Manual Flashback (A Carl McCadden Mystery)

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Stock Image. Published by Orion, Used Condition: Very Good Soft cover. Save for Later. About this Item No. Bookseller Inventory mon Ask Seller a Question. Store Description Bestsellers aims to be the best-loved provider of New and used books in the marketplace: we seek to provide our customers with the widest choice, the greatest value and the smoothest online buying experience.

We hope that you enjoy shopping with us. Visit Seller's Storefront Terms of Sale: Our friendly approach to customer service and our ability to resolve customer issues quickly and effectively is one of our key strengths. More Information. Shipping Terms: Orders usually dispatched within 24 hours. Apparently Intersect couldn't afford a better office building. He was apparently involved in an accident earlier in his career that caused him to turn invisible, but he was cured. However, he was left with the ability to turn back invisible whenever he wanted, by using a handy wristwatch outfitted for him by Intersect.

This we learn via vague flashbacks which leave us with more questions than answers. It is actually two different episodes of the very short lived TV series "Gemini Man", which ran in or around It was probably spliced together because they were the only two episodes which also co-starred I use the term 'starred' lightly hillbilly music personality Jim Stafford. The two episodes were obviously unrelated other than that, and the poor editing doesn't help to cover up this fact. I actually wasted some time researching facts about the original TV series and found out that the second part episode of this movie never actually aired on TV.

The show had already been canceled five or six weeks previous to its scheduled airdate. I guess the producer just couldn't bear to waste all that great footage of Jim Stafford yelping like a hyena in heat. One word of advice: Do yourself a favor and locate the episode of the classic TV show "Mystery Science Theater " which features this movie. Its one of their funniest episodes ever.

With material like RWD, how could it not be hilarious? Mister-6 16 May Way back in the evil, post-hallucinogenic '70s, the TV execs were trying to figure out a way to make the kids tune in and turn on to NBC, and came up with the series "Gemini Man", a series about a secret agent who can turn invisible with the help of his special watch. The kids didn't find it groovy, man, so it went to Nowhere-Ville.

What does that have to do with "Riding with Death"? Everything, man! As a gasp of air before going under, the producers decided to not only take a couple of the show episodes and sew them together to make a movie, but did so with different characters in main parts, a five year gap between plots and Jim Stafford. Never mind, Ben. As far as the '70s go, not every movie of that decade ages well, and fewer TV shows do, either. Therefore, a TV show that they try to make episodes into a movie with is double trouble.

Michael Parks - Ben Murphy, what's the difference, anyway? Two stars - in fond memory of the '70s, not of this flick.

Stolen Child

InzyWimzy 18 August Obviously, this grandly made for TV movie stars, well, the camera mostly stays on Ben Murphy as Sam Casey; supposed Harvard grad who gains awesome power to disappear, much like the audience's interest. I thought Ben really stunk it up as Prof. McCadden in Being from Another Planet , the only other film than goodness! I've seen him in, but this one is less agonizing as say repeatedly rubbing your hand to a bloody pulp on sharp coral. Honestly, this really cool title Riding with Death is far from it, but watch it enough, it's actually so crappy and bad that you just have to laugh!

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User Reviews

Well there's our Harvard alum trucking a highly volatile chemical, less than honorable doctor highly anal over patent papers, one really not so great gal Abby nice tissue toss Abby! Lots of mumbling, nonsensical plot, and you have yourself one laugher. Mike and the bots were right: what's the deal with New England journalism? Because I could not stop for Death, He kindly rode with me It's odd I remembered seeing an episode or two of 'The Gemini Man' when I was young, and thinking that it wasn't bad E Cat', but moderately enjoyable. So when I found out that "Riding With Death" was actually two episodes of "Gemini Man" spliced together, I thought it might be a pleasant little diversion.

My goodness, I could not have been more mistaken. The first 'half' of the show has some potential. The production team was so busy trying to pass this off as a 'real' movie that they ruined the simple pleasure of watching a couple of not-bad TV episodes back to back. I think it is pretty obvious that the real reason these two episodes were jiggered together is that Jim Stafford guest-starred in both, and both episodes featured plots in which Casey was driving vehicles that might explode and kill him.

Stafford has gotten a lot of hateful notices here,true. But I really think that he just played the character as it was written and directed, and delivered the lines of dialog he was given. Still, the results on film aren't pretty. And poor Katherine Crawford must have been called back in a couple of times in the service of this monstrosity - once to film a bunch of shots of her sitting by herself watching a monitor, looking concerned and frowny-faced, and once again to ADR a few comments that aren't even synced with her appearances. The results are stunningly disconnected,airless, and weird.

