Showing posts with label Netflix Instant. Show all posts
Showing posts with label Netflix Instant. Show all posts

Wednesday, December 04, 2013

Film Review: THE RAT RACE (1960)

 



"Why the Hell isn't this on DVD yet?" -- Number 96





THE RAT RACE (1960 Paramount) Starring Tony Curtis, Debbie Reynolds, Jack Oakie, Kay Medford, Norman Fell, Don Rickles, Marjorie Bennett, Hal K. Dawson, Gerry Mulligan.  Written by Garson Kanin.  Directed by Robert Mulligan.

Straightlaced, naive Curtis buses from his native Milwaukee to New York City to pursue his dream of making it as a jazz saxophonist in the big city.  The fresh-faced newcomer ends up platonically sharing a cramped one room apartment with taxi dancer Reynolds, who is far less trusting after years in the Big Apple.  They begin to grow close while facing their respective obstacles: guileless Curtis becomes familiar with the hard knocks Reynolds has already experienced while she becomes deeply indebted to her shady boss Rickles.


The sophomore effort from director Mulligan (TO KILL A MOCKINGBIRD), THE RAT RACE doesn't approach the authenticity of Curtis' earlier SWEET SMELL OF SUCCESS, with Pittsburgh standing in for the Big Apple.  Despite some thugs and thefts, it isn't as cynical either, with the mutual poverty of the film's protagonists never reaching (say) the Ratso Rizzo level. 


Since he was thirty-five and perhaps Hollywood's quintessential native New Yorker at the time, Curtis would seem to be miscast as a transplanted Milwaukeean who is barely out of school.  Nevertheless, the actor was credible and gave THE RAT RACE his all, learning how to play both the clarinet and the saxophone for the role.  You can only learn so much in a crash course, though, as Curtis' playing was dubbed by Gerry Mulligan (who has a cameo).


THE RAT RACE also offered Reynolds a chance to play against type as well.  Essentially it was the reverse of her co-star's situation, giving the usual ingenue a chance to play a lady with rough edges: using her wiles to get by while trying to retain her dignity.  Taxi dancers were almost extinct in NYC by 1960, but it was probably the closest profession Kanin could use to making Reynolds an "adult" entertainer by the Hollywood standards of the time.  (It's clear by her rebuffs of Rickles, Fell and others that prostitution was not a consideration for this worldly, yet prideful lady.)

I beat out Brando AND Pat Harrington Jr. for this part!
Not everyone Curtis meets is a soul-crushing taker.  Oakie has some good lines and a perpetual smile as a kind bartender and brusque landlord Medford proves to have a heart of gold underneath.  Otherwise, though, this is one rough town.  Norman Fell is very funny as a telephone repairman and would-be make-out artist with eyes for Reynolds.  With only two scenes even he has time to punch Curtis in the jaw.


Fell isn't alone in having the hots for the dancer.  It is Don Rickles who gives THE RAT RACE's most memorable performance as Reynolds' slimy boss who wouldn't mind taking what she owes in "trade".  There's barely even a hint of humor to this menacing portrayal, which is probably the comedian's best on the big screen.


The atypically cast leads are good instead of great, and THE RAT RACE doesn't quite reach the level of the definitive hard edged NYC films of its era (THE APARTMENT, the aforementioned SWEET SMELL OF SUCCESS), but it is still a worthy effort that benefits from Mulligan's typically humanistic touch.   Ostensibly about the difficulties of succeeding in New York, THE RAT RACE is at heart a romantic drama about two opposites slowly attracting.

So...why isn't this on DVD?

THE RAT RACE actually wasn't cutting enough for later generations seeking the darker side of NYC once The Code was out and films like MIDNIGHT COWBOY and TAXI DRIVER were in.  Also, you can probably blame Paramount's spotty history with its archive material once again.


Why it should be on DVD:

A lot of first-rate talent on both sides of the camera.  Elmer Bermstein's jazzy score, Kanin's solidly developed characters, and Mulligan's iron fist/velvet glove presentation behind it; Curtis, Reynolds, Oakie and Rickles all good-to-excellent in front of it.  While Pittsburgh was the primary location for filming, one can spot a few authentic NYC sites of the era (i.e. Jack Dempsey's Restaurant) in some shots.

And, take note, Mrs. Roper: Norman Fell is a playa!


