Michael-Jeter Movie Reviews

We own several of Sesame Street's counting videos, but this one is by far the best. My daughter enjoys the "video game" - type format (Elmo and Telly are trapped inside a video game and have to work their way to 20 to get out), but I like that the number focus does not stop at 10, as is the case for many preschool videos.

As a teacher, this video would be good for students who need number recognition reinforcement or for English Language Learners.

The premise (which should spawn some discussion about internet and email safety with parents whose kids are old enough) is that Telly, who has sent his friends a request for replies after setting up a new email address, gets a mysterious email message from a friend who asks him to guess who they are. Telly and other Sesame Street friends search high and low to find out who the mystery emailer is! There are a lot of Sesame Street animated clips and songs to help the plot along, including a GREAT bit with Cookie Monster and Prairie Dawn. If you're raising a budding hacker, this is for you!

Cop Don Johnson goes after a group of neo-Nazis.

"Dead Bang" is one of Frankenheimer's more inferior movies. As a Frankenheimer film, "Dead Bang" isn't as poor as "99 and 44/100% Dead" and "The Holcroft Covenant" but that isn't saying a whole lot; Frankenheimer hasn't made one great movie since "Black Sunday." This film came out during the last season of Don Johnson's TV show "Miami Vice" and Johnson basically just plays Sonny Crockett on the big screen. "Dead Bang" has a few good action sequences but this one element can't save the film. The film isn't particularly exciting or interesting. In one particularly crude and unnecessary sequence, a cop is shown vomiting on a suspect.

Like William Friedkin and Brian DePalma, Frankenheimer is a once great director who lost his edge. I am sad that the director of such brilliant movies as "The Manchurian Candidate" and "The Birdman of Alcatraz" has fallen to making crass movies like "Dead Bang."

"Dead Bang" is nothing more than a foul-mouthed and forgettable action movie. The film is only for big Don Johnson fans and those who merely want to see violent action.

IT IS A RIVETING CHARACTER STUDY OF WHAT THIS JOB CAN DO TO A MAN, HIS MARRIAGE, HIS KIDS AND HIS PSYCHE.

DON JOHNSON DOES AN EXCELLENT JOB OF PLAYING THE MORBID, BURNT OUT COP ON THE EDGE. HE'S DRINKING EXCESSIVELY, GOING THROUGH A BITTER CUSTODY BATTLE WITH HIS EX, LIVING IN A DUMP AND BREAKING EVERY RULE IN THE BOOK TO GET A NEO-NAZI MANIAC WHO KILLED A DISTANT POLICE CAMPADRE.

THE ONE OBVIOUS FLAW IN THE FILM IS THE TOTALLY PROCEDURALLY INCORRECT WAY THE VICTIM OFFICER APPROACHES AN ARMED ROBBERY/MURDER SUSPECT. ANY REAL COP WATCHING THE SHOW WILL BE TEMPTED TO HIT THE 'STOP' BUTTON ON THE V.C.R. THERE. BUT IF YOU CAN WADE PAST THIS NONSESICAL SCENE ITS A PRETTY DECENT FLICK.

JOHNSON SHINES IN A MEMORABLE SCENE WHERE HE IS ORDERED TO UNDERGO PSYCHOLOGICAL COUSELING DUE TO HIS ERRATIC BEHAVIOUR.
AS THE PENCIL NECKED ANALYST'S EGO IS STEPPED ON HE PREPARES TO END THE SESSION 'RUSHING TO JUDGEMENT' ON THE VETERAN OFFICER'S
MENTAL STATE. JOHNSON'S 'BECK' USES SOME PURSUASIVE PSYCO BABBLE OF HIS OWN TO DETER THE COUSELOR FROM ENDING HIS 'BECKS' CAREER.
IT IS A GREAT SCENE AND THE HIGHLIGHT OF THE FILM.

