The Saint in Manhattan (1987)

Country: United States / United Kingdom
Director: James Frawley
Starring: Andrew Clarke, Kevin Tighe, Christopher Marcantel, George Rose, Holland Taylor, Caitlin Clarke, Ben Vereen
Music: Mark Snow
Based on characters created by Leslie Charteris

I’m a bit late on this, as it has been out for a couple of weeks, but Madman Entertainment have just released the last piece of the Saint on television jigsaw puzzle – the much sought after The Saint in Manhattan. This pilot for a proposed new television series had never been released before – and had only existed as a poor quality dupe – available from the gray market. But Saint fans can now rejoice. Below is my review from a few years ago (for that aforementioned poor quality dupe).

The Saint in Manhattan is a Saint for the Magnum PI generation. Actually, its probably a few years too late for Magnum, but this pilot episode for a proposed new series has the same smirk and high living like Magnum, and added to that, Clarke has a moustache of Tom Selleck proportions.

Clarke copped a bit of flack for keeping the ‘mo’, but the Saint has had a moustache before. As always, though, in this day and age, any actor who takes on the role of the Saint is compared to Roger Moore, who was clean shaven. I must admit I like Andrew Clarke as an actor and he has been in some good productions – ANZACS springs to mind. But in the work I have seen he has always played a pretty down to earth Australian, so seeing him as a wealthy, womanising high roller, was a stretch for me. And maybe because I know him from his other work, I found his accent flittered between a fake Etonian and his natural Australian accent.

The show opens with a message sent from Special Branch, Scotland Yard to Inspector John Fernack of the New York Police advising him of the imminent arrival of Simon Templar (Andrew Clarke) in New York. Fernack rushes to the airport and watches as the passengers disembark from the Concorde that has just arrived from England. A stewardess walks up to Fernack and hands him a ticket folder, which he opens. Inside in Simon Templar’s calling card.

Meanwhile Templar is being chauffeured by helicopter to a heliport, where his car – with the number plate ST 1 – awaits him. It appears that times have changed, and Templar now drives a very sleek black Lamborghini, which he drives back to his palatial penthouse apartment in downtown Manhattan.

But soon Templar is bored and complaining of malaise to his butler, Woods (George Rose). His restlessness doesn’t last long with the arrival of a letter from an old flame, Margo. Margo also happens to be a world class ballerina. She is in New York to perform Sleeping Beauty, but she has been receiving strange threats. She requires a bodyguard and asks Templar to help out, which he gladly does.

As a promotional gimmick, during the opening night ballet performance, Margo is to wear the multi-million dollar ‘Empress of Austria’ diamond tiara, which belongs to two of the leading patrons of the ballet, Walter and Fran Grogan. After the show, Margo hands back the tiara only to discover it is a fake. As they search backstage, in the tiara’s original carry case there is a calling card – the Saint’s! So Templar is the prime suspect for the theft.

The Saint in Manhattan is essentially a formulaic whodunit, with the Saint investigating all the suspects in between sparring bouts with Inspector Fernack. The story itself may be nothing special, but the dialogue is pretty witty. It is a pity that Clarke doesn’t have the panache or charm to deliver the lines with the sly wink that they deserve.

As I mentioned at the top, The Saint in Manhattan was the pilot episode for a prospective series, but it would be my guess that the show didn’t generate the response and enthusiasm expected and no further episodes were made at the time. However the Saint would return two years later, but with Simon Dutton taking over as Simon Templar.

It’s interesting to compare the two. The Saint in Manhattan had pretty high production values, but was let down by Andrew Clarke’s performance. No maybe that’s unfair – let’s just say that Clarke was miscast in the role. Whereas the following Saint series, in Dutton they had a great Saint, but at times the series looked gritty where it should have looked glamorous and jet-setting. And some of the plots were just clunky, without any wit or panache.

I have probably made The Saint in Manhattan sound absolutely terrible. It is not, but it is what it is…one hour of network television. You can see the same formulaic storytelling in any mystery show of the same era (and probably many from today too).

A special ‘thank you’ to Tanner from the Double-O-Section for help with this review.

The blurb from the Madman DVD:

Simon Templar: lifestyle extravagant… Fingerprints: unavailable… Occupation: highly suspicious… Alias: THE SAINT.

