Summer Dreaming... with Coffee

Lately, I've been drinking varieties of the black miracle juice that make me think of summer... and in this post, I'm going to let you know what I think of them!

The Shades of Gray gang may have fun in the sun,
or we may just join this gentleman for a quiet cuppa out of doors!

BONES COFFEE COMPANY: SHARK BITE

Nothing says summer fun and frolicking at the beach than shark attacks. So... this is a summer-themed coffee, right?

Shark Bite is the third rum-flavored variety from Bones I reviewed. Almost everything I said about the Coconut Rum and Highland Grog applies to Shark Bite: This is a smooth, medium roast-based blend where the flavor of rum dominates but mixes easily with that of coffee and other augmenting flavors. The flavor profile remains strong and consistent whether the drink is consumed hot, at room temperature, or chilled and over ice. The saltiness that sometimes creeps into Bones offerings as they cool also does not manifest itself in this blend.

Shark Bite is set apart from the two similar Bones offerings by having a hard-to-describe flavor that seems almost cinnamon-y as you start drinking, but the taste becomes sweeter as you get to the bottom of your cup. The rum flavor and the spiciness of the drink also seem to trade places as you drink, with the spice being the first thing you notice initially, but eventually the sweet undertones of rum become the dominant flavor. Underneath it all, is a constant foundation of smooth coffee.

If you liked the other two rum-flavored blends, but think you'd want a little more spice in the mix, then this is the one to go with. Another reason you might want to try try Shark Bite is that drinking it just a remarkable experience. 

Bones Coffee makes humorous ads (such as this one) where they tout the notion that drinking their coffee is an experience rather than just an act of sustaining ones existence. While most of their flavored coffees are exceptional beverages, and I've used the word "experience" in describing the act of consuming them, I think that I say that Shark Bite is quite literally an experience. It's remarkable the way the flavor shifts as you consume it. This is definitely one of the more interesting blends Bones has brought to market--and what with this being the 37th of their offerings I've reviewed, I think I can make that statement with authority.

I would be amiss if I didn't commend Bones Coffee Company on yet another entertaining and evocative cartoon on the front of their package. I hope our friend Bones recovers his arm from the shark though!

SIGNATURE SELECT'S SUN-KISSED BLONDE 

Is coffee sexy? Well, I usually wouldn't think so--Folger's television ads aside--but when I saw the bags of Signature Select's Sun-Kissed Blonde on the shelf at Safeway, something along this line popped into my head:

It goes without saying, I bought a bag... because if I hadn't, I couldn't be writing this review.

Signature Select's Sun-Kissed Blonde is described on the package as a light roast... which means it could be a blonde roast as that's something of a shifting definition. The flavor of this coffee is almost mild and sweet enough that it could be a blonde roast, although it does have a little more of the bite that you find in darker roasts than was present in the Iced Blonde from Starbucks which is officially described as a blonde roast.

(A "blonde roast", by the way, is the lightest possible roast. It's basically a roast for coffee drinkers who aren't terribly fond of the typical coffee taste; at least in my book, the darker the roast, the more bitterness there is to the coffee and the more it tastes like what I think of as "traditional coffee"... and the more sugar or milk/creamer it needs before it's drinkable. Blonde roasts are almost mild enough that I can drink a cup without adding anything--almost. Blonde roasts are also ones that you should stay away from if you have stomach issues--the resulting brews are more acidic than darker roasts.)

The thing that I noticed primarily about Sun-Kissed Blonde is that it was every bit as mild as the package promised. The "nutty" undertones weren't noticable until I added almond milk or creamer but then they really popped. I suppose this means this blend behaves like a number of blondes out there--they're demure until they have some liquid refreshments and then they turn nutty!

All joking about blondes aside, I tried Sun-Kissed Blonde with a couple different agendas in mind. First, could it be a possible replacement for the pre-made Starbucks Iced Blonde--a bag of this will yield roughly 1.5 - 2 times the amount of coffee as the Starbucks bottles, for about 2/3rds the price. Second, would it be a good foundation for making my own "flavored coffees"?

Addressing the second agenda first, I put Sun-Kissed Blonde through all the usual tests--drinking it black, with Unsweetened Almond Milk, and then with sugar-free Italian Sweet Cream creamer; it all three ways, I drank it both hot, at room temperature, and chilled over ice. I enjoyed it in all three modes, although my favorite standard test mode was drinking it hot with the sugar-free Italian Sweet Cream creamer. Additionally, the Sun-Kissed Blonde blend went great with Unsweetened Vanilla Almond Milk when hot... and it mixed great with vodka and Unsweetened Chocolate Almond Milk when I used it to make one of my half-assed homemade variant on a White Russian. 

This blend as worked extremely well when used as the foundation for my home-made chocolate-flavored coffee (which involves mixing ground coffee with dark cocoa powder), regardless of whether I drank it hot, room temperature, or over ice. I have been using medium-roasts from a variety of outlets for this, but I liked the results not only with the chocolate but also with the vodka. This coffee really sang when mixed with vanilla- and cherry-flavored vodka, too.