THE THING THAT MAKES THIS CHARACTER DIFFERENT FROM 'SONNY CROCKETT' OR 'NASH BRIDGES' IS THE REALNESS OF THE GUY. HE DOESNT SPOUT POLITICALLY CORRECT ONE LINERS. HE DOESNT WEAR FASHIONS THAT NO REAL COP COULD EVER AFFORD, AND HIS LIFE IS THE EXACT OPPOSITE OF GLAMOROUS.

CRITICS AND AUDIENCES ALIKE WERE QUICK TO LAMBAST THIS MOVIE WHEN IT PREMEIRED IN EARLY 1989 BECAUSE IT DOESNT HAVE A SUPER HERO MAIN CHARACTER WHO JUMPS OFF OF BUILDINGS OR DRIVES A FLASHY CAR. AND THAT IS JUST THE REASON IT SHOULD HAVE BEEN PRAISED. IT HAD THE GUTS TO BE DIFFERENT!

THE ACTION SCENES ARE WELL ORCHESTRATED WITH JOHNSON ACTUALLY LOOKING 'PUMPED' AS HE ATTEMPTS TO SURVIVE THE SHOOTOUTS.

NO, 'DEAD BANG' IS NOT A TIMELESS CLASSIC, BUT IT WORKS WELL AS A DRAMATIC ACTION PLAY WITH A FLAWED BUT VERY INTERESTING PROTAGONIST.

Cop Don Johnson goes after a group of neo-Nazis.

"Dead Bang" is one of Frankenheimer's more inferior movies. As a Frankenheimer film, "Dead Bang" isn't as poor as "99 and 44/100% Dead" and "The Holcroft Covenant" but that isn't saying a whole lot; Frankenheimer hasn't made one great movie since "Black Sunday." This film came out during the last season of Don Johnson's TV show "Miami Vice" and Johnson basically just plays Sonny Crockett on the big screen. "Dead Bang" has a few good action sequences but this one element can't save the film. The film isn't particularly exciting or interesting. In one particularly crude and unnecessary sequence, a cop is shown vomiting on a suspect.

Like William Friedkin and Brian DePalma, Frankenheimer is a once great director who lost his edge. I am sad that the director of such brilliant movies as "The Manchurian Candidate" and "The Birdman of Alcatraz" has fallen to making crass movies like "Dead Bang."

"Dead Bang" is nothing more than a foul-mouthed and forgettable action movie. The film is only for big Don Johnson fans and those who merely want to see violent action.

IT IS A RIVETING CHARACTER STUDY OF WHAT THIS JOB CAN DO TO A MAN, HIS MARRIAGE, HIS KIDS AND HIS PSYCHE.

DON JOHNSON DOES AN EXCELLENT JOB OF PLAYING THE MORBID, BURNT OUT COP ON THE EDGE. HE'S DRINKING EXCESSIVELY, GOING THROUGH A BITTER CUSTODY BATTLE WITH HIS EX, LIVING IN A DUMP AND BREAKING EVERY RULE IN THE BOOK TO GET A NEO-NAZI MANIAC WHO KILLED A DISTANT POLICE CAMPADRE.

THE ONE OBVIOUS FLAW IN THE FILM IS THE TOTALLY PROCEDURALLY INCORRECT WAY THE VICTIM OFFICER APPROACHES AN ARMED ROBBERY/MURDER SUSPECT. ANY REAL COP WATCHING THE SHOW WILL BE TEMPTED TO HIT THE 'STOP' BUTTON ON THE V.C.R. THERE. BUT IF YOU CAN WADE PAST THIS NONSESICAL SCENE ITS A PRETTY DECENT FLICK.

JOHNSON SHINES IN A MEMORABLE SCENE WHERE HE IS ORDERED TO UNDERGO PSYCHOLOGICAL COUSELING DUE TO HIS ERRATIC BEHAVIOUR.
AS THE PENCIL NECKED ANALYST'S EGO IS STEPPED ON HE PREPARES TO END THE SESSION 'RUSHING TO JUDGEMENT' ON THE VETERAN OFFICER'S
MENTAL STATE. JOHNSON'S 'BECK' USES SOME PURSUASIVE PSYCO BABBLE OF HIS OWN TO DETER THE COUSELOR FROM ENDING HIS 'BECKS' CAREER.
IT IS A GREAT SCENE AND THE HIGHLIGHT OF THE FILM.

