Derrick

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2012. We should have been warned...At least that's what Derrick Ferguson thinks! Check out his review of 2012 over in the Movie Review Notebook. Then, while you're here, why not check out our variety of available titles? We've got sneak peeks of next year's releases Dillon and the Legend of the Golden Bell, and How The West Was Weird! Get reading...oh, and Happy Thanksgiving for those of our readers in the US of A! Oh, and just as a reminder...our message board is up and running, so feel free to stop in and say hi or start a discussion on any of our fine titles! Finally, if you've got the time, spread the word about PWP to your friends! . http://www.pulpworkpress.com/ Regards, PulpWork Press

THE BIG BANG THEORY: Next to "Parks And Recreation" probably the funniest show on TV. Jim Parsons shamelessly steals every scene he's in and with good reason. He's funny as hell. And the writing is sharp and right on point. And has been pointed out earlier in this thread, the writers know geek culture and they aren't afraid to poke fun at it as they're more than likely geeks themselves. LIE TO ME: Much as I like Tim Roth I never started watching this show. HOUSE: The minute they stop writing him as an asshole, that's the day the show starts losing viewers. It isn't so much that House is an asshole...well, he is...but he's an asshole that's always right. People tend to overlook a lot when you always have the right answer (as I know from personal experience) House is a character that does and says things most of us wish that we could do but we're hampered by societal conventions and bullshit PC indoctrination. You take away that most vital characteristic of his and the show stops dead in the water. CHUCK: Watched three episodes. Was bored for three episodes. Never went back for more. SUPERNATURAL: Excellent show. One of the reasons my DVR is my third favorite toy is that I get to watch FRINGE live while DVRing SUPERNATURAL. FLASHFORWARD: Even though it has the amazing Gabrielle Union in the cast I never started watching it as I'm pretty sure ABC will screw her over in this show the way they did the new "Night Stalker" And isn't anybody besides me tired of ABC trying so pathetically hard to create a new "Lost"? FRINGE: My favorite TV show right now. It's unfairly compared to the "X-Files" which grinds my grits. FRINGE does everything "X-Files" was supposed to do and does it way better. HEROES: Won't somebody put a stake through this show's heart already and get it over with?

Well you guys mentioned a director or producer and the other films he was noted for was Turner and Hooch and something else I can't remember. But Adham said he'd never heard of Turner & Hooch. Which surprises me because that is one of Tom Hanks best films. As far as the Big Boxsets... yeah I figured as much Ian. However I was wondering if maybe there was a collectible booklet or something with the new set. Not just adding in Quantum. As I said I'm happy with the set I have. TURNER & HOOCH is one of Tom Hanks' best films? I am well and truly gobsmacked

Jonah Hex has had a loyal following since the 1970's. His first series ran about a 100 issues. pretty remarkable for a western comic back in those days. Some great stuff mostly written by Michael Fleisher. Fleisher was also writing my favorite version of The Spectre, drawn by Jim Aparo back then.

That argument holds no weight. What's the point of seeing a movie if you've read the book then? These are different times, and following the production of a movie is part of the experience for a lot of people now. It gives sites like this one things to talk about. It's not an argument, Jack. It's an observation. I fully understand that this is a different time and a lot of people enjoy following every single aspect of a motion picture from A to Z. All I'm saying is that I'd rather wait and see the motion picture as a complete whole instead of drawing conclusions from bits and pieces I read or see here and there on The Internet. Now, that's just me. All I'm saying is that the overwhelming access of information we have now encourages people to ruthlessly pick apart and denounce a production before a foot of film has been shot. It seems as if nobody has the patience to simply wait until the movie has been finished and go see it, then pick it apart ruthlessly But I attribute this to a mentality of instant gratification; "What do we want? EVERYTHING! When do we want it? RIGHT NOW!" And there's an excellent reason to see a movie adapted from a book: they're two different mediums and what will work in a book sometimes doesn't work in a movie and vice versa. There's been literally hundreds of movie adaptations of books that have little resemblance to the source material. If I were to go by your statement then why should I go to the movies and see an Iron Man or Batman movie since I've read the comics?

