Another episode on the sleazy side of 1970s era NYC. Trust the bad guys to get their comeuppance thanks to...the murder victim's wife! Oh and Kojak, Crocker and the NYPD
"Who loves yo!"
James Woods is our bad guy for this episode, and after 2 murders gets his comeuppance, and "That's the truth." :gun:
Jewelry heist, just a small crew and meticulously organised, but that unpredicted event leads to the first of 3 deaths. Comedic dialogue exchanges, that Kojak repartee, coochie coo. :lollipop:
Roger Robinson is back again as undercover cop Gil Weaver. It's a drug smuggling racket that needs taking down and Theo is the man to get it done. Collateral damage, but Kojak gets his man and there's less 'horse' on New York's streets. :sunglasses:
So Theo gets out from under the threat of revenge and we hear the first delivery of "Who loves ya?" :lollipop:
So the mob are involved in funding a regeneration development. The murders that lead us to this revelation are wrapped up by the episode end. Justice is done even if the legal process hasn't been completed.
Opening with 1973s New York skyline we are then reminded of it's litter strewn streets. A weapons heist provides the theatrical background. A cameo from former Batgirl, Yvonne Craig, and the appearance of the Kojak trademark .... lollipops :lollipop:
Scatman Crothers and a short car pursuit with street level location filming, peak 70s New York. Add in the twinkling dialogue and it's a gem of an episode. :gem:
A solid episode with just a smattering of New York street scenes:tm:. Kojak leading the way in exonerating the suspicion of a corrupt cop being shot to death.
Hey it's the first serial killer in Kojak, and true to stereotype HE has 'mother' issues. Leave it to Theo to resolve them for him.
Bang! :gun: Bang!
A murder in the opening scene leads to a bank heist crew. Theo and Bobby search for a lead from the seedy streets, accompanied by a groovy soundtrack. We get to go to the boondocks so it's not ALL New York city this week, baby!
Here we are just two episodes in and not all cops are good guys! Way to pull the rug. Theo gets to catch the bad guy in the end when there's nowhere left to run. Another win for the NYPD.
Roger Robinson turns up as Gil Weaver (he was a totally different character in The Marcus-Nelson Murders) a returning role.
Tailing bad guys gives us some great street views of 70s New York (& remember to call out those landmarks when they appear on-screen)
The first episode of the first season & we get thrown in at the deep-end of policing New York. Shoot outs between bad guys & cops, hostages & an early TV role for Harvey Keitel!
They really were Mean Streets!
The movie that started the TV show Kojak. All the elements of the series are there ready to be expanded on. The humanity of our central lead; the process of investigation & trial; criminal characters; & most of all the locations, the litter, the rawness of 1970s New York! That's the one character that never gets an acting credit.
Who loves ya baby? :lollipop:
The movie that started the TV show Kojak. All the elements of the series are there ready to be expanded on. The humanity of our central lead; the process of investigation & trial; criminal characters; & most of all the locations, the litter, the rawness of 1970s New York!
A fantastic example of TV documentary making at it's best. There's no extraneous jingle jangle music covering poor sound recording. No superfluous talking heads, just Ian Nairn our guide along the three linked journeys. And with the passage of time his opinions of the architectural and planning decisions that he points out reveal their prescience.
A fantastic example of TV documentary making at it's best. There's no extraneous jingle jangle music covering poor sound recording. No superfluous talking heads, just Ian Nairn our guide along the three linked journeys. And with the passage of time his opinions of the architectural and planning decisions that he points out reveal their prescience.
A fantastic example of TV documentary making at it's best. There's no extraneous jingle jangle music covering poor sound recording. No superfluous talking heads, just Ian Nairn our guide along the three linked journeys. And with the passage of time his opinions of the architectural and planning decisions that he points out reveal their prescience.
A fantastic example of TV documentary making at it's best. There's no extraneous jingle jangle music covering poor sound recording. No superfluous talking heads, just Ian Nairn our guide along the three linked journeys. And with the passage of time his opinions of the architectural and planning decisions that he points out reveal their prescience.
Blisteringly kinetic chases and balletic fight scenes pick up the pace between the long sections of exposition. Worth sticking with this revenge movie until the end though.
Come for the light comic story & stay for the beautiful scenery of Rio that is used copiously.
A revenge movie that is such a journey. Japanese cinema frequently delivers refreshing slants on a scenario that in Hollywood films has become humdrum & samey. Beautiful skies, quirky framing and slo-mo add to a brilliant use of sound, quiet & music in aiding the narrative. Like many other commenters I was very impressed.
Gene Siskel & Roger Ebert gave a rather damning review when this movie was released. After finally watching Speed Zone I'm in TOTAL agreement!
A quintessentially French light comedy with a romantic heart (despite starting with an abandoned wedding) :hearts:
A sad indictment of the lack of commitment to the prosecution of justice. The empty platitudes and words that enable bad actions to go unpunished.
Recommended to view with...
The Sorrow And The Pity (1969)
A quintessentially British comedy featuring the romanticism of the canal & so many comedy greats.
What a calling card!
A first film (albeit 20 minutes) written, directed, produced & starring Vin Diesel that perfectly encapsulates the directions demanded of an upcoming actor.
Viewing in 2022 (over 30 years from the original broadcast) this documentary remains undiminished. Pure & simple interviews ground us in the events, retold from some 20 year perspective but as fresh as the day they happened. NOT the "horrors of war" but a reminder of the potential for the barbarity of man.
Surprisingly violent scenes, with sudden slapstick makes for an unusual car-chase movie.