Each episode could stand on its own as a mildly enjoyable example of 70's TV adventure. I'd watch it a dozen times before I'd watch RWD, unless it just to make fun of all the glitches. It's hard to imagine anyone taking 'Riding With Death' as anything other than a complete waste of celluloid. This one was deliciously roasted on MST by Mike and the oh so funny robots, with many references to how dopey the hero, Ben Murphy really is. The flimsy plot jumps from an explosive being transported in a truck to another explosive substance being used in a race car to kill off some people for no apparent reason.

The reason for the jumping of the plot most likely stems from the fact that the movie is no more than 2 episodes of a short lived 70's T. Oh well flimsy plot aside, the rest of the movie is just plain horrific, most of the bad stuff is in the form of awful acting, which raises the question as to how this got made into a T. Well, the MST version was a lot of fun, though this is still an incredibly bad movie. Mike, did the ozone layer finally give out?

Some spoilers.

Lusby, Jim

Why did he blow up that jet? Does he work for a rival defense contractor? Why does he want to crash the Baxter Special? After all, he has the full backing of the Baxter company CEO, so who's behind this plot and why? Why would he go through all the trouble of being on the racing team, couldn't he just sneak into the garage some night and lace the car with deutrium? If he's a professional sabatuer, then who's paying him to perform these acts? If anyone has seen the uncut version of this prime time special I mean feature film, could you please clear this up.

The most compelling reason to watch this film are the laughable attempts to splice the two films together. Most hilarious are the scenes where Abby's watching the monitor I kept thinking of the creepy Army guys in "Attack of the the Eye Creatures," who use similarly implausible technology to spy on smooching teens. Notice how the dialogue track doesn't match her lip movements in some shots. Seems they culled dialogue from yet another episode and patched it over the video of Abby watching the monitor.

Just precious. Wells probably turned over in his grave when he found out his name was associated with this stinky film. The main star of this film, Ben Murphy, is also noted for being Prof. Douglas McCadden in the film Time Walker. Another actor, Alan Oppenheimer, was probably so ashamed of this film he retreated into just providing his voice for cartoons and voice overs. Bad all around and very forgettable. This was one of the best MST'ed movies ever. Horrible to watch but mesmerizing to see.

Why this make him part of a Gov't crime fighting agency is still up for grabs. While on a mission underwater he was near a nuclear explosion that made him invisible. NO problem for the govt, they give him a Seiko watch that can stabilize his DNA and keep him visible. Why his clothes disappear is also up for grabs. Anywho, he has to protect a scientist who has a new fuel additive, blah blah blah, hillbilly gay trucker, blah blah blah, scientist was in on the deception, blah blah blah. I cant go on..

Flashback (Carl McCadden, book 2) by Jim Lusby

Its to painful Long story short. After Ben saves the day, a one sentence link is established to join the second half of the story. Just don't watch it without Mike and the Bots.

Mary and Carl

You were warned. This is actually two unrelated episodes of the 70's TV show "Gemini Man" strung together to form a movie. And a really bad one too. It's not hard to see why this show was so short lived. A real awful, rotting chunk of 70's cheese. Good MST3K episode, though. Whatever the writers of this movie were on, I want some. Ben Murphy, Mr. The spectacle here is bewitching and too large for Frank Wedekind's turn-of-last-century story of teenage angst, from which Steven Sater and Dunkan Sheik's touring Broadway-hit musical has been crafted. I found myself more dazzled than moved, but dazzle can be a good thing, and the production is too ornate an accomplishment to be ignored.

There's never a dull moment in Michael Mayer's staging, but rarely is there a soulful moment. The story is about social and sexual repression in puritanical Germany, and it arrives here as bloated in style as a rock concert. Lighting designer Kevin Adams provides exactly that ambiance with a plot that flips from washes of lurid red to purple with the stomp of a ten boots, and lighting instruments that float down along the back wall from the rafters, creating the effect of some cosmic galaxy.

Bill T. Jones' choreography looms just as large, with, in one song, the company stomping feet in unison as though they were performing Butoh dance in order to arouse the spirits of the dead. On stage, and in on-stage bleachers where members of the company are planted amidst the audience, heads gyrate to and fro as though possessed by demons, which is exactly how the Teutonic society depicted here is trying to make them feel. The paradox is that the sneering Expressionism mingles with the mechanical robotics to such an extent — clearly to reach a house considerably larger than in New York — that the story's underlying sensitivities are tempered, if not eviscerated.

She goads him to beat her, even playfully, with a switch — because she's sexually aroused by the brutal daily beatings inflicted on her friend, Martha Sarah Hunt. The scene itself contains disturbing and deeply human revelations about suppressed sadism and masochism that's here treated as broadly and swiftly as in a burlesque, depriving the scene of its core sensuality.

Still, the creators and designers are accomplishing exactly what they want as the cast is precision perfect. Moreover, the overinflated scale and hyperactive style of this touring production can't diminish the powerful beauty of Shiek's music and Sater's lyrics. There's scant melody but ample musical motifs that float on intricate, poetical phrases and sophisticated orchestral support, as though from the Suzanne Vega era.

