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I still have a copy of this film on VHS that I taped off of BC's Knowledge Netwrok TV station. I remember scrambling for a tape when it was rerun for the third time. The previous two times I had caught it in the middle of one of its insanely violent sequences that disturbed me deeply when I saw it at the age of ten. There were moments where I was unsure if it was a documentary or reality. I recall the scene where a juvenile delinquent is taken out to an old shack by vigilantes and has his hands repeatedly smashed with a wooden club. "Put your hands on the table! Put your f***kin hands on the table!" SMASH! "AHHHHHHHHHHHHHHH!" "Put your hands back on the table! Put your hands back on the table!" SMASH! "AHHHHHHHHHH!" I also recall that one of the actresses in the film turned up briefly during the Uma Thurman overdose scene in Pulp Fiction shortly thereafter. A fascinating piece of ultra-violence.

Hanna Barbera were always shameless when it came to recycling elements and attempting to inject life into tired ideas. Often this would encompass adding a cutesy animal sidekick ... or in this instance ... setting the character into outer space.

Casper the Frindly Ghost was one of the flagship characters for Paramount's HarveyToons in the 1940s along with Baby Huey, Herman the Mouse and Lil Lotta. Long after the demise of Paramount's theatrical cartoon department, Hanna Barbera was leased the rights to the Casper character from Harvey Comics and they came out with this strange hybrid of various Saturday Morning elements.

Like many Hanna Barbera and Filmation cartoons of the 1970s, Casper and the Angels takes place in the future, and in outer space. The Jetsons, Frankenstein Jr, and Space Ghost featured original characters but by the seventies this notion had given way to existing characters being sent spaceward. Classic examples of this of course are Josie & the Pussycats in Outer Space, Gilligan's Planet, Partridge Family 2200 AD, and this, the last of the bunch: Casper and the Angels.

Casper the Friendly Ghost works for the "Space Police" and is teamed up with Harry the Ghost who is a giant ghost covered in fur who wears a bow-tie. They are paired with a pair of female agents (human) who both sport futuristic outfits and have cameltoe. The two women are loose caricatures of Laverne & Shirley (although the Laverne type character resembles Barbara Streisand more). Together they fight "space criminals" and eat "space food" fill up their cars with "space gas" all in twelve minute episodic incidents. Like several of the cheap cartoons from the era, the show has a disembodied sounding laugh track, but not even the laugh track sounds very amused, as it goes long stretches without laughing.

Brewster McGee is a laboured made-in-Vancouver comedy with very little going for it. It was obviously a student film and features broad actors each doing a different accent. The character of Brewster is an arrogant, foul mouthed, redneck, who lives out of his car, and parks in a fast food parking lot every day, spouting his philosophies to his best friend, a hippie. They befriend an emotional fast food employee, hang out and ... the end.

The film is extremely short, and perhaps for the best. If it has anything going for it, it's the stylish black and white cinematography. The end credits border on Ed Woodian territory as they go on for a full twelve minutes, listing the crew while simultaneously giving us a tracking shot of Vancouver's notorious East Hastings Street.