I think that simply comes from the fact that when the human face is distorted, it instantly looks fake because our brains tell us that it must be. (It's the reason that we'll never have a live-action version of the Hulk that looks perfect.) I find it really odd how people are already pre-judging the movie simply based on its special effects and one trailer. I'm more interested to see the final product and find out if it's actually any good on something other than a surface level. Chalk it up to the curse of too much information. These days people base their opinion on trailers and what they read on The Internet long before they've actually seen the movie itself. When it comes to movies I actually prefer the pre-Internet days when you didn't know much of anything about a movie until you went to the theater to see it. Yip. No matter how hard you try, you are going to see something about a film, you wouldn't get the twist at the end of Empire Strikes Back: you would find out somehow, as it is hard to avoid info now. EMPIRE was pre-Internet and back then people didn't delight in deliberately spoiling a movie like they do now. You've got those people who seem to take pleasure in divulging every detail of a movie months before it hits the theater now. And don't get me wrong. I think The Internet's the greatest invention since the cheeseburger. It just means I have to work harder at avoiding information about a new movie now. And I manage very well, I think. Call me old fashioned but I really don't see the point of wanting to know every single detail of a movie before going to see it. What's the point of going to see the movie if you've already read the screenplay online, read the daily blogs of the actors and director during filming and know all about all the big special effects scenes?

I think that simply comes from the fact that when the human face is distorted, it instantly looks fake because our brains tell us that it must be. (It's the reason that we'll never have a live-action version of the Hulk that looks perfect.) I find it really odd how people are already pre-judging the movie simply based on its special effects and one trailer. I'm more interested to see the final product and find out if it's actually any good on something other than a surface level. Chalk it up to the curse of too much information. These days people base their opinion on trailers and what they read on The Internet long before they've actually seen the movie itself. When it comes to movies I actually prefer the pre-Internet days when you didn't know much of anything about a movie until you went to the theater to see it.

Well, the problem is that he's just proportioned too vertically. He's really tall, but not as wide as Superman logically should be. (Then again, the same could be said for Christopher Reeve) How tall was Reeve? 6 feet, 6' 2"? Something like that. But it strikes me that he had a wider chest than Routh. I guess we'd have to put a picture of them side by side to confirm. But they still could have made the S-shield larger.

I've even got the perfect guy to play the young Rambo. None other than Milo Ventimiglia who played Rocky Balboa's son. Stallone picked Ventimiglia himself for that role for his resemblance to Stallone, right down to their both having dead nerves on the left sides of their faces that give them the same crooked mouth and speech pattern. Put him in training, put some muscle on him and you could be looking at a whole new series of Rambo movies.

Two things made me stop watching the show: When Mohander gave himself superpowers and the storyline where Peter went into that alternate future with the Irish girl. Did I miss an episode or something because as far as I know Peter never brought her back with him which means that the poor girl is stuck in a horrible alternative future and apparently nobody gives a poobah's pizzle.

Sylvester Stallone gave the character perfect closure with RAMBO and he should have left well enough alone and ended the series there. If he really wants to do something more with the Rambo character why not pick a young actor to play the role and Stallone could write/direct a movie about Rambo during the Vietnam War?

I think there was a Superman animated series and a live-action Superboy series in there. Yeah, actually, Lois & Clark was my first-ever introduction to superheroes. It's cheesy, but somehow still great at the same time. I really love the Superman costume in the show: dark shimmering blue, a bright red cape, and a giant symbol. I feel like that's the way that the Superman Returns costume should have gone. (but that's another thread) That's one of the problems I had with the "Superman Returns" costume: the damn S-shield was too damn small! The thing should cover Superman's whole chest. Then again, Brandon Routh didn't have all that much of a chest, did he? And I agree with you about Dean Cain's costume.

Well, the year is drawing to a close and we managed to get...what? One book out? Still, we're new to this whole thing, and we like to think that what we lack in know-how is made up for by our winning smiles and dashing good looks. Bit disappointing though, right? Here's the deal: We have both HOW THE WEST WAS WEIRD and DILLON AND THE LEGEND OF THE GOLDEN BELL nearly ready to go. But nearly only counts in horseshoes and hand-grenades, so, rather than risk unleashing inferior product on society, we've decided to push back the release dates for both books until after the beginning of the new year. But, as an early Thanksgiving treat/Christmas present, we've got an exclusive glimpse of How The West Was Weird for you over on our PulpWork Press Presents page, if you're interested. Titled "Camazotz", it's by Joshua Reynolds (the writer, not the painter), and concerns bats, mummies and unpleasant doings. Just right for the holidays! And be sure to check back later when we'll have a rough-n-ready production schedule for the coming year, a new movie review in the Movie Review Notebook and possibly more freebies! Oh, and just as a reminder...our message board is up and running, so feel free to stop in and say hi or start a discussion on any of our fine titles! Finally, if you've got the time, spread the word about PWP to your friends! http://www.pulpworkpress.com/