Ahmanson Theatre, N.

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Steven Leigh Morris. For the rest of us, though, Michetti and his abundantly talented ensemble deliver the goods — a riveting, provocative and lucidly entertaining Hamlet that comes agonizingly close to the definitive.

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Exit Dr. Freud, enter Norman Bates. This suggestion of a schizophrenic break transforms Hamlet from hesitant intellectual into calculating killer; it also strips the subsequent action of its moral ambiguity and propels it into a kind of driving, Hitchcockian psychological thriller. Matthew Jaeger, as Laertes, brings a disturbing whiff of incest to his brotherly affection for Ophelia Dorothea Harahan. Tony Abatemarco lightens the load — and scores another of his trademark triumphs — with his superb comic rendering of Polonius.

Designer Sara Ryung Clement ties it all together with an elegant, minimalist set and costumes, which are a timeless blend of modern and period dress. Yet the success of director Israel Hicks' revival can be attributed to the consistency and quality of the cast. The setting is a diner, circa Pittsburgh, that conveniently serves as a neighborhood hangout. Its owner, Memphis Glynn Turman , is a shrewd businessman with a soft edge, who has some lively patrons: mentally disturbed Hambone Ellis E. Williams ; Wolf Felton Perry , a numbers man; Holloway Roger Robinson , a street-corner prophet and believer in magic; and Sterling Russell Hornsby , an ex-con with more ambition than job prospects.

The only woman, Risa Michole Briana White , is a waitress at the diner who bears horrible self-inflicted scars on her legs. Not much goes on here. Most of the buzz is generated by the gilded funeral of a slick ghetto preacher named Prophet Samuel, and the pending demolition of the diner. Yet Wilson is a master storyteller, and this play is filled with humorous, engaging dialogue and earthly sagacity. These characters form a curious gestalt that eerily mirrors the tumult of the times and the harsh realities of inner-city life.

Edward E. Haynes' expansive diner set piece works perfectly for the production. An Ebony Repertory Theatre production. The result is a sentimental and nostalgic valentine to Edwardian Era theater, and the leading ladies he adored in his youth. Perhaps its strongest asset is its wonderful roles for older actresses, fully realized in this production. The piece is saved from soap-opera bathos by Coward's wit, and frank acknowledgement of the realities of decline and death.

Director Charlie Mount has assembled a fine, large ensemble who offer richly nuanced performances. Theatre West, Cahuenga Blvd. West, Los Angeles; Fri. Eden Espinoza as the green-skinned, bespectacled girl-witch Elphaba has a contagiously smart appeal. After recognizing that Elphaba's not going to power-play along with the Wizard's John Rubinstein Stalinist shenanigans, Mrs. Morrible the delightful Carol Kane , starts a witch hunt for the girl, and the whole thing starts to resemble some of the tawdrier chapters in American history. Pantages Theater, Hollywood Blvd. Rubicon Theater, E.

Main St. Colin Escott and Floyd Mutrux's musical about the discovery of girl group the Shirelles. Coast Playhouse, Santa Monica Blvd. Lyric-Hyperion Theater, Hyperion Ave. Hollywood Fight Club Theater, W. Sunset Blvd. This somewhat scrambled , minutiae-filled account of her life begins with her childhood where, as a latchkey kid, she indulged in her passion for TV and eventually nabbed a role in the '70s as the token African-American in The Brady Bunch.

In high school and USC, she was a cheerleader whose routines she energetically and impressively reenacts on otherwise all-white squads. The same disorder in her narrative is also reflected in the set, which Watson designed, but here the effect is a positive one, reflecting an individual with an eclectic zest for life. The Lost Studio, S. La Brea Ave. Deborah Klugman. Sierra Stage, N. Sierra Bonita Ave. Next Stage Theater, N. When the men meet for their customary after-work beers at the local watering hole finely executed by designer Danny Cistone , however, that harmony all-too-easily turns to discontent.

Mike and Andy have already made the move to the more desirable Eagle Ridge. Director Ron Klier cleverly frames the comic complications as a kind of existential Three Stooges two reeler imagine Larry and Curly grappling with a suddenly self-aware Moe. The result is a funny if slight entertainment with all the substance of a Dilbert cartoon. Theatre Company and Range View Productions. Some are direct, personal accounts, some are first person dramatic monologues delivered straight to the audience, and some are monologues to an invisible character.

And even though the work is earnest and, at times, powerful, the stylistic disunity weakens the overriding idea. And because the evening runs scattershot over a wide range of veteran themes — most of which have been introduced to us in media coverage of the last 40 years of war — we aren't challenged by the kind of specificity that opens up new ways of understanding the futility, waste and tragedy of war.