THE RAT RACE is currently streaming on Netflix Instant.

Sunday, August 25, 2013

Film Review: NIGHT OF THE COBRA WOMAN (1972)




"Why the Hell isn't this on DVD yet?" -- Number 92


CAMP CLASSIC EDITION!




NIGHT OF THE COBRA WOMAN (1972 New World) Starring Joy Bang, Marlene Clark, Roger Garrett, Vic Diaz, Rosemarie Gil, Slash Marks, Vic Silayan.  Directed and Written by Andrew Meyer.

During World War II, Nurse Clark and a colleague are searching for herbs to use as remedies in a cave in the Philippines.  Clark is bitten by a distinctively marked cobra and forms a deep, symbiotic bond with the cobra that keeps her from aging over the next thirty years.  Bang arrives at that time to assist zoologist Silayan in venom research, bringing along boyfriend Garrett and his pet eagle(!) Dirk.  Sultry Clark makes Garrett her latest mate, causing him to age rapidly and motivating Bang to step up the research to save him.


Meyer, directing his second (and last) feature, also wrote and produced NIGHT OF THE COBRA WOMAN and acted in a small role.  Too many hats, no doubt.  He especially could have used help with the script.  Not only is the dialogue laughable, but Meyer isn't even able to sustain consistency of character or situation from one sentence to the next.  Consider the following exchange between Bang and Silayan (delivered very flatly and breathlessly by Bang) while a poor monkey bears the brunt of their research:

I'm a serious researcher.  See the glasses?
BANG: Can't we give her the venom right away Doctor?  I can't stand looking at her like this any more!
SILAYAN: I want to watch how much further her condition develops.  Listen, I got a meeting in the main building.  Will you stay and watch her?
BANG: Sure!  Is it all right if I run out and get some lunch?  I'll be right back.
SILAYAN: Okay.

It would take a terrific actress to make this work, and Bang ain't it.  She looks pretty inviting in one early scene in bed---


---presumably about to masturbate while she gazes longingly at a picture of Garrett.


But outside of this kinda-sexy interlude she is completely wooden in the rest of the flick, even when frustrated, "strenously objecting" (like the exchange above) or attempting to project fear or danger.

He's who all the fuss is over, ladies!
Beanpole Garrett also lacks screen presence, which makes the "love triangle" implausible.  Yeah, I know, Clark needs a steady supply of young men to keep the venom flowing, but it appears there's plenty of them right there in the Philippines for her.  Even if Garrett is "exotic" to her, he comes across as far short of studly.  Watching NIGHT OF THE COBRA WOMAN makes it obvious why neither Bang nor Garrett had a lengthy career onscreen.



Also unclear is how lethal Clark's venom is.  It is fatal for the young Filipino men she lures into her bed, but strangely didn't kill Diaz (who is introduced to us as a rapist in the opening scene) or Garrett.  While Diaz ended up pathetically deformed, he didn't pledge his undying love like Garrett and the other conquests.  In fact, he wants revenge.  Does the effect depend on her feelings?  Theirs?  The toxin dose?  Is the length of copulation a factor?  Just some of the many things Meyer fails to clarify.

In all the confusion, the saving grace is Marlene Clark, who singlehandedly provides the vavavoom factor by getting naked frequently and also spending a considerable amount of time in her underwear.


Usually a very reliable actress, Clark is surprisingly as stiff as her co-stars much of the time.  Yes, she's supposed to be reserved after her transformation, but her delivery is just as leaden in the scene before she experiences love at first bite.  Give her props, though.  She's burdened with the bulk of the exposition, shows commitment to the absurd material, and is damned stunning even when she's shedding her skin (which happens after each tryst, apparently).  Clark also generates a few unintentional giggles of her own during a "fight to the death" between her cobra and Garrett's falcon.  Fortunately, she received a much better opportunity in the horror genre with the following year's GANJA AND HESS, one she seized impressively.


So...why isn't this on DVD?

Delivers less than it promises and is sloppily made even for an exploitation flick.  For all the jollies everyone gets at Joy Bang's screen name, her work in NIGHT OF THE COBRA WOMAN makes you understand that it wasn't her moniker that kept her from becoming a leading lady.

