Reviews

In this Hallmark mystery movie, crossword editor Tess Harper (Lacey Chabert) is once again set on helping Detective Logan (Brennan Elliot) with a murder investigation. Tess feels she must get involved as the victim was a friend. The clues lead to a valuable ring, a code cipher, an elusive children's book, and at least one attempt on Tess' life.

For the first time since I began watching these Hallmark movies, I found one that failed to entertain. I can and have overlooked a lot of shortcomings with these films as long as I enjoy the experience. But with clues that go nowhere, police that act like idiots, and the forced chemistry between the two main leads, Proposing Murder just didn't work for me. But my main complaint comes in the film's last act. One of the things that bothers me most about a mystery is one that doesn't play fair with the viewer. You know, the ones that present vital clues in the final scene that lead to unmasking the killer. The kind of clues that the viewer would have no way of knowing anything about. Well, Proposing Murder commits this sin. While most of these Hallmark mysteries are guilty of this to some degree, this one is the worst I've run across so far.

4/10.

Dead Talk makes the fifth Hallmark mystery movie I've watched recently. In Dead Talk Professor Amy Winslow (Jill Wagner) is invited to speak at a TED Talk like event. But when one of the other participants, a software developer, falls from the roof of the event building, Winslow's focus switches to solving a murder.

Thus far, Dead Talk is easily my favorite movie in the Mystery 101 series. The writing here is the star. Dead Talk features a wonderfully convoluted story. What starts out as a fairly straightforward mystery with a few obvious suspects transforms into something completely different. There are plenty of twists and turns to keep things interesting. I was guessing (wrong) until the very end. Watching the plot unfold to a nice conclusion was incredibly entertaining. I was also impressed that the plot was fairly straightforward in presenting clues to the viewer. It's a fun one to play along with.

Jill Wagner and Kristoffer Polaha continue to shine. And I really like the continuing storyline involving Winslow and Burke's evolving relationship. It's a small moment, but I really enjoyed the scene where Burke is doing everything he can to be invited to go to Seattle with Winslow's father. Polaha does a particularly nice job of acting.

Overall, no real complaints from me. A nice story, some good acting, and a satisfactory conclusion to the mystery. Dead Talk is solid entertainment.

8/10.

Words Can Kill is the fourth Hallmark mystery movie I've watched recently. In Words Can Kill, Professor Amy Winslow (Jill Wagner) is responsible for putting together a mystery writers' convention. Her father, Graham Winslow (Robin Thomas), Is set to be the star of the show. But when his previous publisher is found dead, Graham becomes a key suspect. Amy will move mountains to prove her father is innocent.

As I continue to roll through these Hallmark mysteries, they just keep getting better and better. Maybe I've gotten lucky and accidentally picked the good ones, but whatever, I'm really enjoying the movie journey I'm on. I had great fun with Words Can Kill. The plot has some nice twists and turns, culminating in a very satisfactory conclusion. This one kept me guessing right up to the end (even though I really should have spotted the killer from a mile away). The growing relationship between Amy and Detective Burke is another highlight. Jill Wagner and Kristoffer Polaha are solid. And I was impressed with Robin Thomas as Amy's father. Given a larger role in this film, he excelled.

I can't write one of these without listing a few of the problems I had with the movie. Without going into detail: several one dimensional characters, standard mystery tropes, and some iffy acting. But it's easy for me to overlook these weaknesses given how much I enjoyed the rest.

Finally, one of the things I like about these movies is how much they remind me of the mystery novels I grew up reading, with similar plots, similar pacing, and similar reveals. The movies have that mystery novel "feeling" - nothing heavy or groundbreaking, just entertainment and escape.

7/10.

Playing Dead is the third Hallmark mystery movie I've watched recently. In this one, Professor Amy Winslow (Jill Wagner) is helping the local theater group put on a play. During rehearsal, a prop gun is seemingly replaced with the real thing. Fortunately, no one was hit by the bullet, but the police suspect the lead actress may be in danger. However, while under police protection, the actress dies - from an apparent heart attack. Amy's not so sure and joins Detective Burke's (Kristoffer Polaha) investigation - whether he likes it or not.

