The Welsh Raging Bull Reviews

Columbo: Agenda for Murder (1990) Season 9, Episode 3

It restores your faith in the new Columbo movies

[8/10 · 17 October 2006]

The effervescent Patrick McGoohan plays a Columbo murderer for the third time (and does a directorial turn to boot), as he depicts the hitherto untouchable lawyer, Oscar Finch, whose past comes back to haunt him in the form a notorious racketeer, Frank Staplin, who threatens to expose a 21 year old scandal in which Finch bribed the District Attorney at the time, Paul Mackey (who is now running for Vice President) to discard vital evidence that would have had severe consequences for Staplin.

McGoohan's performance deservedly won him an Emmy - McGoohan encapsulates the "charm" of a Columbo villain effortlessly with a crisp, precise and purposeful portrayal, tinged with a mild eccentricity, ensuring that his scenes with Falk have a razor-sharp entertainment value.

The script-writer, Jeffrey Bloom, also ensures that the vital commodity of humour is inserted at several well-timed moments in this TV movie, and like the 1973 episode from the original Columbo series "Candiadate for Crime", Columbo's intrusions with key personnel become increasingly antagonising as the presidential campaign reaches it's climax.

Satisfying as a whole, the episode is really only guilty of losing some its initial zest and pace around its mid-section when some of the investigation becomes a little drawn-out as the discussion of the clues becomes deliberately selective and individualised.

The resolution is totally unexpected and it astounds the murderer and viewer in equal measure: a devilishly clever element to a largely solid, well-made adventure for Columbo, which is probably one of the most polished stories of Columbo's latter-day movies.

Columbo: Make Me a Perfect Murder (1978) Season 7, Episode 3

Make me a more concise murder story

[7/10 · 23 July 2006]

The ambitious lover and chief assistant to a top TV network programmer exacts murderous revenge when he gets promoted to a high-profile New York post and decides that she has not had enough experience to accompany him in that job.

Quite a freshly plotted Columbo episode considering it was made at the tail-end of the original series; it features quite an engaging and gritty performance from Trish Van Devere as the murderess who is very good at exhibiting her character's misfiring and impatient ambition.

The plot is cleverly and systematically developed: the murderess's grip on the prize job she temporarily acquire's after her lover's demise is dramatically loosened by the ironically erratic decision-making that her lover alluded to prior to his death, in line with the other harassment of Columbo's increasingly revealing investigation.

The main weakness of this Columbo adventure is that it wreaks of padding to satisfy a 120 minute slot - it could easily have been done in 90 minutes: the plot is bloated with prolonged scenes that add no value to the story, particularly the misjudged sub-plot involving a trouble-stricken actress on a TV show.

The circumstantial clues stack up against the murderess quite entertainingly and many of Columbo's intuitive observations are of a reassuringly high-standard, but the murder weapon scenario is rather unconvincing to say the least.

A Columbo story that probably would have had a higher mark but for its damaging protractedness; nevertheless, a story that is not without its merits.

Columbo: Murder, a Self Portrait (1989) Season 9, Episode 1

It paints a very average picture of Columbo

[6/10 · 21 July 2006]

A bizarrely plotted "new" Columbo which pits him against a manipulative artist whose extravagant, womanising lifestyle allows him to live next door to his ex-wife and actually live with his second wife and the life model he uses for some of his paintings. When his control potentially loosens over his volatile ex-wife (who harbours a dark secret from his past) and is about to share her life with a a psychologist, he decides to perpetrate a murder on the beach that is made to look like a drowning...

This really is an odd Columbo from start to finish; the murderer's circumstances almost beggar belief to begin with, but the script at least sets the story up so that the viewer is keen to find out how Columbo will nail the murderer, whilst at the same time uncover his obscure motive for the murder.

Unfortunately, the story is patchily sustained and the build-up to the uncovering of the motive, facilitated by three dreams taped by the murder victim's widow in his professional capacity, are overly complicated and uninvolved: Columbo manages to decipher the meaning of the dreams in an unconvincingly simple manner, which merely underlines this wholly unsatisfactory aspect of the script.

There are other unappealing aspects to this story, no more so than the rather bland performance of Patrick Bachau as the artist, whose appearance fails to ignite any spark, especially, very disappointingly, in his scenes with Columbo. In fact, any lightweight arrogance and self-assuredness that may have been shown by the murderer is totally extinguished by an incriminating piece of evidence at the finale, which is very sloppy, despite Columbo's insistence that he would have caught him another way if he had not stumbled across it.