Is it gratuitous to show a second pic from this scene?  I didn't think so either.
Why it should be on DVD:

Bad movie fans will still find some laughs, just not as many as they will find in other, better (worse?) camp classics.  It is certainly a must for Marlene Clark fans and she is always a welcome presence, clothed or not.  NIGHT OF THE COBRA WOMAN is now streaming at Netflix Instant and has recently been airing on Epix Drive-In channel as well.

Saturday, July 06, 2013

Television Review: QUINCY, M.E. - "Jury Duty" (1981)




QUINCY, M.E.: THE HILARIOUS YEARS  


Number 5 -- "Jury Duty" (1981 NBC-TV/Universal) 




Starring Jack Klugman, Robert Ito, John S. Ragin, Val Bisoglio, Garry Walberg, Joseph Roman.  Special Guest Stars Joan Darling, Robert Alda, Sam Groom, Morgan Stevens, Joe Maross.  Directed by Georg Fenady.


JURY DUTY opens with a car coming to a stop in a secluded area on a dirt road.  A young couple, parked on a balmy night under the stars, arguing.  Arguing?  The feather-haired guy is dating the "precious daughter" (his words) of the Reverend, who apparently doesn't want her married yet.  Based on what ensues, the Rev has a point: she definitely comes across as too immature for it.  She bolts from the car and declares she never wants to see him again (I take that as a "no" to the proposal, Bud).  The proposer chases her to the edge of a cliff, grabs her....and we dissolve to Quincy's office.

Quincy is livid about being billed for a call to Nigeria.  A phone scam from pre-Internet days?  He's even more perturbed about a $48. charge for an overdue book, but excited to be accepted for jury duty.  Astin reminds him of the hardship they'll be under at the morgue, but Hell, the Big Q spends enough time away from the office trying to push legislation and do Monahan's job for him, so what's a few days in court Doc?  Astin can't even entice Q to avoid his civic duty with a curse of a case.  While we all start wondering just how many vacation days Quincy gets in a year (I'd put the over/under at 212) the action takes us to the courthouse.

"C'mon Quincy, I'm serious!  Could you please work at least 2 days this week??"
Quince is so determined to get away from the corpses for a few days that he's there despite being only a third alternate.  In court, prosecutor Sam Groom lays it out, calling boyfriend Frank Munson a stalker, rapist and murderer in quick succession.  Granted, he did chase after her, but she was with him willingly on the drive out, and unless he raped her at the base of a cliff while they were both clothed, I think two of Groom's florid accusations are going to be pretty hard to prove.


However, Groom's charges do take a toll on Munson's father, who steals this episode's first Outrage! from the Big Q, sweating profusely....

Careful, dude, you'll blow a gasket!


....which is followed by chest pains and a collapse.

Too late!


Hmm.  Is D.A. Groom a murderer now?  Or at least an involuntary manslaughterer?  The judge quickly clears the jury, but Quincy remains, working to save the life of the stricken father and reduce Sam's workload by one.

Who says I'm not doing my part for the boys at the morgue?
Naturally, while a man's life hangs in the balance, our lawyers (Groom and Robert Alda, sporting a really bad combover) have a far greater concern, whether or not Quincy's actions will prejudice the potential juror.  Way to enhance the public perception of your profession there, guys!

Robert Alda's combover: a 6.5 on the Zero Mostel scale
Despite the potential contamination of juror Quincy, the Big Q insists it won't affect his judgement.  Damn, the guy really wants to stay on jury duty!  Anything to get away from Astin and the dead bodies?   Also of note is judge Darling's fierce defense of the coroner, who she "knows" to be honest.  Hmm.  Sounds like our Casanova Coroner has a shot!  Then again, in the Quincyverse, does he ever NOT have a chance at a little hey hey?

Watch it, Hal!  I'm a judge you know....
Sam tells us he's at 36 hours and holding, and after an office pool update its back to the courtroom.  Alternate Quincy asks plenty of questions while the chosen twelve sit there like lumps.  Jack Klugman isn't surrounded by any angry men this time, but we are down one alternate (flu).  A Lieutenant is on the stand.  No, not Monahan:

THIS toupee? A minus-2 on the Raymond Bailey scale.
But he's no more competent than our beloved LAPD answer to Hamilton Burger, and his toupee actually makes Alda's hairstyle choice look downright spiffy!  The cop notes two large scratches on the suspect's left cheek, and taking the man into custody within an hour.  Alda successfully points up the man's inexperience with homicides (three) while Quincy keeps asking questions.  Quincy's most pointed question implies that the evidence may have been contaminated by the many bystanders.  (I wonder if anyone from O.J.'s Dream Team was aware of this episode?)

