What classics did you see last week, Sept 25 to Oct 1?

Life Blood (2009) 2/10



Fear in the Night (1972) 5/10



The Iron Maiden (1963) 6/10 repeat



Big Business (1988) 7/10



The Last Hard Men (1976) 6/10 repeat



The Petrified Forest (1936) 5/10

“Night Hawks” Distributed by Universal Pictures, 99 Minutes, Rated R, Released April 10, 1981:

If you look closely over actor/writer/director/producer Sylvester Stallone’s filmography, you’ll find something that might surprise you.

Despite Stallone’s reputation as an megalomaniac--an egotistical pretender who aspires to rarefied artistic distinction but mainly turns out series of lurid or sentimental but often enormously popular pulp fiction time-wasters--he’s actually participated over the years in the occasional legitimate gem of a movie...although it might not have seemed that way at the time.

Since his breakthrough as a motion picture superstar in 1976’s “Rocky,” Stallone has attempted whenever possible to gain as much control as possible over each of his motion picture appearances.  His mania is likely a result of toiling for years as a bit player, scrambling for work as an extra or small parts in the films of other artists--playing a thug in Woody Allen’s “Bananas,” a suspected mugger in Neil Simon’s “The Prisoner of Second Avenue,” a flashy Mafioso in Paul Bartel’s action comedy “Cannonball” in 1976, and even gratefully accepting $200 to appear in the infamous softcore pornographic film “The Party at Kitty and Stud’s” in 1970

When Stallone in 1976 actually decided to write himself a plum role in the Capra-esque boxing drama “Rocky,” the major studios dangled lucrative offers to the unemployed Stallone in an effort to purchase his script with other major performers in mind for the role. But the unemployed actor was adamant: No Stallone, no “Rocky.”

Still, after ”Rocky” a few of Stallone’s best roles have occurred when he’s worked for other filmmakers as an actor only, with no participation as a writer or director--in John Huston’s “Victory” in 1981, for example, or “Cop Land” in 1997, which paired Stallone with Robert DeNiro in one of the first big screen efforts for writer/director James Mangold, the filmmaker behind the enormously successful “The Wolverine,” “Logan,” and “Ford v Ferrari.”

Sandwiched in between the megahits “Rocky II” in 1979 and “Rocky III” in 1982 and before the money-machines “First Blood” in 1982 and “Rambo: First Blood Part II in 1985, Sylvester Stallone acted in a small and modestly budgeted little action thriller entitled “Night Hawks.”

Written by David Shaber and called “Nighthawks” virtually everywhere except the movie’s opening credits, “Night Hawks” was originally intended to be a project for Gene Hackman, a followup to his Academy Award-winning turn as tough New York City cop Popeye Doyle in 1971’s “The French Connection” and its 1975 sequel.

When Hackman developed cold feet at the thought of one too many trips to the well (as well as a certain hesitation over studio 20th Century-Fox’s plans to include in the picture a co-starring role for the popular young comic Richard Pryor, then a mostly-unknown entity as a dramatic actor), plans for “The French Connection III” were scrapped. The script was rewritten and tweaked over time by Shaber and made the rounds of the Hollywood studios, eventually landing at Universal Pictures, where it attracted Stallone’s interest.

In “Night Hawks,” the ruthless and cruel international terrorist Heymar Reinhardt, known as “Wulfgar” (Dutch actor Rutger Hauer), holds Europe in a grip of fear. Responsible for a series of murders, kidnappings, and bombings throughout the continent, the emotionless Wulfgar loses his network of protection when his bombing of a London department store results in the deaths of a number of children. To regain his reputation for merciless efficiency, the demented terrorist decides to pioneer new territory: New York City, the headquarters of the international news media...and the location of the United Nations.

Simultaneously in New York City, dedicated NYPD Detective Sergeant Deke DaSilva (Sylvester Stallone) and his resourceful partner Detective Sergeant Matthew Fox (Billy Dee Williams) are investigating a local narcotics network with ties to the police department. Unhappily estranged from his fashion designer wife (Lindsay Wagner), DaSilva is incensed to learn that he and Fox have been reassigned at the request of Interpol’s Inspector Peter Hartman (Nigel Davenport) to his new Anti-Terrorist Action Command, in anticipation of New York-based activity by the disappeared Wulfgar.