The main redeeming feature of this lack-lustre episode are the well-photographed scenes in and around the beach-house which really illustrate the tranquility of the location; the rest unfortunately is a unsatisfying mix of bizarreness and boredom.

Columbo: Uneasy Lies the Crown (1990) Season 9, Episode 5

Fills the time quite nicely, but the story doesn't extract the decent performances that it deserves

[7/10 · 16 July 2006]

A substantially plotted and scripted 1990 Columbo episode penned by prolific writer Steven Bochco, which sees a debt-ridden, gambling dentist murder his wife's lover, by putting an overdose of a heart condition drug in the crown he puts in for him and then frames his wife, who is filing for divorce and also possesses a tragic marital history.

The murder set-up is fine, the story holds together very well, but it isn't particularly well-paced despite the deft development of clues which shift the focus of the investigation from the murderer's wife to murderer. Moreover, the story deserves more gritty and assured performances than we evidence, particularly from James Read as the murderer, who, for me, shamefully underacts in his relatively juicy role. Consequently, his scenes with Columbo, which should have possessed a mesmerising ferocity, instead only generate mild entertainment, which unfortunately deflects from the proficient elements of the storyline (just think what Jack Cassidy or Robert Culp could have done with the material!).

Very passable stuff for a new Columbo series that was trying feverishly to get somewhere near the quality of the original series, and in terms of storyline they get very close here. Sadly, the performances from the supporting cast don't really get the best out of the material.

Columbo: No Time to Die (1992) Season 10, Episode 5

I have no time for this Columbo adventure

[4/10 · 17 June 2006]

An uninspired and undistinguished "new" Columbo which sees the man-in-the-mac attend his nephew's wedding, only for his bride to disappear on their wedding night. Columbo investigates...

And that it is about it: indifferently plotted and surprisingly laden with a flat script, given that it is written by Robert Van Scoyk, who penned the highly enjoyable Columbo story "Murder Under Glass" in the detective's heyday; there is not even a murder to speak of and the greatest amount of ingenuity afforded to Columbo by the script-writer is the narrowing down of suspects via the photos taken at the wedding, which include everybody who was there!

Devoid of every Columbo trait possible, I thought I was watching an episode of Hill Street Blues. An insult to the history of the series, with appropriately soap-opera style acting. Very avoidable stuff.

Undercover (1994 TV Movie)

Luke-warm new Columbo series entry

[6/10 · 12 June 2006]

A 1994 Columbo story that goes out of its way, even by modern Columbo standards, to remove the entrenched shackles of the style and execution exhibited in the original series.

The puzzling plot involves a piece of a black and white photograph found at the scene of a double murder in an apartment. An insurance investigator later comes forward providing Columbo with a ripped piece of paper partly showing the names of people who possess the other pieces of the photograph, which when wholly assembled, will identify the whereabouts of a hidden loot stemming from a bungled robbery a few years ago.

Undoubtedly, plenty of energy and ambition was plunged into this Columbo adventure at the conception stage, but the plot's positive properties are undone by a script which drags it's revelations around with it rather mundanely rather than inserts them with conviction. Also, the characters also lack a certain lustre and fail to raise the profile of the whole episode.

Columbo's donning of disguises means that he is hardly in his trademark mac and for die-hard fans this is a little hard to stomach, despite Falk's obvious self-pleasure in diversifying his character on screen.

Not a total washout by any means and mildly entertaining in its own way, the identity of the culprit (revealed about 5 minutes from the end) is however unsurprising and moreover, there is absolutely no opportunity for a battle of wits between Columbo and murderer, which was the hallmark of the original series.

A warning to all fans of the old 70's Columbo series: extreme broad-mindedness (or amnesia) might allow you to partially enjoy this episode, but it simply builds up the plot and fails to sustain it's intensity.

Columbo: The Greenhouse Jungle (1972) Season 2, Episode 2

Reasonably originally-plotted and above-average entry in the series

[7/10 · 24 September 2005]

Stemming from an enjoyably sarcastic, no-nonsense characterisation and a hammy performance from Ray Milland as the murderer and a plot which is reasonably fresh and original, this second season episode is deceptively entertaining.

