TV Recap: Marvel’s Agents of S.H.I.E.L.D. Episode #10, “The Bridge”


AgentsofSHIELDSoon, Agents of S.H.I.E.L.D. takes a short break, gone for the holiday season, and into January. Will we miss it? Perhaps this week’s “mid-season cliffhanger” will determine that answer! Now, without further preamble, let’s discuss it.

But what’s this? We are greeted by a hitherto unused pre-episode “Previously on…” segment! Ah, I see what they did there, they’re reminding us that there are some ongoing plots in this show! I remember some of them! Something tells me that this episode could be connected to such disparate elements as “Project Centipede” and its beautiful evil lady doctors, Coulson’s fate during “The Avengers”, and also Skye is a character we see occasionally!

Cold open? Yes, please!

A middle aged man (Cullen Douglas) is eating a meal in the corner of the prison cafeteria. It is peaceful. But not for long! Danger men explode through the roof, dropping on lines! Also they have super powers, and easily overcome the guards! During the action, we note that one of them has the characteristic implant that both grants super powers and has traditionally turned people into living explosives. Also, it is vaguely reminiscent of a centipede! Our middle aged man continues to eat his meal during the action sequence, then is approached by one of these dangermen! “Time to go, sir,” is quipped. Ruh-roh. Soon, the whole party evacuates via helicopter, and our episode can truly begin.

Act One!

Aboard the S.H.I.E.L.D. plane, Skye is trying to research the identities of her parents. It seems like she has a lot of data to sift through. She asks Coulson to remove her tracking bracelet and give her access to some more restricted files, but he refuses. Instead, he has asked Agent May to look into some top secret stuff on Skye’s behalf. Meanwhile, May and Ward are brawling. May wins, then Ward awkwardly references their sexual escapades, which annoys May. I can tell because she looked slightly more disapproving than usual, and said something abrupt. Okay, so it’s not that compelling. Still, I think she was annoyed!

In the mission briefing, the team is super unexcited to learn that Project Centipede’s guys now number at least three super soldiers, and that no matter how many Centipede labs they blow up, the group keeps re-emerging. The middle aged man they broke out of prison is named Poe. He’s ex-military, a total psychopath, but also an expert on strategy and tactics. This is also a problem, in S.H.I.E.L.D.’s estimation. Luckily, Coulson says, they have backup! It is not a team, it is one guy! It is someone we’ve met before! …. It is Mike Peterson (J. August Richards)! Some will remember him from the pilot episode of the series, when he gained super powers and went amok with them. He’s reformed, since then, and has been training with S.H.I.E.L.D. to become an agent. Does everyone want to join these days? Skye had kind of a moment where she realized that working for S.H.I.E.L.D. was exactly what she had wanted to do with her life somehow (of course, because her characterization is so inconsistent, we have no idea if this was ever true, or just a heat of the moment thing) and Mike Peterson really sees the light now! He wants to do better things and be a better man and… Agent May is not thrilled to see him when he boards the plane. Coulson explains that it’s probably because Peterson threw her into a wall during their last meeting. Peterson seems bummed by that recollection, but also seems open to confronting what happened. So that’s good, I guess. Well-adjusted people are always welcome. Coulson says that everyone deserves a second chance, but that Peterson will not get a third!

Upstairs, Ward, Fitz-Simmons, and Skye are discussing the Mike Peterson situation. Ward is elucidating his concerns about Mike Peterson when Peterson and Coulson arrive. Remember how Mike tried to kill the whole team off in the pilot? If you didn’t know before, you know now! It’s nice that all of the story you need is rehashed here in this episode, so even if you didn’t see the pilot, you won’t be confused! Hooray television! Skye liked Mike all along. She thinks he’s a good guy, and asks about his son. Mike admits that he has left his son in the care of his sister while he does his thing. I’m sure we’ll hear more about this later. No luck locating Poe yet, but Simmons has a possible lead on one of the Centipede soldiers, who has a living relative, a sister at the University of Ohio. Coulson and Ward decide to go talk to her.

