Starflight One (1983)

Jerry Jameson is the Michael Corleone of made-for-TV disaster movies. He’d directed about a half-dozen before graduating to the big-screen reins of Airport ’77 and Raise the Titanic (a disaster movie in reverse?). Just when he thought he was done with uh-oh flicks for the tube, they pulled him back in. Arguably the biggest is Starflight One, also known by the unimaginative, kindergartener-workshopped title Starflight: The Plane That Couldn’t Land. It may as well have been called Airport ’83: In Space.

On the eve of the maiden voyage of Starflight One, the world’s first hypersonic transport plane, designer Josh Gilliam (Hal Linden, TV’s Barney Miller) doesn’t think it’s ready to fly. But because stocks are more valuable than humans, the cantankerous CEO (Ray Milland, Mayday at 40,000 Feet!) refuses to delay launch. So up, up, up it goes, with Lee Majors (TV’s The Six Million Dollar Man) starring as the pilot, with Lauren Hutton (Viva Knievel!) playing the publicist intimately familiar with his cockpit.

Wouldn’t you know it? Things go wrong, kicking the $50 million craft out of Earth’s orbit and gaining a hole in its cargo hold, placing all 60-some-odd passengers in mortal danger. To account for the loss of gravity, string is strung down the aisle for people to hold onto! But how to solve the problem of precious air hissing away by the second? The crew simply calls the Space Shuttle Columbia (R.I.P.) to drive on over, pick up Gilliam (transferred by floating coffin, no less) and take him back to man the ground-control computers. After that, the shuttle returns to fetch the passengers from Starflight One via a snake-like chute whose insides look like a Fantastic Voyage through the esophagus.

Sizewise, Hutton’s celebrated space between her two front teeth doth not compare to any gap of logic among the dozens present in Starflight One. Curiously, in look and feel and theme, the film is like a no-jokes retread of Airplane II: The Sequel, as if one of the Starflight producers — for sake of argument, let’s say Henry Winkler — saw the comedy the year before and said, “Ayyyyyyy! Let’s do that, but serious. And with chintzier cheeseball effects.”

Also aboard this interminable, star-studded teleturkey are future Oscar nominee Tess Harper as Majors’ too-mousy wife, future Weekend at Bernie’s corpse Terry Kiser as an asshole, future Elm Street teen-dream slayer Robert Englund and future insufferable evangelical Kirk Cameron. Thoughts and prayers. —Rod Lott

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The Andy Baker Tape (2021)

After his father’s tragic death in an auto accident, food vlogger Jeff Blake (Bret Lada, TV’s Alpha House) learns a nice surprise through an online ancestry service: He has a half-brother! Curious, Jeff drives to the rural, rundown farm to meet his heretofore unknown sibling, Andy Baker (Dustin Fontaine), the product of an affair.

Although they resemble one another, the two couldn’t be more different: Typical of a YouTube influencer/narcissist, Jeff is a preening, preppy ass, whereas Andy, in his denim overalls and overgrown beard, looks like “a live-action Berenstain Bear.”

Presented as a compilation of footage found by New Jersey police in 2020, The Andy Baker Tape captures the brothers from meeting day to falling out and beyond, all within a three-week span. Jeff’s hoping to score a Food Network show and enlists Andy for help as cameraman. Andy’s happy to oblige … until he senses disrespect. Still relative strangers, both clearly are working out issues in real time; they just need to — ahem — bury the hatchet.

Essentially a two-hander, The Andy Baker Tape is also that way behind the camera: Lada directed, Fontaine produced, and both talented actors shared scripting duties. A point in their favor is thriller’s compactness, bowing out shortly after the one-hour mark — and before wearing out the welcome. Without spoiling where it goes, the movie is all the more unsettling because the situation could happen — and has, as NBC’s Dateline and its ilk demonstrate week after week.

You’ve seen much worse COVID projects, but few better. And its last line is killer. —Rod Lott

Money Hunt: The Mystery of the Missing Link (1984)

When people say, “You couldn’t pay me to watch that,” they probably weren’t referring to Money Hunt: The Mystery of the Missing Link. All of 45 minutes, the made-for-VHS “original mystery movie” asked viewers to attempt to solve it for a chance to snag a $100,000 booty. One wonders if this tape is to blame for Dino De Laurentiis’ Million Dollar Mystery, a legendary bomb somehow more watchable even at double the running time.

Then halfway through his TV gig on Magnum P.I. as the mustachioed guy women didn’t want to fuck, John Hillerman hosts. He tells viewers they’ll need to decipher the clues to come up with three things: a region, a city and a safety deposit box number. What he doesn’t share until the end is they need to watch again to locate the phone number to call with the solution, which is like telling a patient who just had a root canal that a colonoscopy is needed immediately and, oops, the anesthesia tank is empty.

Cut to the “movie,” featuring Beverly Hills Cop’s John Ashton as chain-smoking private dick Cash Hunt. (Ha?) Amid a biz dry spell in a hot Hollywood summer, Hunt gets a case that leads him to the House of Liver restaurant, not to mention a few kuh-raaazy characters like a sexy waitress with a Judy Landers voice (Zane Buzby, National Lampoon’s Class Reunion), a patently ridiculous fortune teller (Ruth Crawford, 2009’s American Virgin) and a blind airline pilot (Newell Alexander, 1982’s Homework), all of whom want a gander at his office’s energy meter.

Despite a decent approximation of the rhythm of hard-boiled pulp narration, Money Hunt makes no sense. That may be by design to call attention to awkward clues and/or red herrings. Either way, Hunt’s as in the dark as we are, so with no true conclusion, it doesn’t work as a mystery. By comparison, the lamentable VCR game Ellery Queen’s Operation: Murder is The Maltese Falcon. (Wait, let’s not go that far. The Maltese Bippy.)