Perhaps there is too much focus on the secondary characters, especially Sergeant Wilson (who is assigned to the case to help Columbo and who would make a further appearance in the series some 4 years later in "Now you see Him"), but it is not burdensome in the extreme and there are some typically choice moments of humour - nb: Columbo's fall after trying to negotiate his way down a steep hill.

Certainly not as intelligently conceived and executed as the vintage episodes in the series; the pacing is more playful than frenetic and the scenes between Falk and Milland are too few and far between. Nonetheless, above-average stuff and pleasing viewing.

Columbo: A Friend in Deed (1974) Season 3, Episode 8

Enthralling, stylishly-scripted and plotted, vintage Columbo story

[9/10 · 17 September 2005]

In all honesty, Columbo adventures do not come much better than this one, simply because plot, script, acting, clue development and analysis, Columbo's characterisation and direction all interlink to captivating and thoroughly entertaining effect.

The plot is easily the best in the series: man kills wife after argument, rings his friend (the Deputy Police Commissioner) - he makes it look like a burglary gone wrong (taking advantage of a recent spate of burglaries in the area) and he also kills his own wife later on for her money, further capitalising on the "burglary gone wrong" theory.

In typical Ben Gazzara style, the story is carefully and deliberately developed with Columbo's meticulous appreciation of the crime scene the first hint that he is going to disagree with the prevailing burglary theory.

Falk's scenes with Kiley are well-crafted and incisive; Columbo is not afraid to be forthright about his observations in front of his boss as he subtly uncovers the truth.

The conclusion is arguably the best entrapment of a murderer in the entire series; the Deputy Police Commissioner turns to Columbo, after the latter states that he thinks that he was involved in both murders, and says "you've just lost your badge my friend!". The ensuing scenes are an absolute classic and thoroughly uphold the decisive quality that prevailed throughout the story. Watch it!

Columbo: How to Dial a Murder (1978) Season 7, Episode 4

Great premise, but an adventure in which you never really think that the murderer has got the upper hand over Columbo!

[7/10 · 17 September 2005]

This was Falk's last but one outing as Columbo in the original series, which sees him pitted against a vengeful psychologist (played by Nicol Williamson) who murders his wife's lover by means of training his two dobermans to kill.

The motive for the murder is not particularly inventive as detective shows go, but this is positively enhanced by the means: two dobermans who respond to a word uttered by the victim in a telephone conversation with the murderer. A stylishly conceived element of the story.

The ingenuity of this premise, however, is not borne out in the rest of the episode: Columbo latches onto the murderer's scheme extremely quickly (even by Columbo standards) and it is not is not helped by the fact that he leaves a whole host of incriminating clues along the way. As Columbo remarks at the end "I must say sir, I found you disappointing....you left enough clues to sink a ship..."

Additionally, Kim Cattrall's characterisation is not particularly important to the overall scheme of things and her scenes drag the episode down a little.

Nicol Williamson's characterisation had the potential of being one of the best and most difficult-to-catch murderers in the entire series, but Williamson's initially energetic portrayal seems to recede as the script gives Columbo the balance of power.

If only the script-writer could have omitted one of two of the clues; nevertheless, for Columbo fans like myself it is still enjoyable viewing.

Columbo: An Exercise in Fatality (1974) Season 4, Episode 1

Energetically done, if slightly overlong Columbo story

[7/10 · 11 September 2005]

Robert Conrad gives a coldly effective performance as Milo Janus, an owner of a chain of health spas who is conning the franchisees by getting them to purchase over-priced items from companies he actually owns. When one franchisee latches onto Janus's scheme and threatens to expose him, Janus murders him...

The script gets a little immersed in various secondary characters around the half-way mark and the episode could easily have been condensed. Nevertheless, the murder/made-to-look-like an accident scenario is excellent, the increasingly bitter relationship between Columbo and Janus (the hospital scene where Columbo chastises Janus is unique) is well-portrayed and there is some really good conversational waffle from Columbo.

The ending has provoked much debate for years; for me the actual reasoning is fine, but the script-writer stretches credibility in the way it is triggered in Columbo's mind.

Columbo: Negative Reaction (1974) Season 4, Episode 2

Certainly not a negative reaction to this episode!