The Saint, is back in New York, restless and bored. But the tedium is about to escalate to full-blown excitement when he is contacted by an old flame, Margo, a ballerina who is set to star in a high profile performance. She has received death threats in the guise of a mutilated doll being left in her dressing room, and as part of the ballet, she will don a million dollar tiara on opening night.

The performance goes without mishap, however, upon leaving the stage the tiara has somehow been swapped with a fake, and The Saint’s calling card has been left in its empty box. Someone has framed Simon, and his old adversary Inspector Fernack is quick to point the finger. Has Margo set up her former flame, or is it an insurance rip-off? One thing’s for sure, whoever the criminal, they should have thought twice before setting up The Saint.

Australia’s Andrew Clarke won the highly-coveted role of Simon Templar in this big-budget, pilot episode for a proposed American series of the classic literary hero created by Leslie Charteris. It’s The Saint for the 1980s, but he still oozes charm, chivalry and heroism as he searches for the truth. The Saint doesn’t respect the law, but he does respect justice. Sometimes they’re not always the same thing.

Never previously available and rarely screened since its original broadcast, at last THE SAINT’s television legacy is complete with the release of this one-off adventure.

The Saint in Manhattan (1987)

The Saint: Wrong Number (1989)

Director: Marijan David Vajda
Starring: Simon Dutton, Vince Edwards, Günther Maria Halmer, Arielle Dombasle, Gérard Hérold, Christoph M. Ohrt, Manfred Lehmann, Donald Arthur, Alexandra Kazan
Music: Günther Fischer
Based on characters created by Leslie Charteris

Now this is more like it! So far I haven’t been too impressed with this six tele-movie Saint series. I liked The Brazilian Connection for the rapport between The Saint (Simon Dutton) and Inspector Teal (David Ryall), but the others have been pretty limp. However, Wrong Number is a good one and it is a legitimate spy story to boot.

This episode is set in Berlin in the summer of 1989, just months before the Berlin Wall came down. And in that way, this show is a fascinating time capsule. There is still East and West Berlin, and a small amount of Cold War tension, but really you can tell the stern opposition between the two sides has thawed. Although the ‘wall’ is a prominent part of the story — it acts more as a landmark than a barrier. In fact, there seems to be very little difficulty for Simon Templar to travel from East to West. In fact, that’s how the episode begins, with Templar crossing at a check-point into the American sector.

From there he drives to the Hotel Intercontinental and checks into his usual suite – room 432. Before Templar has even had a chance to unpack the phone rings. The voice on the other end says, ‘You’re blown. Meet me at Conrads,’ and then rings off. Templar is confused and rings down to reception to enquire about the call. The reception girl says that there was no call for him but a call for room 423 — she obviously put the call through to the wrong room.

Templar’s not the type to sit on his hands and he immediately goes to investigate room 423. When he gets there, he finds the door ajar, and the occupant of the room — a Mr. Anton — dead in his bath tub. Templar immediately calls the police.

Templar can’t just leave it at that though. He has to dig deeper and makes his ways to Conrads, which just happens to be a coffee-shop / bar. There he sits, watching and waiting. When Templar begins puffing on a very distinctive white pipe, which happened to belong to Mr. Anton, and which Templar discretely removed from the hotel room, one of the patrons becomes visibly agitated and leaves the coffee shop. Templar follows and a good thing too, as two goons are waiting outside for the contact. They open fire. Templar steers the contact into his car and races off. The goons follow in hot pursuit. Soon, the two cars racing through the streets of Berlin catch the attention of the local police and they too join the pursuit.

The car chase grinds to a halt in a dead-end street. The goons crash and the driver is killed. The second goon manages to escape. Meanwhile the police have Templar and his contact bailed up — that is until the contact, Otto Schmidt (Günther Maria Halmer) reveals himself to be an operative for an organisation called A.T.L.A.S. — which stands for Anti-Terrorism Liaison Agency Service. The police release them.

Herr Schmidt takes Templar to meet the heads of A.T.L.A.S., where he is recruited — or more correctly offers to assist them in their investigations. It appears that a known terrorist Peter Lang is at work in the area and he is in the midst of a major arms deal. Co-incidentally at this time, US General Donovan (Vince Edwards) is innitiating a program whereby US nuclear warheads are transported from West Berlin back to the United States for decommissioning.