Joel Jenkins' The Nuclear Suitcase has gotten its first review this month, courtesy of Ron Fortier, who had some glowing words to share! Go check it out via the link at our blog, then go give a look towards our-brothers-in-pulp, Airship 27, who have a slew of new releases to whet the appetite of even the most reticent pulp-fan... Also, PWP is proud to reveal that we now have a wholesale program for booksellers, so interested parties should e-mail us at argus33 at hotmail dot com or jenkins at tgi dot net for further information. Be sure to come back in a few weeks when we'll have a preview of our new anthology, How The West Was Weird, for you to peruse, as well as more information on upcoming releases! And remember that we've got the first chapters of a number of our releases available for you to look at on-site, so be sure to stop by when you've got time to give them a read! And just as a reminder...our message board is up and running, so feel free to stop in and say hi or start a discussion on any of our fine titles! Finally, if you've got the time, spread the word about PWP to your friends! . http://www.pulpworkpress.com/ Regards, PulpWork Press

Who cares about Gentleman Ghost? MON-EL's in there, baby!

CON AIR 1997 Touchstone Pictures / Jerry Bruckheimer Films Directed by Simon West Produced by Jerry Bruckheimer Screenplay by Scott Rosenberg The surest sign that a movie is boring me or isn’t making sense to me is this: I start rewriting it in my mind while I’m watching it and recently I watched CON AIR for the first time since it originally hit the theatres back in 1997. I thought maybe the distance of a few years would make the movie play better and to be honest, it does. I had previously dismissed CON AIR as a typically noisy Bruckheimer production that was all about the explosions and skimped on the plot. Well, it’s still a noisy Bruckheimer production but I found that I enjoyed it far more watching it now, mainly because of the performances of a number of actors who have since become really big names in the business. Guys like John Malkovitch, Ving Rhames, Steve Buscemi, Dave Chappelle and Danny Trejo who have since blown up big time in the movie business and all who have wonderful roles in this big budget action fest. But I think that CON AIR missed the plane story wise and I’ll get into that later. For now, let’s stick with what the movie actually is about: Cameron Poe (Nicholas Cage) is a decorated Army Ranger who returns home after serving a tour of distinguished service overseas. The Army has done some good for Cameron, made him grow up a little as he used to be a wild kid who wasn’t really bad but just had a knack of being in the wrong place at the wrong time. That knack still follows him as he gets into a fight with three drunks who were hitting on his wife Tricia (Monica Potter) and during the fight; Cameron kills one of the drunks. I guess the testimony of his wife didn’t mean a thing to the judge because Cameron is sentenced to 10 years in prison but he’s paroled out in 8 as he’s been a model prisoner, encouraged to keep his nose clean by the letters written to him by his wife and his daughter Casey (Landry Allbright) Cameron and his cellmate Baby O (Mykelti Williamson) are placed aboard a massive transport plane that is a prison with wings nicknamed The Jailbird. Cameron’s going home and Baby O is being transferred to a minimum security prison and they’re naturally concerned when they find out that most of the other prisoners on the plane are some of the most dangerously psychotic criminals in the country, being transferred to a brand new escape proof prison: Cyrus The Virus (John Malkovitch) who is totally insane and totally brilliant. Diamond Dog (Ving Rhames) is a black militant revolutionary who wrote New York Times best selling books describing his revolutionary manifesto. Johnny 23 (Danny Trejo) is a serial rapist boasting 23 tattoos of roses on his body for each one of his victims who confides that his name should actually be Johnny 600 but it doesn’t have the same ring. Garland Green (Steve Buscemi) is a serial killer who slaughtered 37 people and drove across three states wearing the head of one of his female victims for a hat. Billy Bedlam (Nick Chinlund) caught his wife in bed with another man. He didn’t lay a finger on her. He drove four towns over to where her family lived and killed her mother, father, brothers, sister, cousins, uncles, aunts, grandparents, in-laws and all their pets. Pinball Parker (Dave Chappelle) is a junkie con man grifter whose joking nature hides a sick violent streak. What we’ve got here is The Justice League Of Maniacs and it wasn’t surprising to me that such a collection of such brilliantly deranged minds successfully take over the plane. Cyrus has made a deal with another prisoner on the plane: a Columbian drug lord who has promised Cyrus and his crew that if they get him back to Columbia, they can live like kings, free of extradition. Now if I had written CON AIR, I’d have had the plane make it to Columbia and then have had Cyrus and crew double crossed by the Columbian drug lord and spent the rest of the movie having this deliciously goofy cast of murderers wreak