Now, just because the program also plays a self-parody doesn’t mean it works as a comedy; it works against it. Try as Ashton and Buzby might to sell them, the jokes are painful. They might have landed in TV’s Police Squad! (or its eventual Naked Gun movies) — for example, after Hunt says, “I think it’s time we lay all our cards on the table,” the camera fades to … yeah, I knew I needn’t go further — but director David Hemmings (yes, the Blow-Up actor) is neither Zucker nor an Abrahams.

As unappealing as the sweaty wife-beater Ashton wears throughout, Money Hunt features a great deal of hotcha-hotcha-hotcha innuendo, a brief animated dream sequence and end credits that include a list of helpful reference materials, from the Rand McNally atlas to The Dictionary of Calories and Carbohydrates. So who won? You, if you never watch. —Rod Lott

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Death Hunt (2022)

With a snazzy Trans Am and snazzier mistress, big-city New York bizman Ray Harper (a feature-debuting Omar Tucci) drives to rural Crawford County to convince the local yokels of a $150 million project to develop their rural farmland. This pitch goes over as well as a Scientology service, but said mistress, Brooke (fellow first-timer Marlene Malcolm), cheers his spirits by gifting him a brand-new compass. Foreshadowing alert!

So Ray and Brooke are kidnapped by a trio of rednecks who pray for societal collapse and whose leader, TJ, looks uncannily like multishirted serpent Steve Bannon. “What’s this aboot?” asks Ray, revealing the movie in all its Canadianness, as the couple is boated to a nearby heavily wooded island for a lovely picnic.

Totally kidding; this ain’t no picnic. Instead, Ray and Brooke become unwilling participants in the most dangerous game: the one in which they’re hunted like animals — a Death Hunt, one might say.

Quoth TJ, “Once you’ve hunted humans, animals just don’t cut it,” so their craven disregard for life at least was built with purpose. Director Neil Mackay (the similar Battleground) needn’t have shown the Confederate flag for us to understand that TJ (Terry McDonald, Mackay’s Sixty Minutes to Midnight) and his gang are evil, but I’ll take it.

As the game begins, Ray doesn’t run so much as lightly shuffle toward a pleasant jog. Brooke fares better — much better — even in capri pants and a cami crop trop. With squibs aplenty, Death Hunt is simple, lean and adds nothing unexplored to the subgenre. Still, I give Mackay credit for not taking his into I Spit on Your Grave territory; refreshingly, rape isn’t even on the minds of the men — much to the bafflement of Brooke, who’s told by an offended captor, hilariously, “We’re married!”

In part because Mackay has stripped the premise to its core elements, but more because Malcolm gives it everything she’s got, this flick works. It’s also beautifully photographed, which rings of irony considering it’s “aboot” the ugliest of humanity. —Rod Lott

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Party Line (1988)

Unequivocally, Party Line is the finest psycho thriller starring a prematurely balding, former Tiger Beat staple in eye makeup and a puffy shirt. That would be Leif Garrett (Macon County Line) as Seth, the whiny, wealthy brother of sexy, spoiled Angelina (Greta Blackburn, Savage Harbor). They have nothing better to do than repeatedly carry out a felonious, three-part scheme as if it were as frivolous as Taco Tuesday: They set up dates by dialing up party lines (the Tinder of their day); Angelina seduces them; then Seth straight-razors them before driving off in a sports car with the license plate “TEMT ME.”

Following a number of these acts of 976-evil, homicide detective Lt. Dan Bridges (Richard Hatch, TV’s Battlestar Galactica) is assigned the case. But because he’s a “dangerous, hotheaded jackass” who exercises both police brutality and illegal search-and-seizure, he’s assigned a buttoned-blouse partner (Shawn Weatherly, Amityville 1992: It’s About Time), a special investigator for the district attorney’s office, to keep tabs on him.

They eventually get a break thanks to a preteen girl (Patricia Patts, the voice of Peppermint Patty in several Peanuts cartoons) who calls the line for kicks. This babysitter has more bearing on the plot — and thus, more screen time — than Bridges’ captain, played by the iconic Richard Roundtree (Shaft, duh).

Seth harbors major mommy issues and sissy issues — the latter best exemplified by his rage-tearing the curtains off the rod as he watches a tanning Angelina rub her bikinied breasts. In this scene and all, Garrett’s performance is hysterical, in both the emotional and humorous definitions of the word.

As clearly as Seth is disturbed, Party Line is clearly a theatrical progenitor — although a weak one — of the ’90s VHS/cable erotic thriller revolution. Director William Webb (The Banker) lathers a prescient Animal Instincts coat of adults’ body paint atop his coupling of William Castle’s I Saw What You Did and Brian De Palma’s Dressed to Kill. You don’t even need the Blu-ray subtitles’ many instances of “(sexy saxophone music)” to recognize that.

Too hokey to be erotic or thrilling, Party Line boasts several pause-worthy moments (and I don’t mean the kind you think*). For instance, be sure to see:
* 37:30 for a cameo by the boom mike, moving more than either actor in the scene
* 41:18 to glimpse the fucking filthy bare feet of Bridges’ cop girlfriend (Marty Dudek, Martial Law), as if she’s not been pulling over speeders, but cleaning chimneys with Dick Van Dyke
* 1:01:33 for one of the era’s more brazen kid mullets (speaking of, Garrett’s hair suggests an odd combo of mullet, ‘fro and failed Rogaine)

Yes, of course “The party’s over” is one of the film’s final lines. —Rod Lott

*That said, gentlemen, check out 1:12:48 for Weatherly in a red satin dress more fiery than the 15-oz. “Party-Size!” bag of Flamin’ Hot Cheetos.

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