William Friedkin's "Nightcrawlers" is a potent allegory about the Vietnam War and how, despite returning to the United States—home—war is brought back with soldiers who were witness to horrors that never leave. It's a dark, stormy night and a state trooper arrives at a grease spoon off the beaten path, for a hamburger and coffee, informing the cook and waitress that a slaughter had occurred not far up the road at a hotel, bodies and bloodshed. A family has to stop off due to the wind and downpour, along with a deeply troubled Vietnam vet, Price (Scott Paulin), who rushes into the drive of the diner as if running away from something. The trooper looks the vet over, getting a bad impression of Price, asking questions, specifically about the Vietnam War, not knowing what was in store for everyone inside the diner. Bleak, disturbing parable about the trauma that exists in the psyche of our soldiers, in the universe of the Twilight Zone "Nightcrawlers" presents a "what if" scenario that Friedkin explores: what if certain Vietnam vets gained a power they encountered over there, some gas or chemical dropped in the jungle perhaps the cause, that allows them, when asleep, to recreate events which cause death and destruction to those around them? The finale is tragic and startling; the budget for this episode is substantial when compared to others, just for the conclusion alone, when Price is knocked unconscious (by the trooper who warned him not to leave believing Price is responsible for the hotel murders) and his memories have a life of their own that levels the diner and could threaten the lives of everyone in the place. Paulin's performance is unforgettable; the make-up department doing a good job creating a face which evokes a man who hasn't had a good night of sleep in ages. The violence at the end is stunning for a television show in the 80s, with plenty of destruction and gunfire. Nightcrawlers was the name of Paulin's platoon in the war, having perished in a horrible gunfight, his description of that terrible night quite haunting. 10/10
The meaning behind the title "Little Boy Lost" is certainly melancholic as it pertains to the lead character who accepts a promising career over a marriage and motherhood. Season Hubley (Vice Squad) is a photographer, Carol Shelton, given an opportunity of a lifetime, to fulfill a dream, which will include plenty of travel, and the knowledge of this puts a strain on her relationship with boyfriend, Greg (Nicholas Surovy) certain to end because he is 38 years old and feels his time to be a proper father is running out. Awaiting an agency child to photograph at the zoo, a young, red-haired, freckle-faced boy named "Kenny"(Scott Grimes; most notable as the kid in "Critters" and on the television show ER) shows up, immediately chatty with Carol . Carol and Kenny bond as they walk throughout the zoo, photographs of all kinds taken, a spirit and joy present during the happy process. Who Kenny is and his purpose for meeting Carol are to be explained, such a chance meeting between this woman and the boy that has won her heart only fitting for the Twilight Zone. Hubley has rarely been in such a *normal* role, having played a hooker in "Vice Squad" and a street lurker in "Escape from New York" (formerly Mrs. Kurt Russell, having met him on the set of John Carpenter's Elvis) but here she is allowed to portray a modern independent woman who isn't ready to settle down within a domestic environment, although the temptation is certainly there. When a child, tear flowing down his cheek, an expression of disappointment and sadness worn effectively on his face, is unsuccessful in convincing her to "take him instead", there's a realization that to this person a career is simply more important—while I understand her stance, regardless if it means she may never have him as a son, I still felt a sense of loss and tragedy because of Carol's choice. Pretty emotional episode of Twilight Zone will be certain to divide members of an audience, those who chose parenthood over a possible dream career, and vice versa. Good work by Hubley who, for some reason, never has had a flourishing acting career. 6/10
With "Wish Bank", some good casting can't quite rescue this overtly silly take on the genie lamp wish tale. At a yard sale, divorcée (Dee Wallace, game for the material dealt her) grapples with her attempts to get three wishes granted
once she rubs the lamp found on a table, covered in dust with instructions telling her certain restrictions could vary (!), Wallace is swept away to what looks like a banking company where the teller who sets up "her account" is soon "sent away" by "the boss" (Havery Vernon, appropriately named "Whilloughby"). The millions she desires, years of youth granted back to her, and sexual dysfunction for her no-good husband; Wallace is met with paperwork, rude service, and a crowd of folks awaiting themselves on what the lamp offered. Julie Carmen (Fright Night Part 2) has minutes and leaves an impression as Wallace's buddy, deserving a far better part and more time than granted in this insignificant and slight diversion. Surprisingly, there's some frank sexual dialogue (Wallace had a rather acrimonious divorce); although not explicit, it isn't subtle, either. The shenanigans involving getting her wishes granted and the mocking the practice of banks didn't quite set my own world on fire but I recognize the point. I do like Wallace in this a lot. She's in on the joke, and, bless her, she gives you all the appropriate responses any of us would have with bad service. I don't think the effort was worth it. 4/10
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