If anything, I enjoyed Playing Dead a bit more than the first film in the series. Without the need to introduce the main characters, more time was available for the actual mystery. And that's a good thing because the mystery here is fun. With a seemingly random attack on Burke's partner, a toy monkey, secret love letters, and suspects everywhere you look, there's plenty here to unpack. Admittedly, I once again pretty much figured out who well before the culprit was unmasked. However, I still enjoyed learning the why and how. Overall, good stuff.

Once again, the acting in Playing Dead is a mixed bag. Some good, some less so. But there's no denying the ability of Wagner and Polaha. Both are great in their roles and have some wonderful onscreen chemistry.

One thing that has bugged me about these Hallmark films is the unrealistic nonsense the amateur sleuth is able to get away with. Here, for example, Amy is able to rummage through a house to find a key piece of evidence. There's absolutely no way it would have been admissible in court. But then again, I don't think anyone is watching a Hallmark mystery for a look inside a real life criminal investigation. Most just want to be entertained.

7/10.

Mystery 101 is the second Hallmark mystery movie I've watched in the last two days. In this one, Professor Amy Winslow (Jill Wagner) becomes concerned when one of her students goes missing. She is convinced the girl has met with foul play. The problem is that the police don't agree. Winslow begins an investigation and uncovers clues that the police can't dispute. With Winslow's unwelcomed assistance, Detective Travis Burke (Kristoffer Polaha) determines the girl's disappearance may be connected to other strange occurrences at the college.

If anything, I enjoyed this, the pilot for Hallmark's Mystery 101 series, more than the previous Hallmark movie I watched (Crossword Mysteries "A Puzzle to Die For"). I found the mystery here more engaging for the viewer. There were more opportunities to play along with the whodunnit. And even though I spotted the killer almost immediately, I enjoyed discovering the "why" behind it all and watching Winslow piece it all together. In addition, there's something about the feel of the relatively small college campus in Mystery 101 that I found appealing, especially when compared with the big city of the other film.

Being a Hallmark movie, you just know from the minute Winslow and Burke meet that it's only a matter of time before they fall for each other. Sure, it's kind of predictable and a little cringey, but there was definite chemistry between the two actors that really added to the movie. It helps that both gave solid performances. With a couple of exceptions, the rest of the cast is decent enough in their supporting roles.

Overall, these movies aren't for everyone - in fact, they probably wouldn't have worked for me 20 years ago. But as I grow older, I appreciate the simple story structure with likeable characters and a mystery that's not overly taxing. Mystery 101 is entertaining enough for me to rate a 7/10.

7/10.

Tess Harper (Lacey Chabert) is the crossword editor for a New York newspaper. She discovers that someone may be hiding clues to a string of art thefts in the crossword puzzles the paper publishes. The police think she's a crank. However, they change their opinion when one of Tess' colleagues at the paper is murdered.

I know I haven't rated A Puzzle to Die For very highly, but honestly, it's not as bad as I feared it would be. There's a reason I don't watch Hallmark films - they usually don't appeal to me. But this one, the first in The Crossword Mysteries series, really isn't half bad. There's a certain charm to the production that I enjoyed. Plus, there were several aspects of the mystery that had me engaged. Finally, I find it impossible to watch Chabert and not be drawn in by her screen presence - and that incudes her role in the dreadful Lost in Space. Sure, she's not going to win an Oscar, but she's solid enough in this movie.

So, if A Puzzle to Die For isn't half bad, that means it's not half good also. For starters, without naming names, I found some of the acting weak. And, I found way too much of the dialogue childish. There are several groan-including scenes where grown humans say the most ridiculous things. Finally, I really didn't care for the ending. I found it completely unbelievable.

Finally, even though I've only rated this a 5/10, I can see myself checking out the other films in the series. While this one may not have completely worked on me, I see enough promise to watch more of The Crossword Mysteries.