Initially wary of the reassignment and skeptical of Hartman’s radical instruction tactics (“You’re training us to be nothing but assassins,” the detective grouses, “The only difference between him and us is the badge”), the troubled DaSilva finds himself adapting to Wulfgar’s thinking.  And with Fox in tow and Wulfgar in his mind, DaSilva quickly picks up the terrorist’s New York City trail.

“Night Hawks” is a movie filled with subtlety and spectacle, nuanced performances and heart-stopping set pieces. But at the heart of the picture is the deadly game of cat and mouse between its opposing characters--Sylvester Stallone’s New York cop Deke DaSilva and Rutger Hauer’s vicious European terrorist Wulfgar.

The actors themselves are a study in contrasts. Stallone’s Detective DaSilva is a sort of kinder, gentler, somewhat dandified precursor to Rambo.  Bearded and pensive behind owlish aviator glasses, DaSilva's a Vietnam combat veteran with 52 registered combat kills, an undercover cop with eight years service...but as meek and mild and tongue-tied as a schoolboy in the presence of his estranged wife.

Rutger Hauer in his first American film, almost two years before his rise to fame as the escaped replicant Roy Batty in filmmaker Ridley Scott’s fabled cult classic “Blade Runner,” is arrogant and cocky, vain and boastful, alternately gentle when cooing over a newborn baby and homicidally cold when murdering a hostage in an elevated tram car.  With his characterizations as Wulfar in “Night Hawks” and Batty in “Blade Runner,” Hauer effectively typecast himself as a coldblooded coldly efficient human robot, an image which haunted the actor for the remainder of his career.

“Night Hawks” was noted for its troubled production history. For reasons that remain unclear, original director (and Disney Studios veteran) Gary Nelson was fired from the production after only a week of filming. With only one previous credit as a filmmaker, novice filmmaker Bruce Malmuth was hired in Nelson's place.  Delayed on his way from his Los Angeles home to the New York City location, Malmuth missed his first day of shooting...and was replaced in the director’s chair--at least temporarily--by star Sylvester Stallone.

Reports differ on precisely how much of “Night Hawks” was directed by Stallone. Most sources indicate the actor was responsible for filming only one segment of the film--a lengthy chase sequence set in the New York City subway. But co-star Lindsey Wagner, playing the role of DaSilva’s estranged wife Irene, recalled during an interview that Stallone actually remained on both sides of the camera for remainder of the picture: “We started with one director,” Wagner said, “and there was some problem, and Sylvester ended up having to take over the film.”

But a timely and compelling story, a fast-moving narrative, and realistic and evocative performances make up for a multitude of shortcomings. The picture’s vibrant electronic-tinged score by musician Keith Emerson, the founder and front man of the progressive rock supergroup Emerson, Lake, and Palmer, also adds to the picture’s sense of urgency.

Even at a sleek 99 minutes, “Night Hawks” seems much shorter, partly because of the frequent action sequences and set pieces, but also because of the maturity of the picture’s characterizations. Billy Dee Williams, then at the apogee of his international movie stardom as a result of acclaimed performances in the 1971 TV movie “Brian’s Song” and the hit films “Lady Sings the Blues” in 1972, “Mahogany” in 1975,” and the second Star Wars film “The Empire Strikes Back” in 1980, is particularly effective as DaSilva’s volatile but resourceful partner.

“Night Hawks” also shows signs of extensive pre-release tampering and tightening--Stallone inexplicably changes his wardrobe with distracting frequency, scenes occasionally fail to match precisely, and during one crucial shootout a single gunshot plainly results in multiple wounds to the target. Reportedly, two versions of the picture were prepared--one emphasizing Stallone’s DaSilva and the other emphasizing Hauer’s Wulfgar--and shown to test audiences. Although the version highlighting Hauer was better received, some of the actor’s better scenes were removed from the film prior to its release.

But viewed as a whole, flaws and all, “Night Hawks” is not only one of Sylvester Stallone’s best performances, but also one of the very best action thrillers of the 1980s--considerable in a decade that also included such genre classics as “48 Hours,” “Die Hard,” and “Lethal Weapon.”

“Night Hawks” is rated R for violence, some sexualtiy, and language concerns.