bloody revenge in an orgy of mayhem and violence. Instead we get U.S. Marshal Vince Larkin (John Cusack) and DEA Agent Duncan Malloy (Colm Meaney) flying around in attack choppers trying to find The Jailbird and recapture Cyrus and crew. Cameron has his hands full trying to find insulin for Baby O who is rapidly going into shock and trying to prevent the only female guard on the plane (Rachel Ticontin) from being raped by Johnny 23. CON AIR was one of three high-energy action movies Nicholas Cage made after winning the Academy Award for Best Actor for his work in ‘Leaving Las Vegas’ and in my opinion it’s the weakest of the three. ‘The Rock’ and ‘Face/Off’ were much better in terms of story and acting since Cage’s Cameron Poe is perhaps the least interesting character in the movie and spends most of his time trying to find insulin for his buddy as well as continually talking Cyrus and Diamond Dog out of killing a trio of prison guards being held as hostages. It isn’t until the end of the movie where The Jailbird crashes in Las Vegas where Cage goes into full-blown action hero mode and has to chase down Cyrus and Diamond Dog. It’s the rest of the cast that walks off with the movie in terms of acting. John Cusack is always a delight in anything he does and he looks as if he’s having a great time as he and Colm Meany bicker and argue about how to deal with the situation. Few actors play a psychotic genius better than John Malkovitch and he has 90% of the good lines in the movie (“Get back or the bunny gets it”) Steve Buscemi’s character makes a really cool entrance, being brought to the plane in an armored car in which he’s strapped down like Hannibal Lector with a dozen guards covering him with automatic weapons. There’s a really strange scene halfway through the movie involving Buscemi’s character and a little girl he meets in a trailer park and they have a tea party while singing “He’s Got The Whole World In His Hand” that really makes no sense and I have no idea why it’s there and it’s nowhere near as good as Buscemi’s final scene in the movie which again, reminded me of Hannibal Lector and the final scene of ‘Silence Of The Lambs’ CON AIR has some spectacular action sequences involving the giant prison plane, including the finale where it crashes on The Strip in Las Vegas and it’s one of those scenes where you have no idea how they filmed it since it’s convincing as hell but ultimately that’s all it is, one spectacular action sequence after another that have no real meaning other than spectacle for spectacle’s sake. So should you see CON AIR? If you’re an action movie junkie you most likely have seen it already. I’ve got friends of mine who claim they watch it four or five times a year but even once a year would be more than enough for me. The real entertainment value of CON AIR comes from watching Malkovitch, Rhames, Chappelle, Trejo and the other lunatics on the plane and the efforts of Cusack and Meany to capture them. The movie should have concentrated on them and cut Cage’s character out of CON AIR altogether. Now that would be a helluva ride indeed. 115 minutes Rated R

RE: Episode #17: TALESPIN I wish I'd known you'd needed a co-host for the episode, Mike, as I would have volunteered my services in a New York Minute. TALESPIN remains one of my favorite cartoons as I'm a major fan of 30's/40's pulps and Saturday morning serials and as you so accurately pointed out, those were influences on the show. I'm glad you mentioned that TALESPIN is considered to be an unofficial remake of the ABC series "Tales Of The Gold Monkey" There's just too many similar plot elements in both series to be a coincidence. It's also worth mentioning that "Tales Of The Gold Monkey" was one of three series airing on the major networks that all tried to cash in on the popularity of "Raiders Of The Lost Ark" CBS had "bring 'Em Back Alive" with Bruce Boxleitner and NBC had "Gavilan" with Robert Urich. I think the reason TALESPIN remains so beloved is the variety of stories. Some were out and out screwball comedies, other were straight-up action/adventure. Others were a mix of both. But one thing you always knew about TALESPIN; you were going to have a rollicking good time watching it. The only quibble I have about this episode is that I would much rather have heard your opinion and impressions of some of the episodes, Mike. Such as the episode where Baloo and Wildcat are trapped inside of an upside-down pyramid and Wildcat's wonky thought processes are uniquely suited to getting them out. Or the two-parter where Baloo and Louie hook up with a pretty archeologist and wind up in the desert trying to save the world from a sonic weapon built in the shape of a giant scarab. And I would have appreciated some information as to why "Plunder And Lightning" was reportedly only aired one time in it's uncut version before being chopped up into a four-parter. You actually sounded bored at times reciting the history and background of the show and while I understand that sort of information is essential you didn't seem to have your heart in it. But I'm happy about any discussion of TALESPIN at all. Overall I enjoyed the episode. Thanks for some good listenin'!

