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T.J. needs to learn how to hit a curve ball if he's going to save his baseball team's chances of victory as well as the world.


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After Duke Anderson is released from prison after ten years for taking the rap for a scion of a Mafia family, he cashes in a debt of honor with the mob to bankroll a caper.

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After Duke Anderson is released from prison after ten years for taking the rap for a scion of a Mafia family, he cashes in a debt of honor with the mob to bankroll a caper. Convicted safe-cracker Duke Anderson is released after serving ten years in prison. Upon visiting his old girlfriend, Ingrid Everleigh, at her upscale apartment in New York City, Anderson comes up with his next get rich scheme: rob all six apartments in the building. It will be a complex scheme, with numerous ex-con friends and acquaintances part of the plot. Anderson realizes that life has changed in the ten years he has been in prison, where surveillance cameras are now part of everyday life. The cameras are just one more aspect that he has to consider in the scheme. What he doesn't realize is that some of his associates are also under individual electronic surveillance by various organizations, each for a different reason. Some of these taps are legal and some not so legal. Will anyone doing the surveillance work be able to piece together the plot, and even if they do will they care if it does not relate to their prime subject? The point is -- misguided comments to the contrary notwithstanding -- that this production together with its special effects was absolutely cutting edge in 1971. A film can never be evaluated on its technical merits without due attention to its time.

The late Lawrence Sanders was one of the best recent writers of light detective fiction. His mark on other authors like, for example, Robert Parker of the excellent "Spenser" series or Huggins and Cannell of "Rockford Files" cannot be underestimated. Using clever plot twists and a heavy dose of irony, there is a subtly comedic quality to what might otherwise be just another violent cops and robbers flick. But neither is it a gentle "Lavender Hill Mob" kind of humor. The audience wants justice to be done, but not at the expense of the good bad guy. The mobster played superbly by Alan King combines sheer brutality with hilarious self-mockery -- a real antidote to the ponderous kind of viciousness one sees in the contemporary "Godfather" pictures. Indeed, the sense of humor later seen in "The Freshman" (1990) and in the recent TV series "The Sopranos" offers many examples of this now popular genre.

Much more could be said in support of this excellent film, which in my book is a 9+ on a scale of ten. I found out about this film in reference to the latest scandal about government wiretapping. Indeed, it has a pertinent subject: a heist, its planning caught on tape by a bunch of government agencies, none of them authorized to have them.

However, while the subject is interesting its realization into film is not so good. A lot of the heist details, the personal life of Anderson and so on were superfluous, while why those agencies had wiretaps there in the first place was not explained. The fact is, if you remove the very few scenes related to the tapping you get a rather bland, even bad, heist movie.

