Picks and Pans Review: Private Eye
updated 09/14/1987 AT 01:00 AM EDT
•originally published 09/14/1987 AT 01:00 AM EDT
To create his new Male Hormone Show, executive producer Anthony Yerkovich took his old one, Miami Vice, and moved it back three decades and west 2,000 miles to L.A., 1956. Michael (Our Family Honor) Woods stars as a cop who gets framed and bounced off the force, then becomes a detective on his own. Josh (The Goonies) Brolin co-stars as his partner—or, in Woods's words, "a thrill-crazy rock 'n' roll delinquent with a Blackboard Jungle wardrobe, a nightmare for a car and a haircut that needs a building permit." Other co-stars include old cars, old furniture, corpses and guns. This is just about the most violent series I've ever seen (though next week's Wiseguy is a close competitor). In Private Eye's two-hour premiere, I added up at least 15 machine gunnings, groin kickings and hot-water scaldings. When the guns come out, even the music (by Joe Jackson) gets excited. Private Eye is too much in love with its firepower, its period pieces and its testosterone. But if you can wade through the gore, you do get a neatly twisted plot—about crooked cops and sleazy deejays taking record-company payola—and you see some nice sassy acting from both Woods and Brolin.
B- as in Brylcreem, bravado, brass, bongos, bullets and blood.