No Time For Sergeants (1955)

Derivative and formulaic -- but not in a bad way

You will find nothing in Raising Hope that you couldn't find in Greg Garcia's My Name Is Earl. It's the same Farrelly brothers mix of gross-out gags and sentimentality, acted out by the same type of dim through amiable lowlifes.

And, like Earl, it's inventive, consistently funny, and often genuinely touching.




Martha Plimpton deserves more of a career.

If you're going to do a very special episode, you should do it like this...

The good people over at Ultrasonic Remote have a post on a less-than-special special episode of Without a Trace. For the sake of balance, here's an episode WKRP -- a show that knew how to pull this sort of thing off.

"Alice's Wonderland"

This was the breakthrough short for Walt Disney.


Alice's Wonderland
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CHILLER HORROR THEATRE presents... The Last Man on Earth

I don't have to tell you this is a real Mippyville favorite.

Mippyville Western Theatre presents...

Charles Bronson is usually at the silent center of action movies. He says little, but his muscles are coiled and his eyes are alert, and sooner or later, he will unleash violence. That's why it's interesting and even a little unsettling to find him in a whimsical Western romance. We don't expect Bronson to make small talk, to be charming, to sweep a pretty woman off her feet - but that's what he does in "From Noon to Three." And he does it with a certain rugged grace. The movie opens unsteadily and takes too long to close, but the things that happen between noon and three give us new ideas about Bronson's possibilities. I've always thought of him as a superb physical actor with a limited emotional range; here he finds his way very easily through a romance by Frank D. Gilroy, who wrote and directed the movie and whose best-known work is "The Subject Was Roses."

Roger Ebert on From Noon to Three.

Speaking of Moffat...

I really need to see this.