Edit: Since I finished writing this last night, I can't stop thinking about this silly film and how much fun I actually had watching it. I'm thinking I may have been too hard on it with my preconceived bias against Hallmark films. As a result, I think a bump in the rating is deserved.

6/10.

Attorney Preston Morgan (Craig Hill) is hired by a very wealthy woman to travel to Acapulco to collect her grandson and bring him back to her. But when Morgan meets the boy's mother, Sabena (Marcia Henderson), he has a change of heart regarding his assignment. Complicating matters is Sabena's twin sister. She sees this as her opportunity to strike it rich - regardless of who gets hurt.

I completely understand that Deadly Duo is not what I'd generally call a good movie. In fact, it's got a load of problems, including: Craig Hill's acting, the Mexican accents, logic, the lack of real Mexican locations, and a look and feel of a 60s-era sitcom. But, there's just something about it that I found oddly appealing. First, there are a few plot twists that I enjoyed. This isn't Oscar caliber writing, but there are still some fine moments. Second, Marcia Henderson is very good in the roles of Sabena and her sister. She has a definite presence that works. And third, the scheming on the part of the twin and her husband. How on earth did they think they'd get away with it? Good stuff.

While Deadly Duo probably isn't everyone's cup of tea, I found it weirdly and surprisingly enjoyable. My rating may seem generous, but I rate primarily on entertainment value. And I was definitely entertained.

6/10.

Steed and Mrs Peel are invited to an RAF base to celebrate / commemorate it's closing. But when they arrive, there's no one to be found. The base appears to be completely empty. The only clues our heroes can find are a dead milkman and an unconscious rabbit. How do 30 servicemen disappear?

I've always enjoyed The Hour That Never Was. Watching Steed and Mrs Peel search the empty airbase is so much fun - and creepy. Every time I watch this episode, I'm reminded of the abandoned pavilion in the film Carnival of Souls. You know this episode won't be quite as scary as that, but the spooky vibe is definitely prominent.

I also enjoy the acting in this episode. Given the limited action and dialogue, Patrick Macnee and Diana Rigg get a chance to show their true abilities. The fact that there's really not much going on for a huge portion of the runtime, yet I never once got bored, demonstrates how engaging the pair were. Also, I got a kick out of Roy Kinnear's small part. He stole the show from Macnee in their scenes together.

The only thing that bothers me about The Hour That Never Was is the explanation behind all the mystery. Sure, some of it I understand, but not the part about the clocks. Why do all of the clocks, even those not on the base, stop? It makes no sense.

8/10.

A mysterious, thick fog rolls into a small seaside community. However, this is no ordinary fog. This fog brings death in the form of ghostly apparitions. A century ago, the townsfolk of Antonio Bay deliberately lured a ship too close to shore. The dead are out for revenge.

I re-watched John Carpenter's The Fog yesterday and found it as effective as I did 40 years ago. Whether it's the actors (what a cast!), the music, or Dean Cundy's cinematography,, it all works. But for me, it's the atmosphere Carpenter created that's key to the movie's effectiveness. There's a real sense of dread and menace in the ever encroaching fog that makes this one super creepy. While there are a few well placed jump scares, the foreboding atmosphere of The Fog is what I remember. While it's not my favorite movie in Carpenter's filmography, it's a solid entry.

A few random thoughts about The Fog:

1. I love Carpenter's score. It's like a mixture of his brilliant music from Halloween with a touch of Goblin's Suspiria score.

2. When Adrienne Barbeau's character, Stevie (who never appears on-screen with the rest of the main cast), starts alerting the town to the danger of the fog - why? She's got no firsthand knowledge of any danger. It's all wild speculation. This is one of my biggest complaints with The Fog.

3. It only takes Tom Atkins' character, Nick Castle (I love Carpenter's use of these names), 45 minutes to end up in the sack with Jamie Lee Curtis. Nice work if you can get it.