OK, Sean Connery is in it, an incredibly young Christopher Walken, Martin Balsam, which no one remembers nowadays. They do their job and they do it well, but even with their charm the film remains ordinary. That is why I will rate it under average, but I consider that the idea had a lot of potential and has again very much today. Perhaps a well done remake would be a good idea! Newly released from jail after serving ten years for burglary, John "Duke" Anderson (Sean Connery) formulates a plan to rob all of the wealthy residents in the apartment building where his girlfriend Ingrid Everleigh (Dyan Cannon) lives. He rounds up some old friends and acquaintances, including The Kid (Christopher Walken), gay antique dealer Tony Haskins (Martin Balsam), driver Edward Spencer (Dick Anthony Williams), Spencer's friend Jimmy (Paul Benjamin), another newly-released con named Pop (Stan Gottlieb), and mobsters Angelo (Alan King), Angelo's pop (Frank Macetta), and Angelo's hitman 'Socks' Parelli (Val Avery), to help in the heist. What Anderson doesn't know, however, is that his friends are all under surveillance by various agencies investigating them for criminal activity, and everything Duke is planning has been caught on tape. The Anderson Tapes (1969) is a novel by American crime writer Lawrence Sanders. The novel was adapted for the movie by American screenwriter Frank Pierson. The New York State Narcotics Division was video-taping The Kid because he had previously been arrested for possession of drugs. The Federal Bureau of Investigation (FBI) was keeping tabs on Haskins because he was suspected of importing fake antiques and fraudulently selling them as genuine articles. The House Internal Committee was tapping Spencer's apartment because of his alliance with the Black Panther Party. The Internal Revenue Service (IRS) was wire-tapping Angelo and his father because of their mob activities. They also installed undercover "plants" wearing wires (one was undercover as a waiter in the restaurant; another was undercover as Papa Angelo's nurse) to record their conversations. Ingrid's ex-boyfriend Werner Gottlieb (Richard B. Shull) bugged her apartment in order to blackmail her into being his exclusive mistress. All this surveillance inadvertently captured Duke Anderson planning his heist, since he had contact with all of the above people while they were being recorded by other parties. Sgt Everson (Garrett Morris) and his team drop onto the roof the apartment building and silently make their way inside and down the stairwell. Sensing their presence, Duke locks all the doors to the stairwell and starts herding his accomplices into an elevator to make their getaway. Suddenly Haskins decides that he can't go through with it, so Duke tells him to stay with the residents (who have all been herded into one room) and give himself up. When Socks suggests using the residents as hostages, Duke shoots him as per orders by the Mafia. When the police hear the gun going off, they begin shooting their way through the locked doors. Duke is shot in the back as he makes a run for the elevator. The three remaining accomplices -- The Kid, Spencer, and Jimmy leave Duke behind and hop in the moving van. The van comes barreling out of the parking lot and is forced to crash its way through a line of police vehicles. Spencer and Jimmy are hurt in the crash, and police take them into custody. When the police open the doors to the back of the truck, The Kid comes barreling out in a smaller van, but it overturns and The Kid is killed. Pop gives himself up to the police, never wanting to be released from prison in the first place. Duke tries to hide by crawling into the chimney of Ingrid's fireplace, but he is later caught when the police hear him breathing on the audio equipment left behind by the detective who was snooping on Ingrid. As the police move Duke onto a gurney, he is asked to make a statement. Duke says, 'I'm always hammering on locked doors.' He is carried down in the elevator and taken by ambulance to the hospital, in the final scene, the FBI, the IRS, the HIC, and the Narcotics Division, realizing that they captured the heist plans on their tapes, all of which were made illegally, order their tapes to be erased. Duke is referring to a scene earlier in the movie where he calls Ingrid a 'red hot woman', and she replies, 'If I were a red hot woman, you wouldn't want want what you can't're always hammering on a locked door.' The meaning: I want what I can't have.


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Two families, the Graystones and the Adamas, live together on a peaceful planet known as Caprica, where a startling breakthrough in artificial intelligence brings about unforeseen consequences.

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Two families, the Graystones and the Adamas, live together on a peaceful planet known as Caprica, where a startling breakthrough in artificial intelligence brings about unforeseen consequences. I'd like to ask some questions - 1. Can anyone outdo me in expressing appreciation for Caprica, its actors, writers and producers? Maybe but probably not.

2. Should the final two episodes have been treated to a more leisurely five or six episode arc? Probably, but it's moot.

3. What was SYFY thinking? I don't know.

I'm not here to speculate on whether SYFY is trying to ease out of the SYFY business altogether, and a court case could be made for that on the circumstantial evidence. I'm here to give my sincerest thanks and appreciation to the writers, creators, producers, and most of all the excellent cast of "Caprica." I can't tell you if the best criticism is found in the piles and piles of autopsies and inquests that come in the wake of an early finish; I can tell you that my own heart and mind were attracted to the show and moved by its plot and progress.

I found this show to be a wonderful effort to flesh out the already-familiar universe of Battlestar Galactica, and the overarching question of whether what has happened before will indeed happen again.

A lot of what is found in the science fiction genre is Dr Who-ish hokey or at best a rehash of the space-cowboy melodrama of Star Wars or Star Trek. THIS show, Caprica, went to the cutting edge of the unconventional Battlestar Galactica and pushed that edge out just a little bit more.

How few shows ever manage that. Thanks, you are missed and appreciated. A computer genius, a master of virtual reality, working on military contracts, living in a society of faster-than-light space travel has one of the most exceptional breakthroughs of the modern age. He's about to engage in some very risky experimental work with exceptionally precious data, yet for some reason, he doesn't keep backups.

Now we're taken on a journey where he tries to learn the secret of the data he lost. A journey I just have no interest in.