Which takes me back back to the first first agenda: How effective is Sun-Kissed Blonde as a replacement for Starbucks' Iced Blonde? Very effective, I say. 

The coffee flavor is stronger with the Sun-Kissed Blonde than it is with the Starbucks Iced Blonde--or at least it weathers mixing with other liquids and flavors better. This could be attributed to different roasting styles, or maybe because I make the coffee stronger than Starbucks does? There's really no way for me to know for sure. The only benefit I can see offhand to having a bottle filled with Starbucks Iced Blonde instead of one filled with chilled Signature Select's Sun-Kissed Blonde is that the Starbucks coffee comes pre-brewed and pre-chilled, so there's ease and instant gratification.

Overall, though, I found Sun-Kissed Blonde to be better-tasting than Iced Blonde. In the future, I'll most likely be taking the cheaper (yet more demanding) path toward having coffee available for drinking iced.

Dr. Victor Frankenstein, demonstrating how flavored coffees are created.
(Mad science plays a part, whether in Steve's kitchen or at a roastery.)

It's a 60-year old film that still resonates today

Cone of Silence (aka "Trouble in the Sky") (1960)
Starring: Michael Craig, Bernard Lee, Peter Cushing, Elizabeth Seal, Gordon Jackson, George Sanders, Noel Willman, Marne Maitland, and Andre Morell

Director: Charles Frend

Rating: Seven of Ten Stars

An aging pilot (Lee) is blamed for a near-crash with the latest passenger jet design, the Phoenix. While the designer of the jet (Willman) and a pilot-turned-airline-executive (Cushing) are pushing all the blame onto pilot error, a training pilot (Craig) starts to discover evidence that the problem may be with the aircraft design.

"Cone of Silence" is a nice little drama that revolves around the business and politics involved in running an airline and the processes by which mistakes and accidents are investigated, blame is assigned, and steps are taken to understand why the mistake or accident happened and how they can be prevented from occurring again. In the hands of less talented people, and with a cast that wasn't comprised entirely of top-notch actors--with even smaller roles being filled by the likes of Gordon Jackson, George Sanders, and Andre Morell--this could easily have turned into a preachy melodrama. Instead, we're treated to some nice performances by talented actors and a character-driven story that's made even more suspenseful by the fact that the audience knows there's going to another plane crash (or several) than just the one that got pinned on old Captain Gort (played with great charm by Bernard Lee) at the outset.

One interesting aspect of the film is that none of the major characters are ever acting out of malice--every character has blind spots/fatal flaws that contribute to the film's chain of events, but there isn't anyone who can truly be described as villains. Everyone is acting in a way that they believe forwards the greater good, and in the interest of truth and public safety. (There is one character who remains as apparently shady and misguided at the end of the film as he seemed at the beginning, but even he is more arrogant than outright bad.)

Further, with the plane crashes that have been dominating the news about the airline industry in recent years, this sixty year-old movie still has relevance today. I suspect that you'll find the exact same personalities in those same jobs, performing the same functions, today as you did back then... and I think that they'll behave in much the same fashion and be motivated by the same outlooks as those in "Cone of Silence."

If you have some time, you can watch "Cone of Silence" from this very post. I think you'll enjoy it. It's got fine performances from Elizabeth Seal, in her only starring role, as a dutiful daughter hoping that her father's name will be cleared; Michael Craig striking a nice balance between earnest and smarmy as a cocky pilot; and Peter Cushing as a "company man" trying to find a truth that is most beneficial to growing the bottom line. (It may be because I'm a huge fan of him, but I think that out of all the cast Cushing gave the most excellent of performances. He communicates more with a shift in body language, a darting of the eyes, or a slight change in tone than pages of dialog might reveal about a character. I don't recall ever seeing him give a bad performance, but he is particular excellent in this film.)

'A Chump at Oxford' is funny but infuriating

A Chump at Oxford (1940)
Starring: Stan Laurel, Oliver Hardy, James Finlayson, Anita Garvin, Forrest Harvey, Eddie Borden, Wilfred Lucas, and Peter Cushing
Rating: Seven of Ten Stars

A pair of down-on-their-luck laborers (Laurel and Hardy) receive a scholarship to Oxford as a reward for foiling a bank robbery. They are greeted with cruelty by the snobbish student body until one of them is revealed to be the long-lost Lord Paddington.

"A Chump at Oxford" is the first Laurel and Hardy film I've seen where I remember being irritated. I wanted the collection of entitled, self-important jerks who decide to make their lives Hell when the arrive at Oxford to get what they dished out ten-fold, yet they never seem to be adequately punished to my mind. While Stanley beating them up after he regains his memories as Lord Paddington is a good start, but nowhere near enough--I wanted to see them tossed out of the school, not just out a window.

The rest of the film more than makes up for it though. From the pair's attempt to work as domestics at a fancy mansion through the various bits at Oxford--even if they were mostly brought on by mean tricks--are all very funny. An added bonus for Peter Cushing fans is that you can see him in an early role as one of the cruel students... it's not a big part, but he's there. And he's the only one who doesn't get to wear a silly mustache when the gang is passing themselves of as professors to Stan and Ollie.