THE THING THAT MAKES THIS CHARACTER DIFFERENT FROM 'SONNY CROCKETT' OR 'NASH BRIDGES' IS THE REALNESS OF THE GUY. HE DOESNT SPOUT POLITICALLY CORRECT ONE LINERS. HE DOESNT WEAR FASHIONS THAT NO REAL COP COULD EVER AFFORD, AND HIS LIFE IS THE EXACT OPPOSITE OF GLAMOROUS.

CRITICS AND AUDIENCES ALIKE WERE QUICK TO LAMBAST THIS MOVIE WHEN IT PREMEIRED IN EARLY 1989 BECAUSE IT DOESNT HAVE A SUPER HERO MAIN CHARACTER WHO JUMPS OFF OF BUILDINGS OR DRIVES A FLASHY CAR. AND THAT IS JUST THE REASON IT SHOULD HAVE BEEN PRAISED. IT HAD THE GUTS TO BE DIFFERENT!

THE ACTION SCENES ARE WELL ORCHESTRATED WITH JOHNSON ACTUALLY LOOKING 'PUMPED' AS HE ATTEMPTS TO SURVIVE THE SHOOTOUTS.

NO, 'DEAD BANG' IS NOT A TIMELESS CLASSIC, BUT IT WORKS WELL AS A DRAMATIC ACTION PLAY WITH A FLAWED BUT VERY INTERESTING PROTAGONIST.

Cop Don Johnson goes after a group of neo-Nazis.

"Dead Bang" is one of Frankenheimer's more inferior movies. As a Frankenheimer film, "Dead Bang" isn't as poor as "99 and 44/100% Dead" and "The Holcroft Covenant" but that isn't saying a whole lot; Frankenheimer hasn't made one great movie since "Black Sunday." This film came out during the last season of Don Johnson's TV show "Miami Vice" and Johnson basically just plays Sonny Crockett on the big screen. "Dead Bang" has a few good action sequences but this one element can't save the film. The film isn't particularly exciting or interesting. In one particularly crude and unnecessary sequence, a cop is shown vomiting on a suspect.

Like William Friedkin and Brian DePalma, Frankenheimer is a once great director who lost his edge. I am sad that the director of such brilliant movies as "The Manchurian Candidate" and "The Birdman of Alcatraz" has fallen to making crass movies like "Dead Bang."

"Dead Bang" is nothing more than a foul-mouthed and forgettable action movie. The film is only for big Don Johnson fans and those who merely want to see violent action.

IT IS A RIVETING CHARACTER STUDY OF WHAT THIS JOB CAN DO TO A MAN, HIS MARRIAGE, HIS KIDS AND HIS PSYCHE.

DON JOHNSON DOES AN EXCELLENT JOB OF PLAYING THE MORBID, BURNT OUT COP ON THE EDGE. HE'S DRINKING EXCESSIVELY, GOING THROUGH A BITTER CUSTODY BATTLE WITH HIS EX, LIVING IN A DUMP AND BREAKING EVERY RULE IN THE BOOK TO GET A NEO-NAZI MANIAC WHO KILLED A DISTANT POLICE CAMPADRE.

THE ONE OBVIOUS FLAW IN THE FILM IS THE TOTALLY PROCEDURALLY INCORRECT WAY THE VICTIM OFFICER APPROACHES AN ARMED ROBBERY/MURDER SUSPECT. ANY REAL COP WATCHING THE SHOW WILL BE TEMPTED TO HIT THE 'STOP' BUTTON ON THE V.C.R. THERE. BUT IF YOU CAN WADE PAST THIS NONSESICAL SCENE ITS A PRETTY DECENT FLICK.