“Annabelle Comes Home” Distributed by Warner Bros. Pictures, 106 Minutes, Rated R, Released June 26, 2019:

For most parents leaving a child in the care of a babysitter, the fear is that a boyfriend or two might stop by while they’re gone, or maybe that the kids will get into the liquor cabinet.

But for ghostbusters Ed and Lorraine Warren, the heroes of the blockbuster “The Conjuring” horror movie series, the fear is that the kids will get into their Black Museum of a basement and uncork some spirits of a different kind. And that’s precisely what happens in “Annabelle Comes Home,” released by Warner Bros. during the summer of 2019.

After a particularly harrowing assignment, the Warrens (Patrick Wilson and Vera Farmiga, in cameo appearances) have brought home with them the haunted and possessed Annabelle doll, an artifact so dangerous that they keep it stored in the basement inside a reinforced and padlocked plexiglass case reclaimed from a Cathedral and blessed by a priest.

But when the Warrens are summoned out of town for a weekend and leave 10-year-old daughter Judy (Mckenna Grace) in the care of teenage babysitter Mary Ellen (Madison Iseman), the babysitter’s emotionally troubled high school friend (Katie Sarife) stops by. Intrigued by matters concerning the macabre, Mary Ellen’s friend wanders into the basement and manages to get into the display case containing Annabelle. And all hell breaks loose--literally.

Written and directed by veteran horror writer Gary Dauberman (“It,” “It Chapter Two), “Annabelle Comes Home” is a swift-moving, absorbing, and unusually likable little joyride of a movie. In his debut as a filmmaker, Dauberman wisely sticks to the jump scares, moving shadows, and misleading mirror reflections he’s picked up from other horror pictures, and combines the resulting shocks with a solid plot and appealing performances from a well-chosen cast. And a heartwarming little epilogue adds a “Leave It to Beaver”-worthy moral at the end.

Despite the brief presence of “The Conjuring” stars Vera Farmiga and Patrick Wilson in wraparound segments, “Annabelle Comes Home” is anchored by the enormously agreeable performance of 13-year-old Mckenna Grace in the role of the Warrens’ hapless but far from helpless daughter, Judy. Young Grace adds another impressive entry to a growing resume of blockbuster movies (“Captain Marvel,” “Ghostbusters: Afterlife”). And barely into her teens, the young trouper can already wield a crucifix with the authority of Peter Cushing in the old Hammer Studios Dracula pictures.

The seventh installment in the “The Conjuring” franchise and the third film in the peripheral stand-alone “Annabelle” series, “Annabelle Comes Home” is rated R for violence and sequences of terror, and is available for streaming on HBO Max, Amazon Prime, YouTube, and Google Play.


“Brightburn” Distributed by Sony Pictures Releasing, 90 Minutes, Rated R, Released May 24, 2019:

Two words: Evil Superman.

In “Brightburn,” childless farm couple Kyle and Tori Breyer (David Denman, Elizabeth Banks) discover an infant child nestled inside a meteorite that crashed onto their property just outside the small town of Brightburn, Kansas. Instead of reporting the incident to the authorities, the Breyers decide to adopt the child and raise him as their own.

The Breyers’ precocious adopted son eventually begins to demonstrate such unusual abilities as super-strength, flight, speed, and heat-ray vision…but also displays a predisposition toward anger, sadism, and even homicide. What’s a modern parent to do?

Anchored by an effective performance from Elizabeth Banks (“Pitch Perfect”) as the Kansas farm wife who longs to be a mother but finds herself outmatched by an otherworldly offspring, “Brightburn” is cynical and jaundiced…but also a remarkably effective horror picture. Pushing the well-worn Superman mythology through the template of a monster movie complete with jump scares and startlingly-lifelike makeup effects, “Brightburn” in its own quiet way becomes a bona fide classic of the genre, as well as a favorite among cult movie enthusiasts.

“Brightburn” was produced by James Gunn, the filmmaker behind the Marvel-based “Guardians of the Galaxy” pictures. At the time of “Brightburn,” Gunn had recently been fired by Walt Disney Studios, the owners of the Marvel Comics franchise, for some off-color comments he’d posted on the Twitter website. So if you thought you detected a certain bitterness and anger in “Brightburn” toward the whole superhero culture, you probably did.

Directed by David Yarovesky, “Brightburn” is rated R for horror violence, bloody images, and language throughout. The film is available for streaming on Amazon Prime, Hulu, YouTube, Sling, Vudu, and Google Play.