When you break the rules in sci-fi, the audience loses the ability to suspend disbelief and it all just turns into a lot of crap.

The show plays like a soap opera wrapped loosely around a sci-fi environment.

Plot lines jump quickly from family to family. Each family has its own musical theme like any daytime soap opera. There are slow, cliffhanger dialogs in all of the threads, this seems to continue until plot lines cross and some big episode cliffhanger appears at the end.

Still, the acting, back-story writing and special effects are miles better than the average soap, so I have to say that it's got some potential, but if they don't tone down the plot jumping and the sappy musical themes, I will lose interest very quickly.

It's a shame, it seems like a good cast. Caprica is a spin-off/prequel to the reimagined version of Battlestar Galactica (2003-09). It is set on the planet Caprica, one of the Twelve Colonies of Humanity, 58 years before the events seen in Battlestar Galactica and depicts the creation of the robotic Cylons. The series has multiple story threads and characters, though primarily focuses on two families, The Graystones and the Adamas. Daniel Graystone is a leading Caprican scientist who created the Cylons, and Joseph Adama is a lawyer who is also the father of future battlestar commander William Adama. Caprica is set on a world very much like our own, though the technology is a little more advanced. The series depicts life on Caprica and includes themes of family relationships, religion, corporate intrigue, politics, the mass media, the legal system, organised crime, racial and social inequality, terrorism and science. The pilot was first released on DVD in 2009, months before it was shown on television in January 2010. There was enough time to add a few CGI-shots, particularly to the shots of Caprica City, which looked very ordinary on the original DVD release. However, there are few alterations, i.e. mainly some fine tuning and a couple of shortened or changed scenes containing sex or violence. The V-World is an interactive virtual reality environment that is incredibly popular in Colonial society. It was essentially invented by Daniel Graystone, creator of the "Holoband" (a neuro-synaptic device that a person wears over their eyes which enables them to see, hear, and experience everything in the virtual reality "V-World"). To understand this concept better, the V-World is like a highly advanced version of the Internet, and the Holoband is akin to a computer terminal, laptop, tablet or other device used to access the Internet. People can access the V-World from absolutely anywhere as long as they have a Holoband. There are an unlimited number of different environments within the V-World, which can be seen as advanced versions of websites, able to be created by anybody using a computer and shared with anybody who has a Holoband and the correct "address" of the environment (much like a website has an address). These environments can be created to look like anything, such as a nightclub, a beach, a fighter plane, or just an empty room with no features. Much like the Internet, people who access the V-World do so using avatars to interact with each other and move around the various environments within. These three dimensional avatars are completely lifelike and can walk, talk, and behave exactly how the person controlling them in the real world dictates. They can either look exactly how the person looks in the real world or look like someone completely different. Also like the Internet, moderating and governing the V-World is difficult, and this has led to a number of "no limits" environments being illegally created that cater to extreme tastes (such as orgies where anyone can join in regardless of age, and more violent environments that enact killing, torture or ritualistic human sacrifices). People can engage in all manner of violent activities in the V-World including killing virtual computer-generated characters or even each other's avatars, much like people in our own society engage in violent computer games. When a person either takes off their Holoband in the real world or "dies" in V-World, their avatar disappears in a flash of light where the computer-generated wire-frame model of the avatar can briefly be seen. This is called "de-rezzing" (de-resolution). Being shot or even killed in the V-World does not have any consequence on the person/player in the real world (though it may startle them as it seems real), and they can simply reconnect and reappear in the same space or another space within the V-World.