[9/10 · 10 September 2005]

If Jack Cassidy had starred in this 1974 Columbo story I might have regarded it as the best episode in the entire series; however, Dick Van Dyke does a very good job at portraying a hen-pecked photographer who develops a nastily effective plot to dispose of his wife and implicate a recently-released prisoner.

Virtually flawless in plot and script, Columbo is at his most irritatingly mischievous here as the clues start accumulating in a crisp, well thought-out and well-timed manner (the newspaper clippings which are presented later in the episode is priceless).

As with all vintage Columbo episodes there is wonderful comedy too: Columbo goes to quiz a driving instructor whose car has broken down and he has to give him a lift; the ensuing moments see the driving instructor condemning Columbo's wayward driving to the point of complete and utter intolerance...

The ending is very neat and unpredictable, and is underpinned with significant irony as Columbo's newly-discovered knowledge of photography comes in extremely handy!

Ransom for a Dead Man (1971 TV Movie)

The lesser of the two Columbo pilot movies

[6/10 · 7 September 2005]

Overall this second pilot for the Columbo series does not have the dramatic impact and sustained tension apparent in the original movie "Prescription: Murder." The movie does however boast a strong performance from Lee Grant as the conniving and arrogant lawyer, Leslie Williams, and an even better performance from Patricia Mattick as her single-minded, spoilt step-daughter.

Peter Falk's characterisation had positively matured since the original and some of his scenes have wonderful dialogue attached to them , which epitomise the complexities of his character.

Nevertheless, the ransom scenes which dominate the first half hour drag a little and in retrospect, one is at pains to understand why Columbo is present as the kidnapping plot develops.

The direction from Richard Irving. who also directed the original, is somewhat flat and he insists on using some intrusive, mind-numbing (and now somewhat dated) visual effects.

It's a decidedly patchily entertaining Columbo adventure, whose rather predictable ending nevertheless conflicts with the murderesses's hitherto smartness. In spite of this, the collective successes of the pilots instigated one of the best series to hit our TV screens.

Columbo: The Conspirators (1978) Season 7, Episode 5

Charming and likable final Columbo episode in the original series

[8/10 · 4 September 2005]

This 1978 Columbo episode has immense historical value: it was the last episode in the original series and it is certainly well worth watching.

The outstanding feature of this case is the wonderful interplay between Columbo and the murderer, Joe Devlin. Clive Revill gives a charming performance in his role as an outwardly typical Irish man - witty, fun-loving and jovial - whose transformation from a youthful terrorist in Ireland to a writer in America has not been total. In fact, there are one or two memorable moments when he mutters aggressively to himself after Columbo speaks to him (notably after they meet for the first time).

The two main characters get a massive amount of screen time together, thus ensuring that the episode bears at least one trait that made the Columbo series so successful - the development of the relationship between the detective and murderer. Their scenes together in the Irish pubs are really enjoyable and it's almost like the script-writer is giving you a "time-out" from the serious stuff in the episode....

Columbo's last words in this story as he replicates the murderer's scratching of the whiskey bottle and his dialogue are "this far..and no farther"; perhaps a thinly veiled reference to the fact that he was hanging up his mac for good....well at least until 1988!

Columbo: Identity Crisis (1975) Season 5, Episode 3

Some classic moments, but ultimately a rather flawed adventure

[6/10 · 2 September 2005]

This Season 5 Columbo story has a prodigious main cast, headed by Patrick McGoohan (who also directs) and Leslie Nielsen.

McGoohan plays Nelson Brenner who is an operator for the CIA whose past comes back to haunt him in the shape of fellow-operative Nielsen, who suspects him of betraying him and the organisation as a double-agent. The former knows this and eliminates him.

A decidedly complicated affair with a well-maintained aura of secrecy and slyness; nevertheless, it also has an awkward style about it since the script-writer seems to struggle with the development of a spy story whilst maintaining the familiar elements of the Columbo formula.

Overall, it is a rather drawn-out adventure which only really warms up once Columbo establishes Brenner's "real" job. There is a classic scene as Columbo goes to Brenner's house and they play a cat-and-mouse game as Madame Butterfly plays majestically in the background.

Satisfying in parts but not as a whole; grade A for effort but only grade C for the end product.

Columbo: By Dawn's Early Light (1974) Season 4, Episode 3

Crackerjack Columbo story

[9/10 · 1 September 2005]

A strong and decisively emotionless performance from Patrick McGoohan, a well-sustained taut atmosphere and an effectively economical script are the main assets of this gem of a Columbo story which has a military academy as its setting for the entire duration.