In the lab, Simmons is taking Peterson’s measurements, and openly admiring his lean physique. Fitz is jealous, and acting like a weirdo. Peterson explains that it was the weapon developed by Fitz-Simmons which pacified the Extremis virus (I do not remember what this is! It feels like an important plot point!) in his Centipede implant and prevented him from literally becoming a human bomb. So I guess he’s not going to explode on the plane. This is also probably good news for everyone involved.

Coulson and Ward are driving to the University of Ohio in… a red convertible! Good job on avoiding the “inconspicuous” black Actionmobile, guys! Coulson tells the story of his lady friend, the cellist (who he referenced in, at least, The Avengers, if not other films) from the Portland symphony. It’s yet another thing that Coulson lost when he died, and was forced to maintain the charade of his death for months afterwards. It’s kind of a downer moment.

Aboard the plane, May and Skye meet. Skye thanks May for helping with the whole “identity of her parents” thing. May is impatient, they’re on a mission, blah blah. Skye has something related to that, too. She went through Poe’s prison record and found that he only had one visitor, a pretty girl. The girl never looks at the camera, but using S.H.I.E.L.D.’s handy-dandy lip reading program, Skye was able to reconstruct one sentence from Poe: “The clairvoyant does not like to be touched”. Whatever that means. Anyway, Skye doesn’t know who the girl is, but the timely arrival of Mike Peterson soon straightens that out: The girl’s name is Raina. She was the eponymous Girl in the Flower Dress from episode 5, and she came to Mike too, offering to change his life. That’s how he got involved in Project Centipede to begin with! Ah-hah! The game’s afoot! The pieces are falling into place!

Meanwhile, at the abandoned warehouse headquarters of Project Centipede, our man Poe is enjoying a meal. Raina shows up, they walk, they talk. The Clairvoyant cannot help them find the man Raina needs, a man who ostensibly has the key to ‘stage 3’. You know, whatever that is. She does imply that they’ve managed to stabilize the Centipede serum on their own, which is good I guess. You know, for everyone involved. Using the serum has unbelievably draining effects on their super soldiers, though, who are drinking “Gatorade” and looking completely miserable in what amounts to a full hospital setup. Raina says that they require regular injections of the serum, and that everything is made more difficult when they have to constantly run from S.H.I.E.L.D.. Poe’s solution? Let’s stop running. Also, apparently their new super soldiers have a bunch of Centipede devices, unlike the single one on Mike’s arm. This revelation is accompanied by ominous music! Let us not underestimate its meaning!

At OU, Ward approaches the sister claiming to be from the Ohio State Gaming commission, and pitches a ridiculous lottery story. Coulson explains that this is because they don’t care about the sister per se, they just want her to call her brother. She obligingly does, and gives them a location in Oakland, California. Back to the plane!

On the plane, Skye checks in on Mike, to talk about his son. They’re really playing up this ‘son’ thing. I wonder if that means it’s going to come up later in the episode? Hmm… Coulson arrives, says the time for Mike to get his second shot has now arrived! Mike suits up, in the supersuit that Fitz-Simmons sized him out for. Coulson has a plan. It involves going in quietly, two agents from either side of the facility. This time, they don’t want to just roll in and blow the place up…this time, Coulson wants answers. Of course, when the team arrives, the place is deserted. Or is it? No, it’s an ambush of course, of course! Three super soldiers against Mike Peterson, and agents Coulson, May, and Ward. Coulson manages to pop one of them with the weapon they used to take Peterson down in the pilot, but it has a minimal effect. Ward and May are outmatched by their opponent’s physical strength, though not necessarily his technique. Peterson gets a side full of metal rod, but manages to rally and downs one of the three enemy combatants, the famous (infamous? no-no-no-notorious?) Brian Hayward. With Ward and May still in fighting shape and Mike still on his feet, the other two super soldiers flee. The famous (and now, also, luckless) Hayward is executed by his masters at Project Centipede.