An interesting note about this film is that it was originally intended to be released in two versions--a 40-some minute version for the American market an a 60-some minute version for Europe. The first part of the film--where Laurel and Hardy work as servants at a fancy party--was to have been omitted in the American release.

Peter Cushing goes in search of Yeti!

The Abominable Snowman (1954)
Starring: Peter Cushing, Forrest Tucker, and Maureen Connell
Director: Val Guest
Rating: Seven of Ten Stars

English botanist John Rollson (Cushing) joins an expedition led by American explorer Tom Friend (Tucker) to find proof of the existence of Yeti, the Abominable Snowmen of the title. Once the expedition is deep within the frozen wastes of the Himalyas, Rollson and his fellow explorers learn that they aren't hunting some subhuman primate, but are instead tracking what seems to be highly intelligent creatures with supernatural abilities. What's worse... the hunters eventually become the hunted.


"The Abominable Snowman" is an average thriller with great sets, great performances from all the featured actors, and a tense, suspenseful finale. Unfortunately, it moves a bit too slowly, but when it does get to the action or the drama, the pay-off is worth it.

The greatest weakness of the movie is the fact that it doesn't just wear its message on its sleeve, it shoves it down the viewers throat with a number of long speeches delivered in turn by Tucker and Cushing. Yes... man is a destroyer, and man is but a guest on this planet, and life is precious and nature is precious.... The viewer gets the message just from the way the various characters behave, and the way the Yeti behave. The speechifying gets dull after the first run-through, despite the fact that the lines are delivered with great skill and fervor by the actors.

Despite this flaw, I enjoyed the film for the great performances by its actors and the sets. The story also has a numer of chilling moments. In balance, it's worth seeing.

'Cash on Demand' is an excellent thriller

Cash on Demand (1961)
Starring: Peter Cushing, Andre Morell, and Richard Vernon
Director: Quentin Lawrence
Rating: Nine of Ten Stars

A bank manager (Cushing) is forced to assist in plundering his own bank when a robber (Morell) holds is wife and child hostage.


This is an undeservedly obscure thriller with stars Peter Cushing and Andre Morell showing that you don't need hundreds of millions of dollars, gunplay and lots of violence to make an exciting movie. Most of this film takes place within a single room--the bank manager's office--and most of it is Cushing and Morrel talking. This is a movie that shows that a great film can arise from a solid script, good actors, and competent direction and editing. (This film cost about $60,000, adjusted for inflation; not single shot is fire; and the worst violence is when Andre Morrel slaps Cushing a couple of times.)

The film is a remarkable entry into the psychological thriller genre, one of roughly a dozen of this type of film co-produced with Columbia Pictures during the early 1960s in the hopes of capturing the success Universal Pictures and Alfred Hitchcock had with "Psycho." This wasn't new territory for Hammer, however, as they had released numerous crime dramas and thrillers during the 1940s and 1950s, before the studio hit cinema gold with their celebrated Technicolor gothic horror flicks.

But the black-and-white thrillers the studio produced during the early 1960s were better than those earlier efforts, and "Cash on Demand" is one of the best.

The film's strength comes to a large degree from Peter Cushing and his portrayal of Fordyce, a man who treats the bank he manages as his kingdom, his staff as serfs, and his office as his throne room. He is an unliked and unlikable in his professional life, but Cushing presents Fordyce's soft side with a single glance at the picture of his wife and son that he keeps on his desk... and that one glance is all the audience needs to be on Fordyce's side once Andre Morell's villanious and manipulative Hepburn enters the bank and turns Fordyce's throne room into his prison and forces him to destroy his kingdom in order to save his the ones he loves.

We feel for Fordyce as he is reduced from a proud and unyielding to sniveling and begging. But we also watch to see how far Hepburn can push Fordyce, if Fordyce will break, and what the result will be if he does.

But Cushing's performance wouldn't be as strong if he didn't have Andre Morell to play off. Morell presents Hepburn as a charming, cheerful person and he delivers every line with a smile in his voice... but in a couple of instances, he reveals his character's true nature and it becomes apparent that he is a mirror image of Fordyce: Fordyce is a soft man within a cold, hard shell, but Hepburn is a hard man with an even harder core hidden behind a soft and smiling exterior. Hepburn has seen through Fordyce's exterior and he takes a great deal of pleasure at breaking it down while lecturing him on proper interaction with his fellow man. The humanistic approach that Hepburn takes to life--and it is one that seems to be genuine, not just part of his picking at Fordyce as he waits for the right moment to clean out the bank vault--makes him a fascinating and interesting character.

One of the biggest surprises is the film's ending. It is a far more modern one that I anticipated, and it's a great close for a great film. Another appealing aspect is that the film, which takes place just before Christmas, ultimately ends up like a sideways take on "A Christmas Carol," with Fordyce standing in for Scrooge and Hepburn being all the Christmas Ghosts in one smiling--yet very menacing--package.

"Cash on Demand" is one of the six movies featured in "Icons of Suspense: Hammer Films." It's worth the price of the almost all by itself.




For more reviews of movies starring Peter Cushing, visit The Peter Cushing Collection by clicking here.