4. The fog (and other practical effects) in The Fog is impressive. I'm not sure how they actually made that much fog. There are literal walls of thick fog. It reminded me of that episode of Scooby Doo when they use a knife to cut a hole in the fog.

7/10.

When a wealthy woman with a closet full of skeletons is murdered, there are no shortage of suspects. From a jealous husband to secret lovers, Lucille Ainsworth's death leaves the police with several paths they'll need to go down to find the killer.

Overall, Account Rendered is a decent little British mystery, but doesn't have enough gong for it to call it much more than average. While several plot twists work quite well, there are instances where the film can get a bit dull. It's all filmed in a matter-of-fact style that, while efficient, doesn't allow for much story or character development. It may have been a product of the film's age or the transfer I watched, but it's not a very good looking movie either. Drab would be the word I'd use to describe it. The movie was released in 1957 , but it looks more like 1937. Finally, Account Rendered ends with a satisfactory conclusion, which is always nice in a mystery.

Just as I described the film, I'd also call the film's group of unknown actors (well, unknown to me) "efficient". The only real name in the cast is Honor Blackman. She does fine in a small role. The standout performance is Ewen Solon as Inspector Marshall. He easily brings the most life to the proceedings.

5/10.

The plot in Johnny O'Clock isn't very straightforward and a bit difficult to summarize. O'Clock is part owner in a casino. His partners are looking to squeeze him out. At the same time, O'Clock is constantly rebuffing the advances of a partner's wife. In addition, O'Clock is trying to help the casino's hatcheck girl who's involved in a bad marriage. A murder and a dogged detective only add to O'Clock's headaches.

On the face of it, you'd think that Johnny O'Clock would be a much better film. I mean it's got almost all you could ask for in a film noir - a smart talking lead, a crooked cop, murder, a jealous casino owner, sharp dialogue, a cheating wife, and a beautiful love interest for our hero. All the pieces are there, but it's like window dressing designed to hide a poor plot. It's all talk and show with no substance at the center of the film. I'm not sure how to put this, but the movie never drew me in. The story lacked a focus on a single plot idea for me to get behind. There were several different things going on at once, but none of it fit together to form a cohesive story (much like what I'm writing). I guess it's a case of the parts being greater than the sum.

Two other things that bothered me: First, at about the halfway mark of the film, our hero finds a piece of evidence that so clearly points to the killer, it eliminates the mystery. Had he just turned it over to the police, the subsequent pain and suffering could have been eliminated. Second, I really hated the name "Johnny O'Clock". I got tired of hearing people say "Mr O"Clock". It might have seemed like a good title, but the name O'Clock gets annoying.

5/10.

Troy and Company find themselves seeking shelter in the middle of the desert as an army of angry Arabs attack. But they're not alone. Deitrich and Company are held-up in the same place. Troy and Deitrich form an uneasy alliance against a company enemy. But will it hold?

The Moment of Truce Raid is as good an episode as I've seen so far. The script is especially strong with plenty of tension - both from within and without. This episode, however, would have definitely benefited from another 30 minutes to tell the story. The half-hour format does this one no favors. The acting is as good as I've seen in the series. Christopher George and Eric Braeden do a fantastic job of showing distrust mixed with admiration. And I especially enjoyed the scene where Hitchcock teaches a German soldier how to blow bubbles. It's a very humanizing moment in the midst of war.

One of the oddest things about the episode is the presence of Marc Lawrence. How does an actor from the Bronx who normally played a heavy in everything from Charlie Chan in the Wax Museum to Diamonds Are Forever find himself playing an Arab named Abu Hassan working for the Nazis in the middle of the North African desert? What amazing casting!

7/10.

Supposedly based on a real unsolved Hollywood murder, Hollywood Story tells the story of film director Larry O'Brien (Richard Conte), who's leases on old, abandoned studio for his next movie. The studio was the scene of an unsolved murder and O'Brien decides the story would make a good film. As he starts poking around and asking questions about the murder, it becomes apparent that someone doesn't want the film made. After a couple of attempts on his life, O'Brien realizes that he's on the right track to actually unmasking a killer.