McGoohan deservedly won an Emmy for his performance in which he doesn't flinch at any conversation or event in the whole episode - he remains remarkably unflappable to the end. His character is a inflexible disciplinarian, something which ironically contributes to his downfall later on...

The resolution is incisive, unpredictable and totally satisfying. A vintage Columbo episode, in which the script, plot and acting are very effective and well-judged in equal amounts.

Columbo: Columbo Goes to College (1990) Season 10, Episode 1

A "Columbo Goes To College" report: ...could do better...

[5/10 · 29 July 2005]

This 1990 addition to the "new" Columbo series has an intriguing enough premise: two college students ingeniously murder a professor who is about to expel them, whilst in a classroom lecture with Columbo.

However, it is an erratically paced and patchily entertaining episode at best which seems to take an eternity to to get to its resolution: it's mid-section somewhat drags and it is hard to judge at what point Columbo gets suspicious of the two college students, who start to mimic him. Furthermore, the story seems to spend an inordinate time focusing on other characters who have nothing to do with the murder.

Columbo has met smarter, sharper and more convincing murderers; the two actors portraying the murderers here perform adequately, but there is not much spark in the scenes with them and Falk.

Unfortunately, there are more crosses than ticks against the normal criteria for marking a Columbo story; watchable but not high-standard stuff.

Columbo: Murder, Smoke and Shadows (1989) Season 8, Episode 2

Well enough done for Columbo fanatics but still not reflective of the quality of the original series

[8/10 · 17 July 2005]

One of the best of the "new" Columbo adventures, which sees him cross swords with a relentlessly cocky and arrogant movie director who murders an old friend who discovers the truth behind his sister's death on a movie set some years before.

Fisher Stevens is undeniably excellent as the cold-heartedly manipulative and scheming Alex Brady whose empire is gradually eroded by the emergence of progressively incriminating circumstantial evidence. His increasingly antagonistic scenes with Falk are the main asset of the story and almost dispel the theory that you can't recapture the style and enjoyment of an original series by re-making it.

As is customary Columbo is "lucky" with some of his evidence (the shoe heel which gives Columbo the location of the murder being a case in point); but one can argue that his unwavering thoroughness entitles him to find the most unlikely things.

Another good thing in this adventure is that Columbo doesn't really have enough concrete evidence until the very end and even then the murderer is dismissive of Columbo's perceptions of proof.

One negative observation is Falk's portrayal of Columbo - it is decidedly more matter-of-fact nowadays, which is probably attributable to his age and the time-lapse between the old series and new series.

Columbo: Fade in to Murder (1976) Season 6, Episode 1

A curious, patchily enjoyable Columbo yarn

[6/10 · 14 July 2005]

Decently plotted and reasonably originally conceived Columbo Season 6 opener, which sees him square-off, rather interestingly, against an actor renowned for his portrayal of the television detective Lt. Lucerne (played by William Shatner) who murders his blackmailing ex-lover (the show's producer) in a made-to-look-like robbery.

The most noticeable thing about this episode is the inordinate amount of screen time between Columbo and murderer, which therefore places a heavier emphasis than normal on having a quality script. In this respect, the scenes are carefully drawn and many of them are executed in a pleasing style, particularly as we get more information on the murderer's motives behind his crime. Nevertheless, the playful style of Columbo's interfacing with his rival (which may be too strong a word) is not a particularly rewarding approach by the script-writer, who almost airs on the side of caution to maintain a lighter atmosphere than is often the case in Columbo adventures. This style also renders a lack of build-up to the conclusion, which with all the open-mindedness in the world, is very inauspicious and unsatisfying.

Shatner's performance is carefully executed but overly hammy; although he probably does everything he is asked of in the script, particularly in conveying his character's deep-rooted insecurity, which is rather heavily portrayed at the end as he tries to seek sympathy for his crime.

I especially liked the final piece of dialogue after Columbo collars the murderer: Lt. Lucerne to Columbo - "...you would do me a enormous favour if you would stop calling me sir...."

It's a very curious episode with positives and negatives in equal measure; perhaps the script-writer could have allowed Lt. Lucerne's character to possess more self-assuredness, particularly as he gifts Columbo evidence off and on during this adventure.