Call me when they feature Lois Griffin on the cover. Yowsa!

I gotta say that I think you were reaching quite a bit with the River Song theory, Mike. But an intriguing reach, nonetheless.

Watched a couple of really horrible 'horror' movies: CABIN FEVER and THE TEXAS CHAINSAW MASSACRE: THE NEXT GENERATION. Both were so pitiful that I have a hard time believing that these movies are taken serious. BEHIND THE MASK was a really good movie, tho. If more horror movies were this well acted and intelligent I'd stop giving the genre such a hard time.

Just a short update today, folks. DILLON AND THE LEGEND OF THE GOLDEN BELL is in the hands of our dedicated staff of editors as we write this, and is only awaiting a final revision before it hits the electronic stands. HOW THE WEST WAS WEIRD awaits only a final bit of art to get it moving towards the printers. It looks like our final two releases of 2009 will be out in time for Christmas! Next up, we've got a new review of an old film by Derrick Ferguson, as he looks at THE WORLD ACCORDING TO GARP in the newest installment of the Movie Review Notebook, so get over there and give that a look. And remember that we've got the first chapters of a number of our releases available for you to look at on-site, so be sure to stop by when you've got time to give them a read! And just as a reminder...our message board is up and running, so feel free to stop in and say hi or start a discussion on any of our fine titles! Finally, if you've got the time, spread the word about PWP to your friends! http://www.pulpworkpress.com/

I'd much rather QT gave us KILL BILL: THE WHOLE BLOODY THING which he's been promising us since '06.

I've got to get a hold of We3. Everybody I know who's read this has done nothing but rave about it.