Speaking of Centipede, they’re looking out what was apparently a camera in Hayward’s eye. They get a blurry image of Coulson and Peterson. Poe says that the man they’re looking at is the key to the mysterious ‘stage 3’.

Aboard the plane, the gang is talking things over. Peterson is intrigued, but horrified, at the idea that the super soldiers are being controlled by Project Centipede through their ocular implants. Coulson clarifies that they were getting orders, which is why they fell back when they did. They’ve seen this eye technology before, in a former Agent named Akela Amadour (the subject of Episode 4). So the eye implant isn’t mind control, per se, just a remote execution device. Great. Coulson wants to track the eyeball tech, but Skye says that it has been refined, and the signal is now untraceable. Of course it is!

Poe and Raina are in the car. Raina wants to know more about the Clairvoyant, and Poe makes a bunch of generic threats. It adds to the running time.

Aboard the plane, Ward and May argue. She’s mad because she thinks Ward deliberately took a punch for her. He admits that while that’s true, he did it because she is faster than him, and given the physical strength of the enemy combatants, that means she needs to be up and on her feet more than he does. She reluctantly accedes to this explanation. Ward is flippant, then bounces! Skye arrives. May doesn’t feel like talking about her parents, and feels like Skye shouldn’t waste time thinking about them either. Also, she admits that Coulson doesn’t want Skye to learn ‘the truth’. Don’t worry, there’s no chance that plot is getting resolved in this episode! Skye is still upset after the encounter. Probably because May was a total bitch to her. Coulson was going to drop by for a chat, but thinks better of it when he hears sobs.

Instead, Coulson is talking to Mike Peterson, who is wounded, and says he’s going to be out of the action for a while. Coulson is concerned that Mike won’t take time out of his training even to see his son. Mike obviously is still working through some stuff from the whole ‘homicidal rampage’ incident. He wants to be able to look his son in the eye and not feel ashamed, etc. Wow, we sure are talking a lot about Mike’s son, aren’t we? Mike suggests his boy might be better off without him. Coulson disagrees. He explains that he, and others, have made the hard choice, to be part of S.H.I.E.L.D. and never have a normal life… but for Mike, it’s different. He already has a son. Man, still about the son! That’s weird.

Mike calls home to talk to his son. Raina is there!? Ominous music! How unexpected! I didn’t see this coming at all!

The bad guys have set up a meet. The trade is for Mike, in exchange for his son. They’re going to murder the boy if the team makes even one misstep, which includes armed backup, hostage rescue teams, or electronic surveillance. Fitz has a non-electronic pheromone thing or something that will let them track Mike without giving themselves away. They’re going to make the exchange as planned, and hope Mike can hang on until they come to save him.

At the meet, May wants to escort Peterson to the rendezvous. Coulson says that Mike asked him to do it, and he’s agreed. May doesn’t like it. Coulson and his desire to be on the front lines of things! Ward’s on overwatch with a high powered sniper rifle. Everyone else is in kind of a holding pattern.

At the meet, Raina tries to make small talk. For some reason, nobody likes her. Also, it turns out the arrangement was actually to trade Mike’s son Ace for Coulson. Mike decides to make a new deal. He’s got Raina by the throat, but she explains that her employer doesn’t care about her any more than about Ace. If she dies, the son dies, and they’ll have gained nothing. Coulson advises Mike not to kill her, and that he’ll go along with the trade. Mike is raw with emotions. He doesn’t know how he can look his son in the eye, etc. etc. He apologies to Coulson. The baddies stun Coulson and begin dragging him off. It’s about this time that the rest of the team starts to think something weird might be going on. May orders Ward not to take the shot, in case they simply execute Coulson in retaliation. Once Ace is safely back with the team, Mike decides to go back for Coulson. Unfortunately, as soon as he starts running back, the bridge explodes, apparently killing Mike. Well, that’s… that’s not good.