One of the environments in the V-World is a game called New Cap City. It is set in a virtual representation of Caprica City, but made to look more stylised. It is based on themes of gangsters and crime, and visually appears reminiscent of 1930s New York or Chicago, and even appears in muted grey/sepia colors with players wearing costumes similar to that period. The aim of the game is unclear (one character suggests "the aim of the game IS the aim of the game") but players can amass points by stealing, killing, etc. One notable difference in the game in comparison to the rest of V-World is that if a player gets killed in the game, his or her avatar will never be able to access the game ever again (therefore they are truly dead as far as the game is concerned). Not even computer hacking the game's software, no matter how sophisticated or how skilled the hacker is, can change this rule. The Soldiers of the One God (STO) is a clandestine, fanatical religious cult that exists in Colonial society. They choose not to believe in multiple gods (namely the Lords of Kobol) as most people in Colonial society do, and believe only in a single god instead (which they refer to as the One True God). They are therefore monotheistic rather than polytheistic. Their aim is to end society's worship of multiple "false" gods in favour of their single "true" god. To achieve this aim, the STO are prepared to engage in acts of terrorism and murder and can therefore be considered a radical extremist group. Members of the STO are hidden throughout society and include people in high-status positions of trust (such as school principals, ranking police officials, etc) as well as students such as Zoe Graystone and her school friend Lacy Rand. Although they are spread throughout the Twelve Colonies, the STO are considered to be the militant arm of the Monad Church which worships the One True God. The Monad Church is based on the planet Gemenon and is led by a woman known simply as Blessed Mother. Some members of the Church, including members of its council of elders and even Blessed Mother herself, are sceptical of the STO and its terrorist activities. They believe them to be a dangerous and unpredictable faction within the Church that is more concerned with gaining power rather than worshipping their god. The Ha'la'tha is a powerful organised crime syndicate that originated on the planet Tauron but operates throughout the Twelve Colonies. They are similar to the Sicilian Mafia on Earth, and their leader is known as The Guatrau (a "Godfather" type figure). Through Tauron immigrants, the Ha'la'tha have infiltrated Caprican society at all levels including the government. They also have Caprican court judges on their payroll who, when instructed, will ensure that Ha'la'tha members are given preferential treatment when they are prosecuted for criminal activities. The Ha'la'tha have many business interests, and have been known to take over entire corporations and dispose of their former owners. The Ha'la'tha protects its interests by any means possible and the will of the Guatrau is carried out by enforcers who will threaten, intimidate and even murder individuals as instructed (one such enforcer is Sam Adama, brother of Joseph Adama). Joseph Adama, a lawyer, often carries out legal work for the Ha'la'tha, defending its members in court and arranging for bribed judges to be lenient. The original Zoe Graystone is a human. She is the 15 year old daughter of computer scientist and industrialist Daniel Graystone (who created the Cylons) and his medical physician wife Dr. Amanda Graystone. Zoe, along with her school friends Lacy and Ben, secretly belong to the fanatical religious cult known as the Soldiers of The One (STO). Zoe is something of a child prodigy and possesses advanced knowledge and skills in computer science and biological neuro science, which are the occupations of her parents. Using the V-World (a virtual reality environment created by her father), Zoe creates a near-perfect digital replica of herself that exists solely in the V-World. Unlike the simple avatars that everybody else creates to enter the V-World, Zoe's avatar (Zoe-A) is self-aware, can learn, adapt and think for herself. Original Zoe and Zoe-A can talk and interact with each other as separate beings, and Zoe-A exists and remains active inside the V-World even when Original Zoe is not connected to it, thus she becomes more than an avatar and is actually a sentient being or entity.

When Original Zoe is killed during a terrorist attack in the pilot episode, Zoe-A lives on in the V-World. Zoe-A even "experiences" Original Zoe's death because they are linked via a continuous biofeedback technology that Original Zoe created (so the experiences of Original Zoe in the real world will become part of the memories of Zoe-A). When Daniel Graystone discovers his late daughter's work and meets Zoe-A in the V-World, he downloads her against her wishes and installs this "consciousness" into a prototype Cylon robot body in his lab. Initially, this seems to work and enables the Cylon to think by itself, but the success is shortlived as it appears the Zoe-A consciousness and the Cylon body are incompatible. The Cylon body breaks down and Zoe-A appears to be deleted and lost forever, much to Daniel's regret. In actual fact, Zoe-A simply staged the robot breakdown and exists, hidden from Daniel, inside the Cylon body for several weeks. Although Daniel cannot see her, she can see him via the Cylon's sensory red eye and is able to observe his activities from this vantage point in his lab. This Zoe can be referred to as Zoe-R, which is basically Zoe-A inside a robot body in the real world. From there, she manages to establish contact with her friend Lacy who helps her, but can also return to the V-World at will as Zoe-A using the Cylon's inbuilt wireless technology. Now free to exist in both the V-World and the real world, Zoe's consciousness can resume Original Zoe's involvement in the STO cult. The series Caprica shows the creation of the Cylons on the titular planet several decades before the beginning of Battlestar Galactica. In the Galactica series, a separate group of human-looking Cylons (known as the "Final Five") was revealed to exist. The "Final Five" do not come from the same line of Cylons created by Graystone Industries on Caprica. Their origins are actually related to the origins of humanity in the Galactica universe and involve spoilers for the final season of Battlestar Galactica.

