away secrets (having just binge-watched episodes 3,4 and 5 in one three-hour sitting), this is where decisions and cast changes begin to take shape.

Season 19 episodes 4 and 5 will leave the audience more confident, building upon this pivotal episode.

The Lemere character continues to play the bad guy, toying with Gibbs, whilst we begin to see and understand why Gary Cole's character has been introduced as the series approaches the back end of its second decade. There are more flashes of brilliance in the dialogue writing, whilst the action scenes are beginning to come together.

I enjoyed this preparation for the main denouement in Episode Four.

Closure on the "blown-up boat" hangover from Season 18 ending as Season 19 gets into its stride. Fornell (excellently and sensitively played by Joe Spano) makes some good points about grief, counselling and the like (someone has already posted the dialogue about "orphans, widowers..." in the "Quotes" section for this episode).

Gary Cole's quiet, sarcastic, brooding arrival bodes well for further episodes in this season (and maybe beyond).

Torres begins to open up about what he should have said to Bishop before she vanished. Unfortunately Agent Knight (who has her own problems/demons/history) isn't in the receptive kind of mood, but her "control" issues will no doubt surface at some point.

The mad bomber cum serial killer gets taken out (permanently).

This was worth spending an hour (with adverts included). Gibbs begins to recover having landed ashore.

The crop of red herrings is steadily whittled down and answers emerge. The complicated plotting is well-constructed WHEN you look back at the end of the episode - which is in effect, the entrée to a two-parter closing off the blown-up Gibbs boat which concluded Season 18 earlier in 2021.

We finally get to understand (or be reminded) of the leaning behind "Rule 91" - and Tim McGee and Gibbs finally come to an understanding (a well-written and well-acted scene between Murray and Harmon).

The "new Emily" arrives and the beginnings of a stable ensemble cast begin to re-assert themselves. Onwards to Episode Two...

The "slow-boil" approach to this fifth (2009 release) instalment in what would become a span of nine stories spanning production dates from 2005 to 2015 (eight on CBS, the final on Hallmark).

Several storylines are interwoven, with a link back to Boston. Jesse works through the evidence and the distractions, keeping the Town Council updated despite their small-,minded approach.

Creative use of a chainsaw is interwoven with a very sensitive investigation into an out-of-state child abduction (the forlorn mother is played with pitch-perfect glumness, but remining faith, by Camryn Mannheim). The ultimate fate of the child is played beautifully by all the cast members.

Apparently this is the first film that was not based upon the original author's novels - you would not know.

The approach of shipping out an episode at roughly yearly intervals (then catching up on them all, late in 2023) gives a chance to see the characters (ensemble) developing along with Sellick's inevitable move through middle age.

Enjoyable and well worth a couple of hours.

A 2006 prequel to the 2005 "Stone Cold" sees more on the background to Tom Selleck's character. "Old dog" Boomer is literally on his last legs (setting up the "new dog" scene in "Stone Cold").

The sleazy character of the Mob-linked money-man played by Stephen Baldwin is probably that actor's career-best performance. He exudes menace and a general sense of "nasty".

Jesse's younger "play-mate" is well-portrayed and her character is realistic enough to question the relationship with the older man.

The supporting cast (including Viola Davis early in her career) is excellent and the moody scenes of a coastal community are well-captured.

The pacing is good and the story never lags, despite a quiet tempo. Stephen McHattie again provides background information and support from afar.

This second film in the sequence of nine films produced up to 2020 is a good addition to the collection.

Finally caught up, in late 2023, with this first story in the Tom Selleck vehicle based upon Jesse Stone. It turns out that this 2005 first-filmed story is preceded by the "prequel" episode "Night Passage" - which was filmed and released a year later (2006) and which sets up the scene for Jesse's arrival in Paradise...

Confused? Well, stick around for some very well-crafted and nicely-produced storylines.

This was a workmanlike, well-acted and nicely paced. A (relatively) young Viola Davis is one of the Sheriff's side-kicks in the under-resourced local PD. In meeting with the Town Council, Jesse is able to tell them that they can fire him, but they cannot tell him how to do his job.

Stephen McHattie provides great support as the State expert backing up Jesse's local investigations as the evidence of a serial killer (actually two killers) builds.

Jesse also copes empathetically and effectively with the aftermath of a sexual assault and it is a pleasure to see the perpetrators brought to book during this first opening story in the adaptations of the books.

Mimi Rogers is largely wasted in this film, but does teach younger women how to elegantly raise a skirt!

The UK station is broadcasting all nine films on consecutive Friday evenings, commencing 16-11-2023.

I enjoyed this nearly two-hour film, which passed quite quickly.

A heart-warming way of passing a few hours with an undemanding product.

Three high school friends reunite in the runup to Christmas in Something Falls (intermittent snowfall, varying depth depending upon the scene).

A couple of teenage daughters add some adolescent angst and the heartwarming tale moves along at a reasonable pace. Decisions are made, plans are derailed and rerailed, daughters are won over and community spirit thrives as the old school friends muddle through various challenges. They rediscover friendship, loyalty and a couple of cases of suspended school-day crushes are rekindled in adult lives.

Not real spoilers, just predictable scripting - and enjoyable.

Adequate if you need something in the background whilst you do a couple of hours of ironing, or filing, or painting.

There are some plot holes but the storyline is predictable. Although she has covered a number of roles over the decades, Terri Hatcher never really gets out of second gear (in line with the rest of the cast, it must be said).

There is also the matter of how big an age gap is too big? I do not address this at any particular actor (using the generic non-gender job title).

In olden days, this would be in the "straight to video" category. Now in 2023, we have "Great Movies Christmas Channel" instead. Same outcome.

I am moved to pick up on the review filed by "Brainless Dribble" in March of 2002. That review suggested "well, maybe in 20 years it will be better".

NOPE!

Apart from watching the heroine running through a mine in two-inch heels (nicely balanced by the way) this 1970s embarrassment is just as bad as it was when I first saw it (on first cinematic release) in late1979.

The old adage about "there goes two hours of my life that I won't get back" might have been written for this drivel.

Apparently, the film production went down the pan when Sylvia Anderson (yes, her!) pulled out, having tempted Barry Morse to join the crew; to his credit, he apparently honoured his contract, as did Palance. So, let's not blame "the talent".

Might be worth trying this - as the midnight broadcast in the Clinic for People who have trouble falling aslee...... zzzzzzzz.

I saw the film when it came out into cinemas in the summer of 1979.

Not knowing the back-story about Glen Larson's expensive failure with "Battlestar Galactica" at that time, I took the film for what it was, an enjoyable adventure in space with a bit of culture clash (male attitudes forecast eight years ahead into 1987, versus the typical goofy naive Californian equality dream of life in 2491) to spice up the interactions between the sexes.

I do feel - and I have said this before - that the development of a "reasonably OK" film improved immeasurably about one-third of the way into the film.

I reckon that the entire cast and crew went to lunch one day, had a very good lunch and decided: "you know what, why don't we play this for laughs?"

An even better film resulted, IMHO.

An entertaining romp from 1978. Roughly halfway through this single season, Ogilvie had settled into his role as Templar. I am still amazed that, in 1978, Leyland could supply a Jaguar XJS, which apparently started every time!

Difficult to watch Frederick Jaeger playing a policeman without thinking of him as the Chief Constable in the Joan Hickson version of Agatha Christine's Miss Marple.

Nice quote at the end: "Welcome to the human race, Sergeant."

There were a few plot holes, but it passed an hour late on an evening in 2023. Good use of abandoned buildings, learning from the Sweeney blasting around what would become London's Docklands around the same time.