Overall, I found Hollywood Story to be an entertaining film with an interesting plot, good acting, and nice production values. More of a mystery than a true film noir, there are plenty of plot twists to keep things interesting throughout the 77 minute runtime. The "old" Hollywood locations are a nice touch and add to the film's authentic feel. As expected, Richard Conte is rock solid in the lead. It was great seeing him play the good guy for a change. It was also nice seeing Julie Adams in a film where she's not being stalked underwater. As much as I love her in Creature from the Black Lagoon, it's odd I can't remember seeing Adams in much else. The supporting cast (Jim Backus, Richard Egan, Fred Clark) add a lot to the experience. And special mention to the cast, particularly cinematographer Carl Guthrie. I'm starting to sound like a broken record, but these Universal films from the 1940s look so good. Absolutely beautiful.

Finally, I need to mention director William Castle. Until just recently, I only knew Castle from his 1960s era horror output. I really enjoy many of these movies like House on Haunted Hill, Homicidal, and I Saw What You Did. But, as I'm learning after watching Hollywood Story and Undertow, there's so much more to Castle than I imagined. He made a load of films prior to the 60s just waiting for me to discover. How fun is that!

7/10.

From the moment Paula Craig (Janis Carter) lays her eyes on newcomer Mike Lambert (Glenn Ford), she knows she's found her mark and starts to work on him. Lambert is smitten almost immediately. But why does Craig need Lambert? It might have something to do with $250,000 in a safe deposit box.

Framed is one of those films that deserves a wider audience. Much like Double Indemnity, Framed features everything you could hope to find in a good, enjoyable film noir. You have the sap, the femme fatale, a worthwhile McGuffin, plenty of backstabbing and double crossing, an incredibly engaging plot, and an ending where every character comes out damaged. Ben Maddow's screenplay is full of dark twists and turns that keep you guessing. The direction here is near perfect. Richard Wallace expertly brings the story to life. Most of the acting is first rate. Glenn Ford makes it all look so easy. And I really enjoyed Barry Sullivan and Edgar Buchanan in their supporting roles. Good stuff.

Having said all that, the film is not without its faults. There are a couple of things I could list as weaknesses, but my main gripe is with the female lead, Janis Carter. Reading reviews all over the internet, I see I may be alone in this, but Carter doesn't work for me. In fact, I thought her performance was pretty weak. She never felt real or convincing. She always seemed like an actress playing a part. I know they can't all be Barbara Stanwyck or Ida Lupino, but Carter isn't close.

7/10.

A security expert, Paul Mitchell (Dennis O'Keefe), working for the Tate Gallery in London, is concerned about the possible theft of a priceless Da Vinci painting. Two other Da Vinci's were recently stolen from galleries in Florence and New York. In both cases, the original was replaced by a near-perfect forgery. When the Tate Da Vinci is ultimately stolen, Mitchell sets out to catch a thief.

Overall, I enjoyed The Fake. Sure, it's never going to be on anyone's Top 10 list, but it had enough going on that I had fun with it. I'm a sucker for a stolen art plot line, so this one naturally appealed to me. From the opening scenes on the crowded dock to the finale as the art thief is revealed, The Fake moves at a nice, but leisurely pace. Having the actual Tate Gallery as a shooting location really helped the "feel" of the film. I've got no complaints with respect to the film's two main leads, O'Keefe and Colleen Gray. There's some definite chemistry between the two - the dinner scene, complete with playful banter, being a good example. The supporting cast is made up of a bunch of British actors that, while not familiar to me, really give the film some color. Finally, the solution to the mystery was satisfactory. We, as viewers, get the chance to figure things out right along (or even quicker) than our hero, Mitchell.

One thing that really bothered me was the security set-up at the Tate. I realize (or hope) that the actual security is different, but as pictured here, anyone could have stolen the painting. From unlocked doors in the basement to open windows to the lack of any alarm system, the painting was practically begging to be stolen.