Thousands of years ago, twelve tribes of humanity lived together on the planet Kobol. As society advanced, they created a race of robotic beings known as Cylons. The Cylons eventually advanced themselves and became sentient, and then became organic and human-looking. Eventually, humanity left Kobol. Twelve of the "tribes", the humans, went and settled in the Twelve Colonies (of which Caprica is the most prominent planet). The "Thirteenth Tribe" were Cylons. They left Kobol and settled on a planet they called Earth. Eventually, these human looking Cylons developed their own robotic servants who turned against them. A nuclear war ensued which wiped out the entire population of Earth, both humanoids and robots. Only five humanoids survived. These "Final Five" were scientists who had been researching "resurrection technology" via which Cylons could "download" their consciousness into new bodies upon death. While the technology had not gone into mass production, an experimental version existed which resurrected the Final Five after their original bodies died in the nuclear holocaust. The Final Five decided to seek out the other twelve tribes of Kobol and traveled to the Twelve Colonies in order to warn the human descendants of Kobol to avoid the cycle of oppression against the artificial lifeforms they create which had destroyed their world. Lacking faster-than-light speed technology, they traveled at near light speeds, taking two thousand years to reach the Twelve Colonies (although much less time passed for them due to the effects of relativity). The Final Five arrived at the Colonies some years after the events of Caprica, but several decades before the events of Battlestar Galactica. The robotic Cylons of Caprica had already been created by this point and had already rebelled and begun a war against their human creators, which lasted ten years. The Cylons of Caprica had also begun experimenting with ways to make organic Cylons during this time. The Final Five agreed to help the Cylons of Caprica develop organic Cylons in exchange for their ending the war with the humans. This they did, and the Cylons were never seen or heard from in the Twelve Colonies until 40 years later (the events at the beginning of the Battlestar Galactica series).


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The lights go out at a high-society dinner party and one of the guests is murdered. The police are summoned and Inspector Killian shows up, with his assistant Carney. In order to get a clear picture of what took place, Killany decides to have the crime re-enacted (with a substitute for the murdered man.) The lights are turned out, and another man is murdered. This doesn't faze the Inspector one little bit, and he asks for a third re-enactment. The suspect list dwindles. The Donovan Affair was Frank Capra's and Columbia Pictures' first all- talking picture. So it's kind of ironic that the film survives without its soundtrack. Nonetheless, it has been screened in public six times since 1992, each time with a troupe of actors and technicians providing dialogue and sound effects. I've been fortunate enough to see it twice, and it's a real hoot.

Jack Donovan is a womanizer, a cheat, and a thief. In other words, he's the perfect candidate to be rubbed out. Naturally, he attends a dinner party where everyone in attendance has a motive to do him in. While showing off a ring he "won" from a sailor, the lights go out, there's a scream, and when the lights come back on, Donovan has a carving knife in his back. Up until then, it's played fairly straight, but once the police arrive in the form of macho but dim Jack Holt and dimmer Fred Kelsey, the laughs don't stop until the fadeout. Other notables in the cast include William Collier, Jr. as the lightweight romantic lead and comedy veteran Hank Mann as a stuttering, slightly fey doctor who somehow is the father of twins.

The live production is the brainchild of Bruce Goldstein, repertory director of New York's renowned Film Forum. Goldstein has assembled a marvelous cast of voice talent, including Allen Lewis Rickman as the Holt character, Steve Sterner(silent film accompanist and former Jeopardy! champion) as the stuttering Mann, and most of all, nonagenarian character star James Karen (Poltergeist, Film) as the host of the ill-fated feast. The show played at the TCM Film Festival in Hollywood in 2013 and was a huge hit.