"As the star, I insist on the remainder of this trial's questions, your Honor!"
There's only time for a quick lunch at Danny's before Q is due back in court, during which we hear about another juror being excused.  I'm thinking this courtroom has to be more cursed than Asten's enticing case at this point.  Once we're back in court, Quincy questions the coroner on the stand, Dr. Morris, who admits he doesn't know how long it took to get the evidence to the lab.  More shades of O.J.!

Groom is getting nervous, and despite her crush the Judge admonishes the Klug Man.  "No more questions based on your special knowledge, Dr. Quincy!"

Hey, relax, Doc.  Quincy even makes Columbo look like a moron

I have to ask--why not?  Quincy is asking questions that the defense attorney should be asking.  I'm not baffled as much by the DA's protests as I am the lack of any input from Alda at this point.  Then again, by simply doing nothing, Alda is letting Q pick apart the DA's case.  He's either incompetent or damned efficient.  I just can't figure out which one, yet.

I'm also thinking that those dinners at Danny's are far more convenient for Quincy than his co-workers.  Think about it.  This episode clearly establishes that Quincy resides and votes in a different county than the one he works in (presumably Los Angeles County) since he's eligible for the jury.  A different coroner and police Lieutenant worked this homicide--and the latter actually makes Monohan look good.  (No easy task.)  Yet Danny's is close enough to the courthouse for the Big Q to hurry up and eat lunch.  Interestingly, while Quincy leaves, Monohan and Brill (with no lines, as usual) show up. 

I could waste a lot more space figuring out who lives where and why Quincy is apparently the only qualified coroner, homicide investigator AND defense attorney within at least a hundred miles of L.A., but we've still got over half an episode to go, so I'll move on.

"Should I hit on the Judge, or her?  Decisions, decisions...."
The question craze reaches a peak when the female juror pictured above asks the coroner (the one on the stand--not Quincy, believe it or not!) if he's married.  When the Judge restores order, the tissue expert is next up, telling us there's "no doubt" that the defendant fired a handgun on the night in question.  He also goes into detail about the human semen test.  At least he did use the human test, so he may be our most competent expert witness to date.  Quincy tries to ask another question that Groom doesn't want, and finally gets shushed by the Judge. 

At recess, the Big Q phones Sam about that human semen test.  He gets the answer from Sam, proving that yes indeedy, the "tissue expert" missed something.  "Quince, if this is about the trial you're on you could get in a lot of trouble!"

While Quincy is breaking the law in order to preserve it, we finally hear something substantial from Mr. Alda.  The combed over attorney has something to say alright--to his agent, about a lack of exposure for his book, as The Big Q glumly looks on.  Probably wondering why he has to do everyone else's job.  There's no time for this though, as Quince is off to the men's room.  He needs an accomplice to get his questions asked now, so he talks to a tax attorney about becoming Scofflaw # 2. 


Your Honor isn't convinced when he asks the first one.  She goes to questions in writing beforehand.  Yes, teacher--I mean Judge.  But despite this public display, during the next recess we see that Quincy's professional curiosity is having an impact on Judge Darling.  The dropouts now have our coroner officially on the jury, but also arm in arm with the Judge(!) and bantering about his questions(!).  Then, there's that look she gives him before the fadeout.


Yep, Quince, I'm thinking you're a Slam Dunk this week.

Whether it's the joy of the chase or the warning that our heart attack victim provided earlier, JURY DUTY seems very light on Outrage!s at the thirty minute mark.  The defendant himself takes the stand after the commercial break.  He is calmly adamant about not firing a gun, not having sexual relations with the deceased (they were waiting for marriage) and not killing her.  His calm demeanor doesn't last, as the next witness is one of her exes, who testifies about her instability.  While the defendant is perturbed, but under control. 

That is, until he finds out that the victim wasn't a virgin--from her ex.  Thus, our second Outrage!  I spoke too soon.


The defendant is furious and frustrated, but no moreso than our star juror, who after all this time is ready to disqualify hmself.  "There is evidence being accepted that has so many holes in it it looks like swiss cheese!" 