“The Night House” Distributed by Searchlight Pictures, 110 Minutes, Rated R, Released August 20, 2021:

Methodical is a good word to describe “The Night House.” An intelligent and well-plotted little thriller, the movie unfolds like a good novel and contains all the hallmarks of not only a classic horror movie, but also a great mystery and an absorbing drama. The audience is never sure whether the picture is a psychological thriller or a crackerjack ghost story, and the movie’s bleak denouement will have viewers debating the picture for days afterward.

In “The Night House,” a schoolteacher on the worn edge of youth (Rebecca Hall) is mourning the recent suicide of her architect husband. Still living in the remote lakefront home he built for her, some of her husband’s personal mementoes lead the young widow to suspect her late spouse had been leading a double life. And as strange noises and fleeting apparitions begin to occur during the nighttime hours, the troubled schoolteacher begins to discover that her late husband’s pursuits included necromancy, and the dark arts.

“The Night House” is driven home by a virtuoso performance by London-born performer Rebecca Hall as the troubled, haunted Beth, the widow of the late architect. Vulnerable and brittle, sometimes unsympathetic and even unlikable, Hall’s physically demanding performance keeps the audience on its toes throughout: Is she being driven mad with grief over her husband’s death…or is her darkness a manifestation of evil spirits inhabiting her home?

Director David Bruckner throws in a handful of traditional jump scares along the way, placing each into the narrative as carefully as a pharmacist measuring out medicine. But he needn’t have bothered--an intelligent script supplies disconcerting situations enough to create the film’s worst scares in the mind of the viewer, like a vivid nightmare in which we’re aware dreadful events are about to occur but powerless to stop them.

Whether madness or spirits, “The Night House” will have the viewer looking over his shoulder by the third act…for good reason. The movie is especially effective for those viewers who perceive shapes in carpet patterns and curtain designs. This is one little chiller that really delivers the goods. Check it out--but don’t watch it alone.

Filmed near Syracuse, New York, “The Night House” is rated R for violence, disturbing images, and some sexual references.


“Underwater” Distributed by 20th Century-Fox Pictures, 95 Minutes, Rated PG-13, Released January 10, 2020:

Kristen Stewart can’t catch a break.

Here’s what happened: The “Charlie’s Angels” remake starring Kristen Stewart that Sony Pictures released in 2019 was supposed to be a big hit. And when it was, 20th Century-Fox had “Underwater” ready to go. A little horror picture also starring Stewart, “Underwater” was supposed to clean up the box office dollars left over from the expected “Charlie’s Angels” financial juggernaut.

But “Charlie’s Angels” tanked at the box office instead…and pretty much took “Underwater” along with it. 20th Century-Fox barely released the picture and it quickly sank out of sight, unseen by most. Which wasn’t fair, because “Underwater” is a pretty nifty little monster movie. It’s not the best horror picture ever made, but it’s far from the worst.

In “Underwater,” Kristen Stewart plays Norah Price, a mechanical engineer who hires onto an undersea mining operation for the shady Tian Industries. Tian Industries has established a mining operation at the base of the Mariana Trench, ”5000 miles from land and seven miles straight down.” And the company is looking for suckers, or rather workers, to sign up for months-long tours of isolated duty on the ocean’s floor. Hey, the money’s good.

When an earthquake renders the station in imminent danger of both structural failure and a meltdown of its nuclear core, it looks like the end of the road for Norah and the crew. But the captain hatches a plan for the whole gang to suit up in impossibly clunky pressure outfits and walk across the ocean’s floor through freezing waters to a neighboring mining center two miles away. What could possibly go wrong?

Plenty, as it turns out. Something is out there waiting for them. It’s big, and it’s scary, and it’s mean. And it eats people.

With a nod to 1958’s “It! The Terror from Beyond Space”--and the 1979 blockbuster “Alien,” which was based on it--”Underwater” earns high marks by keeping expectations low. The picture employs a genuinely likable cast of young actors, establishes a wonderfully claustrophobic atmosphere, and piles on enough peripheral crises and jump scares to satisfy even the most devoted fans of the Blumhouse House of Horrors.