Columbo: Requiem for a Falling Star (1973) Season 2, Episode 5

One of the few Columbo stories to successfully incorporate deviations to the usual formula

[8/10 · 10 July 2005]

A Season 2 Columbo story that is primarily notable for it's success in straying slightly from the hitherto successful Columbo formula by installing a plot with twists relating to both motive and murder victim.

Anne Baxter gives a captivating, well-judged performance as a movie star in decline who realises that the blossoming relationship of her secretary and a persistent journalist could uncover her darkest secrets. Her deep-rooted desperation and selfish protectiveness are intriguingly conveyed in a story that is never quite what it seems: the viewer is not armed with all of the incriminating facts from the outset, so although it is not a who-dunnit, it is successfully sustained as a why-did-she-do-it.

Mel Ferrer also gives a decent performance as the journalist and his scenes with Baxter are consistently powerfully staged and purposefully developed.

There is a priceless scene too involving a cameo from real-life costume designer Edith Head, who gives Columbo a lavish tie from her rather vast wardrobe.

One other noteworthy and enjoyable sequence is when Columbo confronts the murderess near the end with the things that bothered him...

The script-writer Jackson Gillis expertly keeps things going at a startlingly frantic pace, and although the coincidence which helps Columbo solve the case is too coincidental, the strength in the plot, script and performances are too be admired, making this a little gem for the Columbo archives.

War of the Worlds (2005)

Continues the renaissance of sci-fi films at the box office

[9/10 · 9 July 2005]

One of those films which everybody will go to see simply because of the predictably inflated hype and so that they will not feel left out of conversation with friends and family in the weeks after its release.

There are many strengths to this Spielberg/Cruise collaboration - the whole story is paced reasonably frenetically with plenty of impact and surprise which belies its near two hour length; the special effects are of an awesome quality to uphold the general feeling of impending doom and fear; the roving, panaoramic style of Spielberg's camera which compliments the special effects and makes the viewer feel amongst the people fighting for their lives; the acting of Cruise and more especially, Dakota Fanning (who sustains a grossly tearful and fearful demeanour all the way through the film) and Tim Robbins, who is effortlessly quirky and unbalanced in his role.

Perhaps Cruise and family do survive too easily and perhaps the intention of the script-writer to show how adversity can bring a broken family back together doesn't fully work, but these elements do not have a major impact on a film which thoroughly entertains, plays with your emotions and even provides one or two scenes that are a little more gruesome than is anticipated (nb: the bodies in the river scene and the mob scene).

The end does come a little abruptly but its explanation is satisfying plausible.

A must-see film which many more virtues than weaknesses and pretty much deserving of the hype. 9/10.

Columbo: A Matter of Honor (1976) Season 5, Episode 4

Solid Columbo story set in Mexico

[7/10 · 8 July 2005]

A well-paced, well-thought-out adventure for Columbo whose penchant for spotting seemingly trivial and unrelated clues at an "accident" scene is highlighted in enjoyable fashion here.

The fact that Columbo is cajoled into helping the Mexican police with their investigations whilst he is on holiday provides an alternative platform for Columbo to exploit his careful, crafty and meticulous style of detective work, which increasingly irritates the renowned (murdering) bull-fighter in this story who is considered to be totally above reproach; this structure works particularly well.

Another asset to this adventure is that the clues are inserted into the script at well-chosen moments, and coupled with the fact that Columbo struggles to discover a motive to underpin the murder, it all leads to a fascinating conclusion.

The main drawback, on reflection, appears to be the rather stiff performance of Ricardo Montalban in the murderer's role; the fractious on-screen chemistry between Columbo and adversary is plentifully evident in many of the best Columbo episodes, but it never really seems to consistently ignite here.

Nevertheless, a good standard outing for the scruffy detective, which is certainly well worth watching, although it would not quite reach the vintage description.

Columbo: Short Fuse (1972) Season 1, Episode 6

A Columbo adventure without much spark!

[5/10 · 10 March 2005]

When I say that the ending is the best part of this final Season 1 Columbo adventure, I'm not being totally sarcastic: it is the most enjoyable and entertaining aspect of what is a largely indifferent addition to the series.

Roddy McDowall is certainly not one of Columbo's strongest adversaries, a fact that is perpetuated by his character's alarming tendency to incriminate himself. The story is not bloated with the typical script ingenuity or fluency, the plot development is laboured and the characters are decidedly boring.