Of course I can’t really know how Simon Dutton felt about his stint as the Saint, but to my mind, he was in someways better off than some of the previous actors who played the character. Rather than being studio bound, Dutton got to travel all over the world to make this series — France for The Blue Dulac, Australia for Fear in Fun Park and Germany for this installment, Wrong Number. But by the same token, Dutton didn’t have the safety net of a Saintly seasoned and consistent crew working on each of the movies. Each country seemed to supply its own director, crew and supporting actors, which means the series is wildly uneven. But as I mentioned at the top, this is a good entry in the series — possibly the best, and Dutton gives another likable performance.

Spy-spotters may recognise Vince Edwards as General Donovan. In the sixties, Edwards played super-agent Charles Hood in the polished but disappointing Hammerhead, based on the novel by James Mayo.

If I had to recommend just one of the Simon Dutton Saint series, this would be the one, and that is not just because it has a rather heavy espionage based plot. Wrong Number has the best story and best acting out of the six episodes as well, which makes it a clear winner. It is also interesting watching the last throes of the Cold War play out in their actual locations.

More Simon Dutton as The Saint
The Brazillian Connection.
The Software Murders.
The Blue Dulac.
Fear in Fun Park.

The Saint: Wrong Number (1989)

Fear In Fun Park (1989)

Director: Donald Crombie
Starring: Simon Dutton, Ed Devereaux, Rebecca Gilling, Richard Roxburgh, Nikki Coghill Max Cullen, Anthony Wong, Ernie Dingo
Music: Peter Best (Title theme by Serge Franklin)
Based on characters created by Leslie Charteris

As an Australian, I am particularly parochial about local productions. I like a good story where I recognise the landmarks and the settings in which the story takes place. To find out that there was a Saint tele-movie set in Australia delighted me no end and naturally I had to track it down – and that search has taken me quite a while – but finally I have got my opportunity.

Now there’s a reason that it has taken me so long to find this film; namely that it hasn’t been available. Why would a series based on a popular character like The Saint be held back and made unavailable I ask? Watching the first ten minutes of Fear In Fun Park gave me the answer. It’s bloody terrible. In my reviews for The Software Murders and The Blue Dulac, I have been fairly scathing of the acting on display; and let’s be honest, I watch a lot of shit, so I am quite forgiving of shortcomings in low-budget productions. But here the acting reaches the bottom of the barrel. And I am not talking about hack actors – most of the Australian cast have been around the traps for quite a while – and capable of much better than this. Even the accents seemed to be bunged on. Look I grew up in rural Australia, and would suggest I have a very broad ‘Aussie’ accent, but the characters in this film make me seem like an English language professor. I am guessing they are trying to ‘ocker’ up the show to make Simon Templar seem even more like a fish out of water. Maybe there is even a bit of an attempt to latch onto the memory of Crocodile Dundee which was a massive hit in 1985.

The show starts off in Sydney airport and a myriad of characters arrive of various flights from around the world. Naturally, one of these characters is Simon Templar; AKA The Saint (Simon Dutton). He has flown in from Hong Kong, on the request of a Chinese Businessman, whose daughter has gone missing in Sydney. Templar believes she has been snatched up by the Chinese underworld and drugged and forced to work in a brothel.

Also arriving from France are Harry and Aileen Brampton. Harry is the head of the powerful Brampton business empire, but recently his company has slumped, and it looks like he may have to sell off some of his companies assets. One of these assets is Sydney’s Luna Park – called Fun Park in this show (I am sure for legal reasons). Waiting to greet Harry and Aileen, is Harry’s daughter from a previous marriage, Fiona (Nikki Coghill).

Another recent arrival is a young confused Chinese girl who speaks no English. As she waits in the arrivals lounge, Templar offers her assistance. But before she can respond, she is approached by some Chinese business people and shuffled outside the terminal to a waiting car.

At this point Simon bumps into Fiona, who used to be a jetsetter and knows Templar from her old days in London. Their reunion is a pleasant one, and Simon is invited back that evening to have dinner with Harry, Aileen and Fiona. Simon accepts but must check into his hotel first. Fiona offers to drive him into town. As they leave the airport, Templar spots the young Chinese girl, looking rather distressed, ensconced in the back of a black Mercedes Benz as it weaves through the traffic. Templar asks Fiona to follow the car, which she does up until a certain point, where the car gets blocked behind a truck in Chinatown. Templar leaps from the car and tries to follow on foot, but loses the car in a maze of side streets.