The bad guys make an exit by helicopter, firing a few shots at Agent Ward just for good measure. It’s pretty much like The Empire Strikes Back, guys.

Coda: Raina and her masters want to talk to Coulson about the day after he died. Whoa, crazy, crazy! I promise, show writers, you don’t need to be so obvious with all of your foreshadowing! Members of the audience can put things together sometimes! Many of us would not be offended!

Anyway, that’s a wrap for the first ever half-season of Marvel’s Agents of S.H.I.E.L.D.! It has been finger-breaking work to constantly type out that acronym. I tried using some copy/paste shenanigans, but it proved to be less of a time-saver than I hoped. However, I have truly enjoyed recapping this season for you, esteemed reader. Obviously, this series is on hiatus until the show returns. Hopefully you will consent to join me on an odyssey of discovery, as we gobble up tiny bits of information about what really happened to Agent Coulson after Loki stabbed him, about the parentage of our beloved Agent Skye, and about the lifeless but technically precise sex being enjoyed by Agents May and Ward! Also Fitz-Simmons will probably be involved! Til then, Happy Holidays, esteemed readers.

44 Days of Paranoia #24: The Informer (dir by John Ford)


For today’s entry in the 44 Days of Paranoia, I want to take a look at John Ford’s Oscar-winning 1935 film, The Informer.

The Informer takes place in Dublin in 1921, during the Irish War of Independence and shortly before the creation of the Irish Free State.  Friendly but stupid and irresponsible Gypo Nolan (Victor McLaglen) has been kicked out of the Irish Republican Army and is pretty much a pariah among his own people.  His prostitute girlfriend, meanwhile, only wants to raise enough money to book passage for America and start a new life.

Gypo sees an opportunity when he runs into his former IRA colleague Frankie (Wallace Ford), who is one of the few people to treat Gypo kindly.  Frankie is also fugitive who has a £20 bounty on his head.  Gypo impulsively turns informer and lets the British know where Frankie is hiding.

When Frankie is killed, the guilt-ridden Gypo uses the reward money to buy a bottle of whiskey and then spends the rest of the day drunk and trying to convince the IRA the Frankie was betrayed by a nonexistent man named Mulligan.

When it was initially released in 1935, The Informer did well with both audiences and critics.  It was nominated for Best Picture and won Oscars for John Ford, Victor McLaglen, and screenwriter Dudley Nichols.  However, when viewed today, it’s easy to see the flaws in The Informer.  The film feels stagey, heavy-handed, and rather melodramatic.

And yet, with all that in mind, I still like The Informer.

Some of that, of course, is because it’s a film about Ireland and, specifically, it’s a film about how the Irish Catholics were oppressed by British occupiers.  This is a topic that I find to be endlessly fascinating and, speaking a someone who still has family living in Ardglass, County Down, I have to admit that I have a weakness for films (like this one) which tend to take the Irish side of things.

On a technical level, John Ford’s direction holds up pretty well.  There’s a few scenes where the story’s theatricality gets the better of him but, for the most part, Ford does a good job of capturing Gypo’s dreary existence and maintaining a level of suspense, despite the fact that Gypo’s fate is obvious to the audience long before it’s obvious to anyone in the film.  In Ford’s hands, the fog-filled and shadowy streets of Dublin serve as a representation of Gypo’s increasingly desperate and paranoid mindset.  Ford’s Dublin is a world where danger can come out of nowhere and where there’s no place for a big and stupid target like Gypo to hide.

The film is dominated by Victor McLaglen’s theatrical performance.  Again, there a few moments where McLaglen’s performance is a bit too broad but, for the most part, his boisterous approach works will for his well-meaning but not too smart character.  One can see not only why the film’s characters are weary of Gypo  but also why they have a difficult time rejecting him all together.