All in all not one of Columbo's finest hours. On reflection, nobody's heart appears to be in it. For Columbo completionists only.

Prescription: Murder (1968 TV Movie)

A prescription for future success!!

[9/10 · 4 March 2005]

A baby-faced Peter Falk makes his first appearance in this 1967 TV movie as the world-famous detective Columbo, which was followed 4 years later by another TV movie and an exceptionally successful TV series.

An excellent, well-paced, cleverly-crafted mystery which spends a lot of time establishing and developing Columbo's characterisation - the dogged determination and persistence through seemingly trivial questions; the display of deceptive absent-mindedness and ineptitude; the constant references to his family etc. are all underpinned by the cigar, the mac and the generally scruffy appearance (although his overall appearance here is rather more tidy).

Undeniably, in hindsight, Columbo characterisation and Falk's performance is a little raw here, for it would take a little more time to fine-tune both things: nevertheless, Falk still does a great job with the complexities of the character and gives a smooth, unruffled performance.

The plot is purposely straightforward and relatively thin and there are not the plethora of accompanying clues and trivial pieces of evidence that invigorate the vintage episodes of the series, but you have to remember that this TV movies was the platform for the Columbo character.

Gene Barry gives a fine performance as the murderer: he certainly relishes his role; effortlessly displaying his character's cold-heartedness, self-confidence and smugness in equal proportions. His scenes with Falk have a marked air of tension about them, as Barry's character progressively shows disdain and arrogance towards the protagonist.

The ending is clever, especially as the murderer continually thinks that he has got away with his crime; the way Columbo unmasks him is superbly ironical.

The only problem watching this film is that most people encountered the Columbo TV series, prior to watching the "introductory" TV movies, so it can be a little unnerving, yet, on its own account, it's a very accomplished piece of work. Furthermore, the best detective to hit our TV screens was born!

Columbo: Suitable for Framing (1971) Season 1, Episode 4

Simplistic but entertaining Columbo adventure

[6/10 · 14 February 2005]

A very brisk, hastily edited and somewhat more simplistic Columbo that we've become accustomed to: some scenes have untidy editing or continuity errors in them (the pictures that are on or off the wall after the murder; the scene where the murderer does up his tie in the make-up chair; and the removal of the fruit bowl off the table near the end of the film, which results in one piece of fruit falling on the floor etc.).

Nevertheless, this story is entertaining enough for the undemanding viewer and the resolution is not predictable in any way.

Ross Martin is quite aggressive in his role as the murderer and he seems to get perturbed by Columbo's persistence extremely early on, but his performance satisfactorily illustrates his characterisation's misplaced self-confidence.

Not vintage Columbo, but pleasing viewing nonetheless.

Open Water (2003)

Very much open to debate....

[24 January 2005]

"Open Water" is undeniably an interesting, original, sporadically suspenseful and generally uniquely-handled thriller that just has to be watched.

It is filmed on video, with a shoestring budget, actor/actresses who wouldn't get a part in a school play, a sparse behind-the-scenes crew and a script of very wavy quality and relevance.

Neverthelss, the amateurish approach does indeed have it's merits - the cameraman spends just as much time in the water as the stranded couple, so the viewer invariably feels as if they are in the water also.

Without spoiling the ending of the film, the film's claim that is is based on actual events holds true for the first half an hour only...I'll say so more. Suffice to say, that with the mindset of the whole crew (director particularly) who made this film, it is a case of "You've made your bed, now lie in it" - once the couple are stranded in the water, it was going to be very difficult to keep the viewer interested! Initially, the concept of sprawling conversations in the middle of an ocean has suspenseful qualities: one is never quite sure what is going to come from out of the sea and attack the helpless couple. However, this concept wears annoyingly thin, when things don't happen for longish intervals in the film.

The shock elements of the film are not grisly - is that purely down to budget restriction or the subtlety of the script-writer/director? Whatever, the brief night-time scene certainly packs a punch...

Despite its distinctly amateurish approach and execution, this film must be seen to be believed: even on reflection I'm still not sure whether I love or hate this film - it can certainly be criticised but it can also be complemented.

Undoubtedly, for anybody who has not seen the film, I would certainly certainly recommend it: that is not to guarantee you nearly 80 minutes of pure entertainment, rather 80 minutes with which to ponder over and debate about for some time after.