Later that evening, as Templar dines with the Bramptons, he meets Fiona’s new fiancé, Justin (an incredibly youthful Richard Roxburgh). Justin is a real estate agent and has been asked to arrange the sale of Fun Park to get the Brampton company out of trouble. The thing is, secretly, Justin has a gambling problem and owes the Chinese underworld $954,000. The only way he can repay his debt is to arrange that Fun Park is sold to the Chinese.

The fly in the ointment, however, is that Fun Park is the legacy of Harry’s first wife, and Fiona would rather take out a loan to keep Fun Park as a family asset that can be handed down from generation to generation, rather than sold off for short term gain. Justin is caught is the middle – if he sells Fun Park, he gets out of trouble with the underworld, but risks losing Fiona. If he doesn’t sell it, then he keeps Fiona, but what good is that, when the Chinese underworld have a mark on your head.

As the story progresses, the threads of the Brampton family’s financial problems and Templar’s investigation into the white slavery ring come together, and this results in some chases through the streets of Sydney, on and over every conceivable landmark the film-makers could get permission to climb (these include the newly constructed Darling Harbour and Sydney Monorail). At times the movie feels more like an advert for the Australian Tourist Commission than a Saint episode (it even includes throwing ‘prawns on the barbie’).

Fear In Fun Park is an amateurish production despite the people in front and behind the camera, which is such a shame, because Sydney is a great setting for a Saint story. The white slavery story itself isn’t too bad, but there are a few too many story threads that probably only resonate with Sydneysiders who were there in the late eighties. One such is the ‘Save Luna Park’ thread, which was an issue when the Park had been left abandoned for years after a fire on one of the rides killed some children. It looked as if the derelict Park would be sold off to foreign investors, who would redevelop the land. Viewers from other parts of the world, particularly now (nearly twenty years later), may wonder what the hell the characters are talking about. Why? What protesters?

As I seem to do with all the Simon Dutton Saint movies, I ‘llsign off by saying that Saint fans may feel compelled to watch this episode, but it really isn’t very good at all. Others should stay clear.

Fear In Fun Park (1989)

The Blue Dulac (1989)

Director: Dennis Berry
Starring: Simon Dutton, John Astin, Camille Naud, Sabine Naud, Patricia Barzyk
Music: Serge Franklin (with additional music by Tony Britten)
Based on characters created by Leslie Charteris

Umbrella Entertainment have finally released the 1989 The Saint series on DVD. Now this series isn’t particularly good, unsure of whether it’s a comedy, or a gritty crime series. Thankfully this entry brings back some of the jet-setting glamour that was missing from other episodes. The Blue Dulac is set in France and features some grand homes and architecture. It at least looks like Simon Templar is living the high-life; rather than just being an average Joe with a penchant for theft and beautiful women.

The film opens in France. A young couple, Jack and Christine Coultar return to their palatial home only to find that is has been trashed. Red spray paint has been used on the painted art, walls and furniture; and all the mirrors, statues and vases have been shattered. The curtains and drapery have been shredded. The door to the safe lies open. Inside is a note saying that next time they come back when Christine is at home. Jack closes the door to the safe, but it has been wired to a bomb. The house is blown up and Jack and Christine killed.

The man that police believe is behind the atrocity is George La Force (John Astin – but he’ll always be Gomez Adams to me). La Force is a big time gangster who blows up anyone or anything that stands in his way. La Force looks like he’ll be brought to trial for the murder of Jack and Christine, but at the last minute, the Judge decides not to proceed with the case due to a lack of evidence. In fact though, La Force had a team of thugs hold the Judge’s family held at gunpoint. If the Judge had proceeded, La Force would have killed his family.

As so often happens in these Saintly adventures, Jack and Christine were friends with Simon Templar (Simon Dutton) AKA: The Saint. It is not long before The Saint is in France and attempting to bring down La Force’s empire of evil.

La Force has one weakness which Templar plans to exploit – it is a fondness, verging on obsession, for sapphires. Posing as a jewel thief named Lamont, Templar intends to steal The Blue Dulac, a priceless sapphire necklace, and apportion the blame to La Force.

Helping and hindering Templar in his quest are Sabine and Seraphin, a set of twins who’s father was killed in a bomb blast set off by La Force. As gorgeous as the twins are, their acting is sub-par. Bad acting seems to be a common fault in this series of The Saint. As likeable an actor as John Astin is, casting him as a bad guy in a movie set in France is doomed from the outset. I keep expecting him to say “Tish, you spoke French!”