JOHNSON SHINES IN A MEMORABLE SCENE WHERE HE IS ORDERED TO UNDERGO PSYCHOLOGICAL COUSELING DUE TO HIS ERRATIC BEHAVIOUR.
AS THE PENCIL NECKED ANALYST'S EGO IS STEPPED ON HE PREPARES TO END THE SESSION 'RUSHING TO JUDGEMENT' ON THE VETERAN OFFICER'S
MENTAL STATE. JOHNSON'S 'BECK' USES SOME PURSUASIVE PSYCO BABBLE OF HIS OWN TO DETER THE COUSELOR FROM ENDING HIS 'BECKS' CAREER.
IT IS A GREAT SCENE AND THE HIGHLIGHT OF THE FILM.

THE THING THAT MAKES THIS CHARACTER DIFFERENT FROM 'SONNY CROCKETT' OR 'NASH BRIDGES' IS THE REALNESS OF THE GUY. HE DOESNT SPOUT POLITICALLY CORRECT ONE LINERS. HE DOESNT WEAR FASHIONS THAT NO REAL COP COULD EVER AFFORD, AND HIS LIFE IS THE EXACT OPPOSITE OF GLAMOROUS.

CRITICS AND AUDIENCES ALIKE WERE QUICK TO LAMBAST THIS MOVIE WHEN IT PREMEIRED IN EARLY 1989 BECAUSE IT DOESNT HAVE A SUPER HERO MAIN CHARACTER WHO JUMPS OFF OF BUILDINGS OR DRIVES A FLASHY CAR. AND THAT IS JUST THE REASON IT SHOULD HAVE BEEN PRAISED. IT HAD THE GUTS TO BE DIFFERENT!

THE ACTION SCENES ARE WELL ORCHESTRATED WITH JOHNSON ACTUALLY LOOKING 'PUMPED' AS HE ATTEMPTS TO SURVIVE THE SHOOTOUTS.

NO, 'DEAD BANG' IS NOT A TIMELESS CLASSIC, BUT IT WORKS WELL AS A DRAMATIC ACTION PLAY WITH A FLAWED BUT VERY INTERESTING PROTAGONIST.

Cop Don Johnson goes after a group of neo-Nazis.

"Dead Bang" is one of Frankenheimer's more inferior movies. As a Frankenheimer film, "Dead Bang" isn't as poor as "99 and 44/100% Dead" and "The Holcroft Covenant" but that isn't saying a whole lot; Frankenheimer hasn't made one great movie since "Black Sunday." This film came out during the last season of Don Johnson's TV show "Miami Vice" and Johnson basically just plays Sonny Crockett on the big screen. "Dead Bang" has a few good action sequences but this one element can't save the film. The film isn't particularly exciting or interesting. In one particularly crude and unnecessary sequence, a cop is shown vomiting on a suspect.

Like William Friedkin and Brian DePalma, Frankenheimer is a once great director who lost his edge. I am sad that the director of such brilliant movies as "The Manchurian Candidate" and "The Birdman of Alcatraz" has fallen to making crass movies like "Dead Bang."

"Dead Bang" is nothing more than a foul-mouthed and forgettable action movie. The film is only for big Don Johnson fans and those who merely want to see violent action.

IT IS A RIVETING CHARACTER STUDY OF WHAT THIS JOB CAN DO TO A MAN, HIS MARRIAGE, HIS KIDS AND HIS PSYCHE.

DON JOHNSON DOES AN EXCELLENT JOB OF PLAYING THE MORBID, BURNT OUT COP ON THE EDGE. HE'S DRINKING EXCESSIVELY, GOING THROUGH A BITTER CUSTODY BATTLE WITH HIS EX, LIVING IN A DUMP AND BREAKING EVERY RULE IN THE BOOK TO GET A NEO-NAZI MANIAC WHO KILLED A DISTANT POLICE CAMPADRE.

THE ONE OBVIOUS FLAW IN THE FILM IS THE TOTALLY PROCEDURALLY INCORRECT WAY THE VICTIM OFFICER APPROACHES AN ARMED ROBBERY/MURDER SUSPECT. ANY REAL COP WATCHING THE SHOW WILL BE TEMPTED TO HIT THE 'STOP' BUTTON ON THE V.C.R. THERE. BUT IF YOU CAN WADE PAST THIS NONSESICAL SCENE ITS A PRETTY DECENT FLICK.