The Informer may not be perfect but it’s still worth tracking down and seeing.

Other Entries In The 44 Days of Paranoia 

  1. Clonus
  2. Executive Action
  3. Winter Kills
  4. Interview With The Assassin
  5. The Trial of Lee Harvey Oswald
  6. JFK
  7. Beyond The Doors
  8. Three Days of the Condor
  9. They Saved Hitler’s Brain
  10. The Intruder
  11. Police, Adjective
  12. Burn After Reading
  13. Quiz Show
  14. Flying Blind
  15. God Told Me To
  16. Wag the Dog
  17. Cheaters
  18. Scream and Scream Again
  19. Capricorn One
  20. Seven Days In May
  21. Broken City
  22. Suddenly
  23. Pickup on South Street

It’s the 2013 Golden Globe Nominations!


The 2013 Golden Globe nominations were announced earlier this morning.  The Golden Globes have always felt like the Oscar’s goofy, somewhat sordid cousins.  And yet, despite their reputation, the Globes have become one of the more accurate precursors of the actual Oscar nominations.

The film nominees can be found below.  A complete list of the all the Golden Globe nominations — including the television nominations — can be found here.

BEST PICTURE – DRAMA
“12 Years a Slave”
“Captain Phillips”
“Gravity”
“Philomena”
“Rush”

(The nomination for Rush is a bit of a surprise.  As for Philomena, I’m really hoping this movie doesn’t get nominated for a Best Picture Oscar because I really don’t want to have to sit through it.  The commercials make it look rather tedious.)

BEST ACTOR – DRAMA
Chiwetel Ejiofor, “12 Years a Slave”
Idris Elba, “Mandela: Long Walk to Freedom”
Tom Hanks, “Captain Phillips”
Matthew McConaughey, “Dallas Buyers Club”
Robert Redford, “All is Lost”

(Elba is a bit unexpected.  Mandela has not opened here in Dallas yet so I haven’t seen it or his performance yet.  Whatever momentum Redford lost as a result of being snubbed by the SAG, he probably regains as a result of being nominated for a Globe.)

BEST ACTRESS – DRAMA
Cate Blanchett, “Blue Jasmine”
Sandra Bullock, “Gravity”
Judi Dench, “Philomena”
Emma Thompson, “Saving Mr. Banks”
Kate Winslet, “Labor Day”

(With the exception Winslet, I imagine this is what the Best Actress category will look like when the Oscar nominations are announced.)

BEST PICTURE – MUSICAL/COMEDY
“American Hustle”
“Her”
“Inside Llewyn Davis”
“Nebraska”
“The Wolf of Wall Street”

(Wow, look at all the dramas that got nominated for best comedy.)

BEST ACTOR – MUSICAL/COMEDY
Christian Bale, “American Hustle”
Bruce Dern, “Nebraska”
Leonardo DiCaprio, “The Wolf of Wall Street”
Oscar Isaac, “Inside Llewyn Davis”
Joaquin Phoenix, “Her”

(I would love to see Oscar Isaac get an Oscar nomination but then again, I just love Oscar Isaac in general.)

BEST ACTRESS – MUSICAL/COMEDY
Amy Adams, “American Hustle”
Julie Delpy, “Before Midnight”
Greta Gerwig, “Frances Ha”
Julia Louis-Dreyfus, “Enough Said”
Meryl Streep, “August: Osage County”

(I would also love to see Greta Gerwig get an Oscar nomination for her performance in Frances Ha.)

BEST SUPPORTING ACTOR – MOTION PICTURE
Barkhad Abdi, “Captain Phillips”
Daniel Bruhl, “Rush”
Bradley Cooper, “American Hustle”
Michael Fassbender, “12 Years a Slave”
Jared Leto, “Dallas Buyers Club”

(It’s good to see Barkhad Abdi getting some recognition for his amazing performance in Captain Phillips.  Meanwhile, Bradley Cooper, Michael Fassbender, and Jared Leto are here to make sure that this is the sexist category ever.  If only James Franco had been nominated for Spring Breakers.)