Finally, IMDb lists The Fake as a crime / drama / film noir. I agree with the first two, crime and drama. And you can even add Mystery. But what about film noir? No way. If you're watching The Fake for the darker elements associated with a noir, you'll be disappointed.

6/10.

Having returned to Chicago, Tony Reagan (Scott Brady) is accused of murdering a wealthy, powerful man who happens to be his fiance's uncle. Injured and with the police hot on his trail, Reagan has few places to turn. He eventually seeks the assistance of a woman he hardly knows. He met her the previous day on the flight to Chicago. With her help, Reagan's out to clear his name.

Undertow is a neat little film noir that, until last night, I had never heard of. I was shocked at how much I enjoyed it. The story has a lot of suspense that builds throughout. There may have been a few predictable bits in the plot (like the murderer's ID) and some big coincidences (like a friendly cop who agrees to help), but the journey is so much fun it hardly mattered. Director William Castle (yes, that William Castle) proves that he could do more than churn out sensational schlock. His pacing in Undertow is about perfect. The film also looks phenomenal. Cinematographer Irving Glassberg lensed a movie that looks far better than it has a right to. But, then again, I seem to say that about a lot of the Universal B picture output from the 40s. Finally, I enjoyed the exterior 40s-era footage. Whether it was the airport, the plane, or downtown Chicago, it was awesome stuff.

I have no complaints as far as the acting goes. Generally, I'm not much of a fan of Scott Brady. There's just something about him that puts me off. Here, however, I thought his performance was more than adequate. As for co-star Peggy Dow - what a revelation! Considering this was her first film role, she was amazing. Dow plays the sweet, innocent, cute, trusting, fresh-faced, all-American girl about as well as anyone I've ever seen. Looking over her filmography, I'm saddened to see she only made nine films. I'm going to make it my mission to see as many of these as I can. The rest of the supporting cast - John Russell, Dorothy Hart, Bruce Bennett - are equally strong. Finally, the film features a blink-and-you'll-miss-it moment from a fresh-faced Roc (with no k) Hudson.

Overall, a nice little film that I'm happy to have stumbled upon. Undertow gives me hope as I continue my journey through some of these smaller, lesser known film noirs.

7/10.

Insurance investigator Joe Shannon (George Nader) is transporting a 16 year-old girl to Los Angeles. Shannon hopes to use the girl, Donna (Candy Moore), to help find her father. It seems he's responsible for stealing a large sum of cash the insurance company hopes to recover. However, there are a couple of hoods on Shannon's tail who would also like to get their hands on the cash.

Oh my, this is about as dull as you can find. The 30 minute runtime felt more like 130 minutes. It's excruciating. The uneventful car trip takes up at least half of the show. Nader and Moore drone on and on about absolutely nothing. To make matters worse, Moore is uber-annoying. The finale offers little suspense, only a merciful end. There's nothing here to recommend. I sincerely doubt I'll seek out any other episodes of Shannon.

So why would I watch a random episode of a television show I'd never heard of? Two reasons: First, I usually enjoy Nader. He appeared in some quirky, but enjoyable stuff in the 60s. Two, the screenplay was written by Gene Roddenberry. It's amazing that the same person responsible for Star Trek wrote this garbage. .

2/10.

Steed and Mrs Peel set out to investigate a mysterious death. The odd thing is that the man drowned in the middle of a field. Shortly, our intrepid pair find themselves battling wits with a scientist out to control the weather for nefarious purposes.

Controlling the weather - sounds a bit like the disastrous The Avengers (1998) movie. In contrast to that overblown mess of a film, A Surfeit of H2O proves that very often less is more. Instead of an overblown, over-produced, almost unwatchable film, this episode (like most of the series) keeps things simple and understated. Death caused by heavy rain - what could be more simple (regardless of how unlikely). And the writing here is so much better. The dialogue in the scene with Diana Rigg and Talfryn Thomas or the one with Patrick Macnee and Sue Lloyd are delightfully witty. I could watch these scenes all day they're so enjoyable. In fact, the whole episode is enjoyable and would have deserved a higher rating had it not been for Noel Purcell's overacting. His performance would have been more at home in the movie.