JOHNSON SHINES IN A MEMORABLE SCENE WHERE HE IS ORDERED TO UNDERGO PSYCHOLOGICAL COUSELING DUE TO HIS ERRATIC BEHAVIOUR.
AS THE PENCIL NECKED ANALYST'S EGO IS STEPPED ON HE PREPARES TO END THE SESSION 'RUSHING TO JUDGEMENT' ON THE VETERAN OFFICER'S
MENTAL STATE. JOHNSON'S 'BECK' USES SOME PURSUASIVE PSYCO BABBLE OF HIS OWN TO DETER THE COUSELOR FROM ENDING HIS 'BECKS' CAREER.
IT IS A GREAT SCENE AND THE HIGHLIGHT OF THE FILM.

THE THING THAT MAKES THIS CHARACTER DIFFERENT FROM 'SONNY CROCKETT' OR 'NASH BRIDGES' IS THE REALNESS OF THE GUY. HE DOESNT SPOUT POLITICALLY CORRECT ONE LINERS. HE DOESNT WEAR FASHIONS THAT NO REAL COP COULD EVER AFFORD, AND HIS LIFE IS THE EXACT OPPOSITE OF GLAMOROUS.

CRITICS AND AUDIENCES ALIKE WERE QUICK TO LAMBAST THIS MOVIE WHEN IT PREMEIRED IN EARLY 1989 BECAUSE IT DOESNT HAVE A SUPER HERO MAIN CHARACTER WHO JUMPS OFF OF BUILDINGS OR DRIVES A FLASHY CAR. AND THAT IS JUST THE REASON IT SHOULD HAVE BEEN PRAISED. IT HAD THE GUTS TO BE DIFFERENT!

THE ACTION SCENES ARE WELL ORCHESTRATED WITH JOHNSON ACTUALLY LOOKING 'PUMPED' AS HE ATTEMPTS TO SURVIVE THE SHOOTOUTS.

NO, 'DEAD BANG' IS NOT A TIMELESS CLASSIC, BUT IT WORKS WELL AS A DRAMATIC ACTION PLAY WITH A FLAWED BUT VERY INTERESTING PROTAGONIST.

Running at about two and a half hours, South of Heaven, West of Hell takes its time telling its story, but surprisingly doesn't really feel slow. Director/Star Dwight Yoakam does a great job of capturing the feeling of life in the West at the turn of the century. There's a scene at dusk where there's nothing really going on, a group of people sit around outside and listen to people play music. It's such a stark contrast to modern life where people close themselves in their homes and flick on the TV. It's little moments like this that create a real and credible world in which the story takes place.

Aside from being one of the more methodical and realistic westerns I've seen, South of Heaven, West of Hell is also by far the darkest, where there really aren't any heros, and the lines between honor and revenge are quite blurry. South of Heaven, West of Hell is a gem of a movie with stellar performances. While I felt Dwight Yoakam did a great job as the lead, I really enjoyed the supporting performances, especially Bud Cort (best know for being Harold in Harold and Maude), Paul Reubens, who is a thrill to watch playing a cowboy, and Billy Bob Thornton in a brief but pivitol role.

After watching South of Heaven, West of Hell I still had a number of questions about the film, but unfortunately the commentary doesn't clear everything up, which at first was a little frustrating, but after a bit of thinking was ok. It's hard to remember a recent film that I thought about as much afterward. South of Heaven, West of Hell isn't a movie for everyone but for those interested in a dark, real western I'd highly recommend it. [Geoffrey Kleinman, DVDTalk.com]

Being Dwight's first Director job (and not knowing anything else about Mr. Yoakam) I think it's a minor masterpiece. I do wish he'd have cast someone else as his character and concentrated on directing only. All the actors were outstanding. Can't say enough about them. Truly a pleasure to watch them in action. I also dug those wild rags!

This movie gave me the western flick bug. I rented other westerns thereafter. Well-known and recent ones, including a God-awful remake of High Noon with Tom Skerritt and Michael Madsen. I love this little gem the most. I intend to buy it. Already own the soundtrack CD.