BEST SUPPORTING ACTRESS – MOTION PICTURE
Sally Hawkins, “Blue Jasmine”
Jennifer Lawrence, “American Hustle”
Lupita Nyong’o, “12 Years a Slave”
Julia Roberts, “August: Osage County”
June Squibb, “Nebraska”

(The big news here is that Oprah Winfrey was not nominated for her performance in Lee Daniels’ The Butler.  To be honest, Oprah was okay in the film but she wasn’t great.  If she ends up winning an Oscar, as many have predicted, it’ll be remembered by clearer minds in the future as being one of the many cases where the Academy got it wrong.  Sally Hawkins’ performance in Blue Jasmine is much more award-worthy.)

BEST DIRECTOR
Alfonso Cuaron, “Gravity”
Paul Greengrass, “Captain Phillips”
Steve McQueen, “12 Years a Slave”
Alexander Payne, “Nebraska”
David O. Russell, “American Hustle”

(No Scorsese?  Paul Greengrass is a good director but I get motion sickness whenever I watch any of his films.)

BEST SCREENPLAY
“12 Years a Slave”
“American Hustle”
“Her”
“Nebraska”
“Philomena”

BEST FOREIGN LANGUAGE FILM
“Blue is the Warmest Color”
“The Great Beauty”
“The Hunt”
“The Past”
“The Wind Rises”

(Blue Is The Warmest Color deserves to win this award.)

BEST ANIMATED FILM
“The Croods”
“Despicable Me 2”
“Frozen”

(So, The Wind Rises was nominated for Best Foreign Language Film but not Best Animated Film?)

BEST SCORE
“12 Years a Slave”
“All is Lost”
“The Book Thief”
“Gravity”
“Mandela: Long Walk to Freedom”

(Though it’ll never be nominated because of the film it appeared in, I still think the best score of the year was ROB’s score for the remake of Maniac.)

BEST SONG
“Atlas,” “The Hunger Games: Catching Fire”
“Let it Go,” “Frozen”
“Ordinary Love,” “Mandela: Long Walk to Freedom”
“Please Mr. Kennedy,” “Inside Llewyn Davis”
“Sweeter Than Fiction,” “One Chance”

Ghosts of Christmas Past #12: A Very Brady Christmas


Earlier this month, we shared with you the very first Brady Bunch Christmas episode.

For today’s Ghost of Christmas Past, we find out what happened to all the Brady kids after they finally left home.  It turns out that they all basically grew up to be losers but, as we learn in 1988’s A Very Brady Christmas, they still have a home for the holidays.

I first saw A Very Brady Christmas last year when it showed up on ABC Family during their 25 Days of Christmas programming.  At the time, I thought it was so saccharine that I was worried that I might get a cavity as a result of watching.  A year later, my opinion hasn’t  changed much but A Very Brady Christmas still has an oddly dream-like feel to it.

Seriously, the Bradys are just so weird.

Trailer: Classified: The Edward Snowden Story


(A quick disclaimer: As with any politically-themed post here on the Shattered Lens, the comments below reflect the opinion of the author — Lisa Marie Bowman — and should not be interpreted as representing the opinions of any other contributor.)

I want to take a few minutes to ask you to help make film history.

Right now, Jason Bourque (the writer of End of the World and the director of Stonados) is raising funds for a very important film and he needs your help.  The film is called Classified: The Edward Snowden Story and, as of this writing, with 19 days left, Jason has 84% of the funds needed.

Because I believe in the importance of this project and because, based on his previous work, I have faith that Jason Bourque will give this story the treatment that it needs and deserves, I am asking everyone to consider watching the 2 minute pitch below and, if so inclined, going over to www.snowden.sx/ and helping out.