I admit I looked up the word "surfeit". Seems it means "an excessive amount of something". I'll have to remember that.

7/10.

Police Chief Joe Conroy (Sterling Hayden) is convinced that a man named Al Willis (Gene Barry) is a cop killer But Conroy's police methods cross the line and he's removed from his position. Still convinced he's right, Conroy starts to tail Willis on his own, even on an out of town trip to the Mexican border. Is Conroy right or is Willis a wrongly blamed man?

Naked Alibi has to be one of the most disappointing films I've ever seen. A film noir with Sterling Hayden, Gloria Grahame, a cop killer, a seedy border bar, wonderful Universal production values (including some extremely nice cinematography), and just about every other noir trope you could name - what could go wrong?. Sadly, the movie fails consistently throughout the entire 85 minute runtime. Why? I'll list my two biggest issues:

First, the writing is horrible. The film relies on a series of coincidences that boggle the imagination. The logical hoops Naked Alibi asks the viewer to jump through are far too numerous. It's contrived nonsense. Also, I wrote that the film includes just about every noir trope you could mention. Well, that's another issue I have with the writing. We've seen almost everything the movie has to offer. There are no surprises. For example, I love Gloria Grahame, but here she plays essentially the same role we've seen her play before. There's nothing new. Another example would be the ending. Dictionaries should cite Naked Alibi's finale as the definition of cliched - complete with Conroy walking off into the night. Ugh. I realize that by 1954 it was difficult to come up with completely original ideas for these movies, but this is color-by-numbers film noir and it's lazy.

Second, I have some major issues with the acting. I admit that I'm not much of a Gene Barry fan. In fact, I pretty much dislike him in most everything I've seen. His performances never feel real to me. He's always "acting". Here, he's terrible. He's so wrong for the role. His overacting is such a huge distraction it was almost comical. For example, anytime he shoots a gun, he does that thing kids do - sort of jab the gun forward each time they "fire". I could just imagine Barry muttering "pew pew pew" with each unrealistic pull of the trigger. To be fair to Barry, Hayden is almost as bad in Naked Alibi. If Barry is overacting, Hayden is underacting. He undersells just about everything.

Overall, I had high hopes for this one and it failed to deliver. I should probably rate it lower, but Grahame saves Naked Alibi from being a complete disaster. Her dancehall number is worth a point on its own.

4/10.

Retired football player and current P. I. Brock Callahan (Ken Clark) is hired to investigate the death of a designer. The police think it's a suicide, but Callahan's not so sure.

From what I can piece together, Brock Callahan was filmed as the pilot of a CBS television show for the 1959 season. After watching, it's little wonder it didn't get picked up. For a cop show, there's just no excitement. No real action, monotone line delivery, and characters that I had no real reason to care about - sounds like a winner, right? The final solution to the murder is a bit interesting and saves the whole thing from being a complete disaster.

The only reason I watched Brock Callahan was that I noticed Ken Clark's name. I was hopeful as he made several movies I enjoy - specifically the Dick Malloy Agent 077 Eurospy films. Admittedly, he doesn't show much acting range in those movies, but here, his lack of animation reminded me of an appliance box with shoulder pads.

There were a few interesting surprises in the cast and crew list. First, this was directed by Don Siegel of Dirty Harry fame. You wouldn't know it from watching Brock Callahan. Second, the supporting cast includes Richard Deacon and Brett Halsey. Between them, they have 338 acting credits listed on IMDb.

3/10.

Steed is investigating a series of 11 murders that, at first, appear to have nothing in common. Steed, however, realizes that in each case, the most likely suspect has an airtight alibi. He gets his first bread in the case when a photograph leads to a matchmaking service. In no time at all, both Steed and Mrs Peel become clients of Togetherness Inc.