Mother, Jugs & Speed 1976 20th Century Fox Directed by Peter Yates Written by Tom Mankiewicz and Stephen Manes Produced by Joseph R. Barbera One of the reasons I love cable/satellite stations like the Fox Movie Channel and Turner Classic Movies among others is that they show movies I haven’t seen for 10 or 20 years and have usually forgotten (even though The Wife makes a nice little bundle on the side betting people that there hasn’t been a movie I’ve seen that I’ve forgotten) or ignored for one reason or another but I rediscover them and find new things to delight and entertain me. MOTHER, JUGS & SPEED is one of those lost favorites of mine. I remember seeing this movie during its original theatrical run in Downtown Brooklyn’s late, lamented Metropolitan Theater on Fulton Street but now that I’m older and appreciate the talent that made the movie, I saw it recently on FMC with a whole new perspective and I found myself really having a hell of a good time watching it. I mean, just look at the cast…do you think that today you could get Bill Cosby and Harvey Keitel in the same movie? L.Q. Jones, Severn Darden and Bill Henderson are highly respected and dependable character actors who have appeared in literally hundreds of movies. You may not recognize the names, but I’m willing to bet you next month’s rent that when you see their faces you’ll cry out; “Oh, sure! I know those guys!” Bruce Davison starred in what is maybe the greatest made for TV science fiction movie ever made. And take a look at the name of the producer. Yes, he’s that Joseph Barbera who along with his partner, William Hanna has given us classic cartoons like The Flintstones, The Jetsons, Jonny Quest, etc. and one of the writers of this movie is Tom Mankiewicz who comes from a family whose name is a legend in Hollywood and he wrote my favorite Sean Connery James Bond movie, “Diamonds Are Forever”. And do I really need to go into the success enjoyed by Raquel Welch, Valarie Curtin, Larry Hagman and the director Peter Yates? So we’re clear on one thing, right? There’s an amazing amount of outstanding talent both in front of and behind the camera here. but exactly what is MOTHER, JUGS & SPEED about and is it worth you taking time to watch it? The F&B Ambulance Service is engaged in a war with their rivals at the Unity Ambulance Company. They’re in heavy competition to be given a highly lucrative city contract to be the exclusive ambulance providers to a section of Los Angeles and in order to be the winners, the F&B Ambulance Service is willing to do just about anything including letting the air out of their rivals tires, bribing the local cops and giving kickbacks to patients and providing them with a shyster lawyer who helps them get out-of-court settlements on trumped-up lawsuits. The F&B is home to a motley crew who unlike their rivals at Unity actually seem to prefer to win the contract by any dirty trick necessary. As my grandfather would put it, they’d rather steal a quarter than work for an honest dollar. There’s the boss, Harry Fishbein (Allan Garfield) who has not yet found the bottom to his depths of underhandedness. His crooked lawyer, Whiplash Moran (Severn Darden) is as twisted as a spiral staircase after an earthquake. There’s the sex-crazed Murdoch (played with brilliant sleaze by Larry Hagman) who runs a betting pool based on how many dead bodies his rig can bring in on a shift. Jugs (Raquel Welch) is the Amazonian switchboard operator who blackmails Fishbein into giving her a job as an ambulance driver. Tony Malatesta (Harvey Keitel) is a cop who’s on suspension due to his being accused of selling heroin to junior high schools kids (hence his nickname, ‘Speed’) and he comes to work at F&B where he’s partnered with the baddest and coolest ambulance driver around, Mother (Bill Cosby), whose souped-up rig is tricked out with a high-powered custom stereo system, a loaded .357 Magnum holstered under the dash and a cooler full of beer and champagne. Mother lives up to his nickname as he looks out after everybody at F&B and quiet as it’s kept, he only lets Fishbein think he’s in charge while Mother is the one who really runs the show. MOTHER, JUGS & SPEED really doesn’t have any kind of plot to speak of. Mainly it presents us with these colorful characters and a whole lot more besides and let us see how they interact with each other and the citizens of L.A. as they go about their job in a series of sometimes funny, sometimes sad and even violently grim events that come with the package. As Mother says to Jugs after a heartbreaking death in the back of his rig; “You run around yelling about your rights and responsibilities…well, this is it, sweetheart and this is as good as it gets.” The conflict with the Unity guys weaves in and out of the various character bits and vignettes, some of which are hilarious such as the one where Murdoch and his partner have to bring a tremendously fat woman from the top floor of a four-story walkup down to the ground floor. And there’s a growing romance between Speed and Jugs that has some really good chemistry between Welch and Keitel that makes it believable. There are a couple of deaths in the movie that are actually shocking and the movie has enough respect for the material to take the time to show how the characters react to the deaths. And this may be the only movie where you get to see Bill Cosby beat the everlovin’ shit outta Larry Hagman. So is the movie worth your time watching it? Hell, yeah. You get to see a whole bunch of talented people at work at a time before they really hit it big and you get to see them in their prime. Harvey Keitel especially looks baby faced and it’s kinda scary when you see flashes of the intensity that marks his performances in later years. The movie diddy bops along at breezy 90 minutes that shifts gears in an eye blink from raucous comedy to poignant drama. And there’s a great ‘70’s soundtrack that includes songs by Peter Frampton and The Brothers Johnson and I defy anybody not to be hooked by the title sequence that has Bill Cosby wildass driving his rig through nighttime L.A. streets to Paul Jabara’s ‘Dance’. It’s an entertaining movie that I recommend highly and I think that even if you don’t catch it on FMC it’s worth a rental fee. In fact, it would make a good Saturday night double feature with Martin Scorsese’s “Bringing Out The Dead” since they both share certain themes. MOTHER, JUGS & SPEED is rated PG-13 for mature language and themes and there’s one scene that has Mother in a whorehouse where it’s pretty clear that he trades drugs for sexual favors and I applaud Bill Cosby for wanting to stretch his acting chops and show a darker side to his character. But if you really want to see him play a dark character, rent the detective thriller he did with his good buddy Robert Culp, “Hickey and Boggs” because is that one underrated modern detective/noir thriller with balls. I understand that some people who know him only from his Jell-O commercials or his rightfully classic NBC TV show might be upset at seeing him in such a scene so don’t say I didn’t give you fair warning, okay?