Simon Dutton, as always, cuts a fine figure as The Saint. His hairstyle may have dated slightly, but he certainly isn’t painful to watch, unlike some of the actors and actresses in this show. For my mind, The Blue Dulac is a step up from The Software Murders (but that isn’t hard), but it is hardly core Saint material. If you’re a fan of The Saint then this maybe worth a look just to tick it off your list, but other than that I’d probably give it a miss.

The Blue Dulac (1989)

The Brazillian Connection (1989)

Director: Ian Toynton
Starring: Simon Dutton, David Ryall, Gayle Hunnicutt, Jennifer Landor, Joseph Long, Niall Padden, Danny Webb. Frédérique Charbonneau
Music: Serge Franklin
Based on characters created by Leslie Charteris

The Brazilian Connection is another of The Saint TV movies, featuring Simon Dutton as Leslie Charteris’ character, Simon Templar. This isn’t really a spy film, but The Saint does come up against an international ring of black market baby traders. They are hardly SPECTRE or THRUSH, but they are pretty despicable people and must be stopped. I have included this review as a companion to some of the other Saint reviews that I have posted, which do cross into espionage territory.

This production has a terrific opening sequence. I can see why it was chosen to be the first in this series. It opens with two thieves climbing a staircase to the top of a multistorey building under construction. These crims have just stolen a priceless jewelled Russian tiara, and waiting on the top level is their fence who will ‘move’ the stolen goods. As the exchange is about to take place, The Saint alights from the elevator. He confidently walks over and picks up the tiara. The crims are baffled. Who is this guy? One of the thieves pulls a pistol from his jacket and is about to shoot The Saint, when Templar announces that they have exactly 55 seconds until the police arrive. And arrive they do. A whole squad of police officers starts milling around at the base of the building, before proceeding to move up the stairs.

The crims begin to panic. Templar makes a suggestion – he’ll take the tiara. That way the police will have no evidence to arrest the crims. But the three crims can’t decide what to do. As The Saint nonchalantly counts down to the police’s arrival, the crims begin to fight amongst themselves. The fence tries to run off with the tiara, but the other two chase and pull him down. At that moment the police arrive at the top. They arrest the three crims as they wrestle on the ground, and then retrieve the case that the tiara was in. Not surprisingly, the case is empty, and Templar is nowhere to be seen. When one of the crims starts babbling about a fourth man who has disappeared into thin air, the police are sceptical. All except one. Claude Teal (David Ryall) has seen this sort of stunt before, and he believes it is the work of The Saint. When we next see Templar, he is travelling away from the scene, riding on the hook of a giant building crane.

It’s a good opening scene and showcases the one thing that I liked about The Software Murders, which I reviewed last week – and that is that The Saint is a criminal. He’s not a malicious cold blooded killer, or anything like that, but none-the-less he is a privateer.

The Saint’s next port of call is Knightsbridge. Exiting a shop, he holds open the door for a lady, Jenny (Jennifer Landor) pushing a pram. The pram is adorned with an American flag. Templar and the girl engage in some innocent banter, before Templar moves on. Next he goes into an art gallery in Knightsbridge. The gallery is showcasing exquisite ancient Chinese ceramics valued at tens of thousands of dollars. Templar drops and breaks a few of these rare treasures, shocking the curator and the buyers gathered in the gallery. Then he denounces the vendor as a fraud. The vendor tries to leave rather hastily, but Claude Teal from Scotland Yard enters the door and blocks his escape.

Meanwhile, outside Jenny enters a shop to buy a magazine. She is a nanny looking after the five month old baby inside the pram. Accompanying her is the babies mother. As jenny makes the purchase, the mother stands watching the pram. At that moment, one of the mother’s friends passes by. For a split second ‘mum’ takes her eyes off the pram to talk to the friend. When she returns her gaze, the pram and the baby have disappeared.

Templar is still in the gallery tying up loose ends. From the second floor window he notices the pram going by in a different direction. He recognises it by the miniature American flag. He also notices that it is being pushed by a different man and woman. Then as he leaves and is out on the street, he see this ‘new’ couple driving off in a small van. Adorning the sides and rear door of the van is a logo depicting the Aztec God Quetzaquotal.