Can't wait until Dwight's next effort.

Running at about two and a half hours, South of Heaven, West of Hell takes its time telling its story, but surprisingly doesn't really feel slow. Director/Star Dwight Yoakam does a great job of capturing the feeling of life in the West at the turn of the century. There's a scene at dusk where there's nothing really going on, a group of people sit around outside and listen to people play music. It's such a stark contrast to modern life where people close themselves in their homes and flick on the TV. It's little moments like this that create a real and credible world in which the story takes place.

Aside from being one of the more methodical and realistic westerns I've seen, South of Heaven, West of Hell is also by far the darkest, where there really aren't any heros, and the lines between honor and revenge are quite blurry. South of Heaven, West of Hell is a gem of a movie with stellar performances. While I felt Dwight Yoakam did a great job as the lead, I really enjoyed the supporting performances, especially Bud Cort (best know for being Harold in Harold and Maude), Paul Reubens, who is a thrill to watch playing a cowboy, and Billy Bob Thornton in a brief but pivitol role.

After watching South of Heaven, West of Hell I still had a number of questions about the film, but unfortunately the commentary doesn't clear everything up, which at first was a little frustrating, but after a bit of thinking was ok. It's hard to remember a recent film that I thought about as much afterward. South of Heaven, West of Hell isn't a movie for everyone but for those interested in a dark, real western I'd highly recommend it. [Geoffrey Kleinman, DVDTalk.com]

Being Dwight's first Director job (and not knowing anything else about Mr. Yoakam) I think it's a minor masterpiece. I do wish he'd have cast someone else as his character and concentrated on directing only. All the actors were outstanding. Can't say enough about them. Truly a pleasure to watch them in action. I also dug those wild rags!

This movie gave me the western flick bug. I rented other westerns thereafter. Well-known and recent ones, including a God-awful remake of High Noon with Tom Skerritt and Michael Madsen. I love this little gem the most. I intend to buy it. Already own the soundtrack CD.

Can't wait until Dwight's next effort.

Running at about two and a half hours, South of Heaven, West of Hell takes its time telling its story, but surprisingly doesn't really feel slow. Director/Star Dwight Yoakam does a great job of capturing the feeling of life in the West at the turn of the century. There's a scene at dusk where there's nothing really going on, a group of people sit around outside and listen to people play music. It's such a stark contrast to modern life where people close themselves in their homes and flick on the TV. It's little moments like this that create a real and credible world in which the story takes place.

Aside from being one of the more methodical and realistic westerns I've seen, South of Heaven, West of Hell is also by far the darkest, where there really aren't any heros, and the lines between honor and revenge are quite blurry. South of Heaven, West of Hell is a gem of a movie with stellar performances. While I felt Dwight Yoakam did a great job as the lead, I really enjoyed the supporting performances, especially Bud Cort (best know for being Harold in Harold and Maude), Paul Reubens, who is a thrill to watch playing a cowboy, and Billy Bob Thornton in a brief but pivitol role.

After watching South of Heaven, West of Hell I still had a number of questions about the film, but unfortunately the commentary doesn't clear everything up, which at first was a little frustrating, but after a bit of thinking was ok. It's hard to remember a recent film that I thought about as much afterward. South of Heaven, West of Hell isn't a movie for everyone but for those interested in a dark, real western I'd highly recommend it. [Geoffrey Kleinman, DVDTalk.com]

Being Dwight's first Director job (and not knowing anything else about Mr. Yoakam) I think it's a minor masterpiece. I do wish he'd have cast someone else as his character and concentrated on directing only. All the actors were outstanding. Can't say enough about them. Truly a pleasure to watch them in action. I also dug those wild rags!

This movie gave me the western flick bug. I rented other westerns thereafter. Well-known and recent ones, including a God-awful remake of High Noon with Tom Skerritt and Michael Madsen. I love this little gem the most. I intend to buy it. Already own the soundtrack CD.

Can't wait until Dwight's next effort.