Judge Darling doesn't seem to disagree with The Big Q, but she doesn't want a mistrial after all this effort.  She gives Quince a classic 'open ended' answer:  "You do what you have to do and I'll do what I have to do, and we'll let the chips fall where they may!  They're going to be very heavy chips, and if they fall, they're gonna fall on YOUR head!"

On Quincy's way in, the baliff is doing his job.
Conveniently, when Quincy leaves, the bailiff who was present when he arrived has stepped out, giving him the window of opportunity needed to steal the coroner's report and other evidence on his way out.

To paraphrase Al Bundy, it's only stealing...if you get caught.
And with this evidence securely snatched, we are treated to something that was increasingly becoming a rarity by this sixth season, at least after an episode's first five minutes.  Quincy is back at the morgue!

Only I get to go on dates, Sam, not you!
Sam is trying to go, he's got a date!  (Again?)  But Quince has work for him to do.  We've got to analyze semen from a crime committed out of our jurisdiction with a trial already in progress that will be a mistrial if I get caught and.....oh, Hell, you get the point.  Big Q has really gone out of a limb here. 


Remember, he's been handling semen.
The next day in the Judge's chambers with Groom and Alda present, Quince is called in asks for a mistrial.  After Sam's tests and a study of the lab report he swiped, Quincy believes the defendant is innocent.

At least Combover is pleased.  For now.

 If Groom looks unhappy, well, just wait until The Big Q starts tearing him and his case apart.  Allowing numerous people "from a bar" to "mill around the crime scene like a Chinese fire drill".  And, as expected, the scientific evidence that wasn't destroyed "didn't fit with what my experience had taught me".



"Months of work, thousands of taxpayer's dollars" is Groom's frustrated response.  But as usual, Quincy is allowed to continue, and to point out the numerous mistakes made by coroners and analysts not named Quincy and Sam.  Anti-human semen test doesn't work inside vagina (but it does work on clothing, we learn.  So Bill Clinton wouldn't have wanted one).  In addition, the contamination of the specimen has been known to "produce a false B blood type" in tests. 

You don't question me on MY show, got it???

"Nothing stops you, does it Doctor?"
"Not when I'm looking for the truth!"

And with THAT out of the way, let's talk about that toupee....
The case won, and thousands of taxpayer dollars from a potential second trial saved.  But there's still one bit of business for the Klug Man to attend to: berating Alda, the defense lawyer who was more interested in his book than the life of his clients.  Hey, Quincy's entitled--after all, he just did Alda's job for him.  "No one is born with arrogance--they cultivate it along the way."  Maybe Quincy should write the book for him too?  He could certainly do the promotional tour with all his vacation time.

Judge wants to go out with the Big Q.  Hubba hubba!

Under the robe all along!
The explanation at Danny's is used to exonerate Quincy on the many laws broken during the course of his jury service.  One thing that isn't explained: why the Hell doesn't Sam bring one of those dates he's always forced to break to these wrap-up dinners?  Since Quincy is always on a date of his own here, it's the one place that Sam might be safe from The Big Q's constant cockblocking.


Classic superhero Quincy this time out: he's DA, EMT, homicide detective, pathologist, prosecutor, juror AND moral conscience rolled into one, but so damn humble about it.  And can't we look past the tampering with evidence, stealing of said evidence, discussion of the case outside of court and eavesdropping considering that there's just so much damn incompetence to overcome?  Hell, even the Judge is willing to bend the rules for Quince, despite the fact that she's only gonna be a one episode girlfriend for our heartbreaker in the brown station wagon.  That's the power of Q!  (**1/2 out of four)

Tuesday, December 25, 2012

The Horn Section Salutes: Jack Klugman (1922-2012)



We've had Blue Christmases in the fairly recent past, losing Dean Martin and Butterfly McQueen in 1995 and Eartha Kitt in 2008.  Sadly, 2012 joined this list, getting a lot less merry with the news that the Big Q himself, Jack Klugman, shuffled off this mortal coil at age 90.


Naturally, it's QUINCY, M.E. that we revere him for, and despite my terminal laziness we have managed a number of episode reviews from the show's final seasons.  Always keep in mind, we kid because we love and there's certainly more of The Big Q coming to The Horn Section.  Klugman's brilliant work recently returned to Netflix Instant, this time with the legendary "Next Stop, Nowhere!" included.