Rumor has it this production will be preserved on video for general release. As the Bard put it, 'tis a consummation devoutly to be wished. If you get a chance to see this, video or live, don't miss it. The Donovan Affair

The Donovan affair has two distinctions. It was the first all talking picture directed by Frank Capra. And it a semi lost film. There are complete prints of the film. It has been transferred to safety film and there are preservation copies in existence. However it was made in the earliest talking picture era (1929) using the Vitaphone process which meant it was shown in theaters using the sound on disk method, where the sound track was synchronized to the film. Unfortunately, no copies of the soundtrack disks have been found. Furthermore, no copies of the script have ever been found. There was a censor's dialogue guide which proved to be inaccurate. This means that beyond its original release it was impossible to show it.

Some enthusiasts decided to take on the impossible. They were going to resurrect the dialogue through a combination of lip reading and guesswork. So a band of actors have recreated the dialogue track six times in the past 22 years, each time improving on the last. So each showing is an event. This past October, Bruce Goldstein at the Film Forum, presented two performances of The Donovan Affair complete with sound effects and even static to simulate the background noise of an 80 year old soundtrack.

To be sure this is no lost work of art as say the many, many lost reels of Greed are. It pales in importance to say Hitchcock's first sound film, Blackmail (which was not without its tribulations.) Started as a silent, its transformation to sound presented a problem because the leading actress, a nice London home girl, was played by a heavily accented Czech actress. Hitchcock had to have another actress speak the lines off-camera, dubbing the lines live, so to speak. The very same technique used to present The Donovan Affair at the Film Forum.

The picture itself is a familiar one. A very familiar one indeed. There is a dinner party which takes place during a thunder storm. There is a guest at the party who is a terrible rotter who's existence threatens the well being of several of the other guests. The Mr. Donovan of the title. The lights are turned off for a bit of business with a glow in the dark ring and when they go on again Mr. Donovan is slumped dead on the table, a huge carving knife in his back. Its a set up that was so "done" that even in the twenties it couldn't be played straight. Later, in the 30s, it found new life in the hands of Philo Vance or Nick and Nora Charles. Why is it I can remember some dialogue from a Charlie Chan that goes something like this: "Everybody in this room has a reason to hate grandfather" "Look pop, the lights are flickering"? Even The Family Guy did a two episode take on the same premise. Its played strictly for laughs. Like most early talkies, its based on a Broadway play. Most run-of-the-mill Broadway plays of the 1920s seem to have been written strictly for gents in evening dress and the ladies in frocks. As The Donovan Affair was released before the crash and depression that didn't count against it.

In Frank Capra's autobiography he says that at this time the studio, remember, Columbia was a faintly disreputable poverty row organization (Columbia, the germ of the ocean), their only asset was Jack Holt. Basically, every picture at Columbia was a Jack Holt picture. His lantern jaw visage was the model for both Dick Tracy and Al Capp's parody, Fearless Fosdick. Holt here is the detective who must solve the case from the assembled suspects. Everyone had a good reason for wanting Donavan dead. Holt is accompanied by Fred Kelsey as his comical sidekick who is given most of the broad comedy duties. Kelsey was an ex-Keystone cop and played the lead detective in the Laurel & Hardy Murder Case. Here he's often paired up with Hank Mann who was also a Keystone cop and is sort of his nemesis playing a doctor with a stutter and a wife who won't shut up about her twins. Jack Holt shows up and informed that the body has been moved, admonishes the dinner guests that the next time they have a dead body not to move it. There is a running joke between Holt and Kelsey where Kelsey answers each of Holt's commands with the query Now?

There is a second murder, identical with the first. Once again the lights are turned out again, a couple, well more than a couple, of red herrings and a guilty party easier to guess if you haven't seen the picture than if you had. This time the body isn't moved so there's progress of some sort. If you're like me and would rather see a picture you haven't seen, good, bad, or indifferent, rather than an absolute classic you've been watching many times over sixty years, then you will delight in The Donovan Affair. The cinematography by Ted Tetzlaff is first rate. There are none of the static crowding over the microphone which has been parodied in films about the early talkies. You're sure not to have seen it. It also is off handedly pre-code. Certain details would have been changed five years later after the imposition of the dreaded code. And of course Capra completests will have to see it. There was some talk about recording a new sound track and issuing a DVD. Then you'll be able to see this most rare Capra talkie.


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Guida: F-word. Niente sesso o nudità.


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