Produced on an unusually modest budget, “Underwater” never pretends to be anything more than the dumb little horror picture it is. But every member of its talented and wonderfully plucky cast, starting with star Kristen Stewart, gives the picture everything they’ve got, delivering even the silliest dialogue with the relish an actor would otherwise accord to a William Shakespeare tragedy.

Directed by William Eubank, “Underwater” establishes its horror cred by not shying away from periodically revealing the movie’s monster. Mostly seen in there-and-gone cameos, the creature during some shots is plainly some guy in a rubber monster suit. But toward the end of the picture, when the true nature of the evil and carnivorous beast is finally revealed, it’s the creature-feature equivalent of the mothership arriving in “Close Encounters of the Third Kind.” And brother is that thing ugly!

The sexism police will note with interest that while the last surviving guys remain suited-up, Kristen Stewart and co-star Jessica Henwick spend the final ten minutes of the picture running around in their underwear. But the same thing happened to Sigourney Weaver in “Alien,” and she made the cover of Newsweek and became a feminist icon beside. If Stewart never finds the role that’ll finally propel her past her “Twilight” roots to superstardom, she can always earn a tidy living as a movie scream queen. Like Norah Price in “Underwater,” Kristen Stewart’s a survivor.

“Underwater” is rated PG-13 for sequences of action and terror, and brief strong language. The picture is streaming on Amazon Prime, Hulu, YouTube, Sling, Google Play, and Vudu.

I was so sure this was Robert De Niro in Raging Bull 1980, but it isn't. I have no clue since the face isn't familiar, at least to me.

The Naked Street / Maxwell Shane (1955). When working class Rosalie Regalzyk (Anne Bancroft) turns up pregnant but unmarried, her mob leader brother, who styles himself Phil Regal, (Anthony Quinn), and sole support of Rosalie and their mother, learns that the father is Nicky Brandna (Farley Granger), who, inconveniently, is on death row at Sing Sing. Phil swings into action, intimidating witnesses to get Nicky released. Once he does this, a quick marriage takes place. But Phil only has contempt for his new brother-in-law, refusing to give him a place in his organization, making career criminal Nicky work for a living. How do you think that’s going to turn out? Also in the mix is crusading reporter Joe McFarland (Peter Graves), who had a crush on Rosalie in high school, but has his sights set on bringing down Phil.
    I saw this as part of TCM’s occasional series Noir Alley, hosted by the czar of noir, the doyen of darkness, Eddie Muller. Usually delivering excellent intros and outros to the films, Muller didn’t seem to like anything about “The Naked Street” and made light fun of the goings-on. I wonder why he even presented it. The movie certainly is not “important” but is still entertaining and the four principal players are good, especially Anthony Quinn, coming off his first Supporting Oscar and not far from his second. But then, Muller took a similar mocking attituded toward Rudolph Maté’s “D.O.A.” one of my all time favorite films and a film noir essential.





See How They Run / Tom George (2022). If you are a fan of Agatha Christie, you will rejoice at this period mystery comedy. However, if you know little or nothing about Agatha or what “The Mousetrap” is, then maybe not so much. It is 1952 and crass American movie director Leo Kopernick (a hilarious Adrian Brody) is in London to negotiate film rights to “The Mousetrap.” However, there is a clause in the play’s contract that no movie can be made as long as the play is running on London’s West End (this is true). But it has been running for 100 performances so Kopernick believes it cannot last much longer. In narration he describes it as a boring “whodunit” where all the characters are introduced, the worst of the characters is murdered, a world-weary police inspector shows up and reveals the killer in the final scene. This is the case here as Kopernick is done in at a party for the 100th performance (but he returns in flashback and continues to narrate). The world-weary inspector is Detective Stoppard (Sam Rockwell, whose English accent is pretty good whenever he employs it) who has been saddled with a rank beginner, Constable Stalker (Saoirse Ronan), an overeager rookie who writes everything anyone (including Stoppard) says in her notebook. The play’s one big star, Richard “Dickie” Attenborough (Harris Dickenson), is a major suspect and Agatha herself (Shirley Henderson) shows up at the finale to save the day.
    The mystery puzzle itself is a good one and has some resonance for us today. BTW, even if Leo Kopernick had lived he would have had a long wait for that movie contract. “The Mousetrap” is still on stage, a continuous run that celebrates its 70th year in 2022, a world record.