After the last two episodes, The Murder Market is something of a return to form. The writing here is strong, featuring a lot of the quirky bits that make the series so special to me. Whether it's the over-the-top wedding themed business, complete with cake tastings and top hats, or a quick scene of Steed practicing a golf shot off the coffee table while Mrs Peel plays a tuba, the seeming randomness of some of the events in this episode is so much fun. And I won't spoil the bit near the end, but it's classic Avengers. I admit that some judicious editing might have made The Murder Market even better, but still, it's really good stuff.

The acting in The Murder Market is first rate. Patrick Cargill has to be one of the best baddies in the entire series. The way he plays Mr Lovejoy with a polite and proper exterior with a hint of nefariousness under the surface is brilliant. It's just an amazing performance.

Finally, I've read that even though this was the seventh episode aired, it was the first one that Diana Rigg filmed. Her immediate chemistry with Patrick Macnee is undeniable and one of the keys to the series' success during her time on the show.

8/10.

Salesman Johnny Dill (Stuart Erwin) gets confused for a mob boss. Much alleged hilarity ensues.

This will be short and sweet - I didn't care for Killer Dill. The main character and his supposed comic antics really annoyed me. Very little of it worked. And, to make matters worse, I didn't care for Erwin in the Dill role. He doesn't have the physical presence necessary to play the heavy. The writing is lame and childish with Dill going in and out of tough guy mode and none of the other characters seeming to notice. Ugh! There's not much here to recommend.

The only real highlights for me were Mike Mazurki and Milburn Stone. Both gentlemen acquitted themselves well and deserved to be in something better than this.

Overall, Killer Dill is an immediately forgettable film. I think my rating is more than generous and based almost solely on Mazurki and Stone.

4/10.

Pillow of Death is the last of the six Inner Sanctum mystery / thriller films that Universal made in the 40s. And, in my opinion, it's one of the two best (Weird Woman being the other). In this one, Lon Chaney Jr is Wayne Fletcher, a lawyer in love with his secretary. The problem is, he's got a wife at home. So when she's found dead under mysterious circumstances, Fletcher is the natural suspect.

Despite what I consider to be a rather silly title, Pillow of Death is a solid little film. The writing is excellent with a surprising (at least surprising to me - even on a repeat viewing) solution that works nicely. The atmospheric "old dark house" trappings, complete with a seance, and plot twists keep things interesting. The direction is crisp as the film moves along at a good pace. And, like most of Universal's B output from this time period, the sets and cinematography look better than they have any right. It really is quite beautiful to look at. Overall, Pillow of Death is a well made movie.

As for the acting, there's very little to complain about. Chaney is fine in the lead, but I admit the "tormented soul" routine he perfected in The Wolf Man gets a bit old. Co-star Brenda Joyce, taking a break from playing Jane in the Tarzan series, is more than capable. There are a number of notable performances in the supporting cast, but none quite like George Cleveland. What a joy!

7/10.

The quick pitch: Policewoman Mary Ryan (Marsha Hunt) goes undercover to infiltrate a gang of thieves - first in prison, later as a member of the robbery crew.

There's nothing about Mary Ryan, Detective that will change your world. Instead, it's a mostly enjoyable little film with the immensely watchable Marsha Hunt as the titular Mary Ryan. Cute, capable, and engaging are a few of the adjectives I'd use to describe Hunt in this film. She has an undeniable screen presence (see the fur robbery set-piece for an example) that works for me. I'm not sure I would have enjoyed the film half as much without Hunt. I've read where she ran afoul of the McCarthy-era anti-communist crowd and found her opportunities limited as a result. How else do you explain the fact that she isn't better known today?

Other things I enjoyed about Mary Ryan, Detective include: snappy direction, good pacing, John Litel, and, thankfully, limited comic relief (I admit, however, that I did chuckle at smoked turkey bit).

Finally, I got a kick out of the whole gang of thieves. They come across about as cordial and polite as a group of Sunday school teachers. Not very realistic, but kind of what I'd expect from a film like Mary Ryan, Detective.

6/10.