Once information about the baby napping reaches the media, and Simon realises he can help, he approaches Jenny. Initially she is sceptical, wondering what is ‘in it’ for The Saint. He soon convinces her of his good intentions.

This entry in The Saint series is so much better than The Software Murders. Sure it is still encumbered with some of the same problems as The Software Murders, such as a gritty low budget look, and a dreadful score by Serge Franklin. But this production has a decent plot, courtesy of Anthony Horowitz. The script not only has a good central plot, but it also features some great interplay between Teal and Templar.

The Brazilian Connection is far from perfect, but this time I’d have no hesitation in recommending it to Saint fans. It is fast paced, and even though the production isn’t action heavy, it has good and engaging dialogue.

The Brazillian Connection (1989)

The Software Murders (1989)

Director: Henry Herbert
Starring: Simon Dutton, Shane Rimmer, David Ryall, Dinsdale Landen, Malcolm Stoddard, Pamela Sue Martin
Music: Serge Franklin

With the recent news that James Purefoy is going to be the next Saint, I thought it was time to revisit a few older adventures. In 1989, The Saint was revived for six, two hour (90 minutes with ads) tele-movies. Simon Dutton plays the debonair Simon Templar (AKA The Saint), but got lumbered with some clunky scripts. One of the tele-movies, The Brazillian Connection was even written by Anthony Horowitz, who would later find fame as the best selling author of a string of children’s books, especially the Alex Rider series.

The show opens of a beachfront property in California. Jack Rushden is looking into the deaths of three prominent scientists for his friend Simon Templar. He is doing his research by entering all the information into his computer. The computer finds a connection: all three were working on ‘explosive detection devices’. Jack rings up Templar (Simon Dutton) in London and tells him the news. Then he proceeds to send the information via modem (don’t know if they were using an early version of the internet?) to Simon.

Halfway through the upload, Jack’s doorbell rings. He breaks off transmission to answer the door. A man is waiting with a drawn pistol. He shoots Jack. The killer then gets on Jack’s computer and sends the message ‘Jack fell down and broke his crown’. Then he follows it up with ‘And ? came tumbling after’. The killer knows that The Saint is on the other end of the transmission, because he then flashes the Saint symbol up on the screen.

We next see The Saint packing his suitcase and donning a fake moustache and glasses. As he is set to leave, his doorbell rings. At the door is Inspector Claude Teal of Scotland Yard. Teale asks Templar about his telephone call from Rushden. Templar evades the question and asks how Jack died. Teal now wants to know how Templar knew that Rushden was dead. As it is impossible for Templar to have flown to California and back to kill Rushden, he isn’t really a suspect, but Teal gives him a hard time any way. After the usual by-play, the Saint is free to leave.

Somehow, it is never really explained satisfactorily, The Saint’s investigations lead him to a conference being held at Willard House in the English Countryside. The Saint joins the conference and investigates the people there.

I think Simon Dutton is quite good in the role of The Saint, but in this adventure he is lumbered with some amateurish supporting actors, a sluggish script, and a low budget look and feel. With The Saint we expect a certain amount of glamour, colour and high-life (maybe even a touch of jet-setting). But this production is pretty bland.

The best thing about this production is that they have made The Saint a criminal again; a privateer who robs from the rich, or manipulates events for his benefit and financial gain. In earlier incarnations of The Saint (on television), his criminal dealings could only be hinted at, in fear of upsetting the viewing audience. But by the late 80’s times had changed significantly enough that The Saint could be portrayed slightly more like the character as originally written. But generally this story is slow paced and not particularly involving. It would have been better if it had been edited down to an hour.

Any story with a plotline revolving around computers is going to date quickly. What seems cutting edge today, will seem clunky in a few year’s time. The same with this production. The phosphorescent monitors and use of a modem across the Atlantic may have seemed cutting edge in 1989, but today it is laughable and obsolete. Speaking of obsolete, Serge Franklin’s synth rock score hasn’t stood the test of time either. In fact, I don’t think it was any good to begin with, but giving him the benefit of the doubt, it now sounds quite dated. It is so bad it is almost distracting.

If you are a Saint fan, you may feel that you have to watch this, and whatever I say will not stop you. While I am hardly a Saint completist, I have seen my fare share of Saint adventures, and would have to rate this as the worst I have seen. Despite Dutton’s performance, this one is for the fans only.

The Software Murders (1989)