The Wild Wild West
“The Night Of The Freebooters” Season 1, Episode 25 (April 1, 1966)
“The Night of the Burning Diamond” Season 1, Episode 26 (April 8, 1966)

Midsomer Murders
“Sting Of Death” Season 21, Episode 3 (December 18, 2019)

Star Trek: Picard
Season 1, Episodes 1-4 (January 23, 2020-February 13, 2020)

Took me a while to recall the title, but I come up with

I've tried it a couple times, but found it too grim and sordid to really engage me. 
 

Swamp Water (Jean Renoir, 1941)

A strange little crime story about a young man who finds an escaped convict in a bayou, learns that he's innocent and tries to clear his name. Some nice cinematography, but the movie feels all over the place. 5/10



Monsieur Hulot's Holiday (Jacques Tati, 1953)

There are some wonderful visual gags in this movie, and it's clearly influence a lot of comedies that came after it, but I found much of the humor did not work for me personally. I almost feel bad about not caring for it, because it's shockingly well made, but just not my style of comedy. 5/10



The Entity (Sidney J. Furie, 1982)

Horror movie in which a woman is repeatedly abused by a rape demon(?). Honestly better than it sounds because of the acting and special effects. It's disturbing, and there's a sense of powerlessness to the entire thing, and with no one believing in the demon, it comes off disturbingly like people ignoring a rape which adds a bit of real world horror. 7/10



Thor: Love and Thunder (Taika Waititi, 2022)

I was a little hesitant to even watch this as I don't have the overwhelming love for Marvel that so many seem to and I heard many call it the worst Thor movie… and honestly the Thor movies don't have the best track record for me. Much to my surprise, I honestly thought it was the BEST of the Thor movies. It wasn't a retread of a story I've seen a thousand times like the first, wasn't as dull as the second and wasn't an annoying joke every 2 seconds film like the third. While it is certainly closer to the third film in terms of tone, I found it worked for the most part and was pleasantly surprised. Also, Bale made for an incredibly good villain. 7/10



What Ever Happened to Baby Jane? (Robert Aldrich, 1962)

Last movie I watched before October hit and honestly I could have saved it for the horror marathon. This is one of the most uncomfortable movies I've ever seen. The cast gives a phenomenal performances all around and menace oozes in every scene. 8/10



Evil of Dracula (Michio Yamamoto, 1974)

First film of the October Challenge! Final in Yamamoto's "Bloodthirsty Trilogy" of films. As with all the others it's a vampire film set in Japan that takes more from Hammer Horror than it does from classic Japanese horror. This time it adds a bit of interesting history, implying that the first vampire to come to Japan was a European missionary which is a rather neat concept in my opinion. Fun stuff, as were the others. 6/10



The Lair of the White Worm (Ken Russell, 1988)

This movie is absolutely bonkers. I mean, all the Ken Russell films I've seen have been, but this one at least doesn't seem to take itself seriously, which makes it significantly better than some of his films I've seen. It's bizarre and not exactly good, but I had fun with this vampire snake tale. 6/10



The Strange Case of Dr. Jekyll and Miss Osbourne (Walerian Borowczyk, 1981)

A very erotically charged take on the Dr. Jekyll story. It's a little uneven in terms of editing and it's obviously going for a more arthouse feel to the tale (which will certainly influence if the viewer loves it or hates it), so it's certainly not for everyone (not to even mention the fairly constant stream of nudity) but I found it surprisingly effective. 7/10



Evil Dead Trap 2 (Izô Hashimoto, 1992)

Sequel in name only to the infamous Evil Dead Trap film (the only connection other than both being Japanese horror movies are that both involve a female newsanchor as one of the main characters). This is a much more arthouse horror film than the first which was an over the top gore fest. This one also takes itself way more seriously. It's not as good as the first, but I like its ambition and that it's not afraid to go a different direction. 6/10

As someone who has seen KILLER'S KISS Doghouse, I can tell you that is definitely not Frank Silvera, it is Jamey Smith. I am not sure if you know who Frank Silvera was, but he was a black man of Jamaican heritage. I imagine Silvera got top billing because he was better known than Smith. The late character actor Frank Silvera is quite an historically important player in the history of black actors in Hollywood.

Here is a scene with both actors in the frame. Frank Silvera in Killer's Kiss.



Jamie Smith in Killer's Kiss. 



Irene Kane and Jamey Smith in Killer's Kiss.