There was a lot more to remember him for, including four classic TWILIGHT ZONE episodes ("A Passage for Trumpet" was my personal favorite), THE ODD COUPLE (wasn't that easy for actors to score back to back TV winners back in the day, but Jack did it), and of course, TWELVE ANGRY MEN (1957, with the also legendary Jack Warden).  Sadly, Mr. Klugman was the last of the angry men standing from that classic.

Everybody loved this guy!

R.I.P. Mr. Klugman.  As always, more to come.



Sunday, July 22, 2012

Video Review: GET OUT OF MY ROOM (1985)








"Why the Hell isn't this on DVD yet, man?" -- Number 83








CHEECH AND CHONG: GET OUT OF MY ROOM (1985 Universal Home Video) Starring Cheech Marin, Tommy Chong, Evelyn Guerrero, Jan-Michael Vincent, Cassandra Peterson, Beverly D'Angelo, Alana Soares, Lelani Soares, Mary Woronov, John Paragon.  Directed by Cheech Marin.


Paragon interviews Richard "Cheech" Marin, Tommy Chong and various fans of the comedy team while providing a window into the creative process of making the duo's first LP in five years, GET OUT OF MY ROOM.  The resulting 52 minute special of the same name also serves as a video EP for the album, with four tracks ("Get Out of My Room", "I'm Not at Home Right Now", "Love is Strange" and "Born in East L.A.") getting the MTV treatment.





After twin box office disasters (STILL SMOKIN' and barely released CORSICAN BROTHERS) left the unmistakable impression that the team was nearing the end of the line, Cheech and Chong went back to their recording studio roots. The resulting LP didn't make anyone forget BIG BAMBU or LOS COCHINOS but it was a moderate hit in 1985. Taking a stab at a mockumentary was inspired, likely by the wild success of the prior year's THIS IS SPINAL TAP. To further shake things up, the video marked Marin's directorial debut (Chong had previously helmed four of their features).




Long-time fans of the duo will appreciate the surfeit of recognition humor from Cheech and Chong's prime years.  Among the nuggets: the title track being sung by THE WEDDING ALBUM's Johnny Stash ("Black Lassie") and Chong's calming technique from UP IN SMOKE introducing one video.  Tommy Chong pretty much disowned GET OUT OF MY ROOM as Marin's baby in his biography, but the chemistry between the two appears as strong as ever during the interview segments.




Unfortunately, veteran aficionados can also discern further evidence that Cheech and Chong are running low in inspiration.  Cheech alter ego Ian Rotten and the title track are (respectively) half-hearted echoes of Alice Bowie and "Earache My Eye".  To be fair, the video itself does provide some retro-chuckles with spot on spoofs of everything cheesy about Eighties videos.  This sadly isn't the case elsewhere: instead of spoofing the futuristic video cliches of the era, "Love is Strange" emulates them, and while Woronov and D'Angelo contribute their cameos here they're given little to do other than be recognizable.


The video ends with "Born in East L.A.", the Springsteen parody that ended up getting a lot of MTV play in the fall of 1985.  This segment clearly was Cheech's baby: Chong is nowhere to be found.  It was a harbringer of things to come.  GET OUT OF MY ROOM turned out to be Marin's springboard to a solo career, and his next project on both sides of the camera was expanding BORN IN EAST L.A. to feature length in 1987 with Jan-Michael Vincent reprising his video role as the immigration officer. 




The original music video was the highlight of both versions of GET OUT OF MY ROOM and arguably more memorable than the subsequent film, but it would be nearly a quarter century until Cheech Marin and Tommy Chong collaborated again.  GET OUT OF MY ROOM is middle-grade Cheech and Chong on the whole, but that still makes it a much better swan song than THE CORSICAN BROTHERS and easily their funniest project since THINGS ARE TOUGH ALL OVER.


So...why isn't this on DVD yet (in the U.S.)?

At less than an hour, GET OUT OF MY ROOM is just the right length to avoid feeling padded, but not quite feature length and could use some some supplements to a standalone DVD. It did get a UK release.


Why it should be on DVD:

Not top grade Cheech and Chong, but good enough for most fans and a return to watchability after a couple of misfires.  The LP finally made it to CD in 2002, and this is the only Cheech and Chong effort from their heyday that isn't out in the U.S.  In the meantime, GET OUT OF MY ROOM is available for viewing on Netflix Instant.