On a personal note, I usually avoid making any sort of overt political statement here on the Shattered Lens.  Those of you who are skilled at reading between the lines will probably have picked up on the fact that, in general, I lean to the right on economics and to the left on social issues.  (Or, to put it in Shattered Lens terms, I’m a little more conservative than the Trashfilm Guru and a little more liberal than Dazzling Erin.)

However, at heart, I believe in freedom — freedom of speech, freedom of choice, and the right to privacy.  That is why I think this is an important film that deserves to be made and why I encourage everyone who can to consider helping out.

Thank you.

Ghosts of Christmas Past #11: Santa Claus (dir by Rene Cardona)


Today’s Ghost of Christmas Past is … well, it’s a little bit odd.

Santa Claus is many things but, for the purposes of this post, Santa Claus is a 1959 Mexican film that reminds us that before he became an advertising icon, Nicholas Claus was a Catholic saint.  According to this film, St. Nick also apparently lives in outer space with a bunch of singing children.  His best friend is Merlin and he apparently gets along with Vulcan, the Roman God of fire, as well.

Perhaps angered by the way that Santa is beloved by children of all races and figures of all mythologies, Lucifer orders a little demon named Pitch to go to Earth and turn the children against Santa.

So yeah, Santa Claus is really weird.  However, if you’ve ever wanted to see a movie where Santa is revealed to be a God-like action hero who holds the fate of the world in his hands, this is the film for you!

Here Are The 2013 SAG Nominations!


This morning the SAG Award nominees were announced and, perhaps not surprisingly, the story is less who was nominated and more who was snubbed.  For instance, Oscar front-runner Robert Redford’s performance in All Is Lost was ignored while Forest Whitaker’s rather one-note turn in The Butler was nominated.  Tom Hanks was not nominated for Saving Mr. Banks but the late and missed James Gandolfini picked up a nomination for Enough Said. Myself, I’m more surprised that Octavia Spenser was not nominated for her performance in Fruitvale Station.

As has been pointed out over at Goldderby, the SAG Awards are no longer the fool-proof Oscar prediction tool that they used to be.  Getting a SAG nomination no longer guarantees you an Oscar nomination and, by that same standard, getting snubbed is no longer an automatic cause for concern.

That said, the SAG winners do typically end up receiving an Oscar nomination in January.

The film nominees can be found below:

BEST FILM ENSEMBLE
“12 Years a Slave”
“American Hustle”
“August: Osage County”
“The Butler”
“Dallas Buyers Club”

BEST FILM ACTOR
Bruce Dern, “Nebraska”
Chiwetel Ejiofor, “12 Years a Slave”
Tom Hanks, “Captain Phillips”
Matthew McConaughey, “Dallas Buyers Club”
Forest Whitaker, “The Butler”

BEST FILM ACTRESS
Cate Blanchett, “Blue Jasmine”
Sandra Bullock, “Gravity”
Judi Dench, “Philomena”
Meryl Streep, “August: Osage County”
Emma Thompson, “Saving Mr. Banks”

BEST FILM SUPPORTING ACTOR
Barkhad Abdi, “Captain Phillips”
Daniel Bruhl, “Rush”
Michael Fassbender, “12 Years a Slave”
James Gandolfini, “Enough Said”
Jared Leto, “Dallas Buyers Club”

BEST FILM SUPPORTING ACTRESS
Jennifer Lawrence, “American Hustle”
Lupita Nyong’o, “12 Years a Slave”
Julia Roberts, “August: Osage County”
June Squibb, “Nebraska”
Oprah Winfrey, “The Butler”

BEST FILM STUNT ENSEMBLE*
“All is Lost”
“Fast & Furious 6”
“Lone Survivor”
“Rush”
“The Wolverine”

The full list of nominees can be found here.

—-

* Isn’t it about time that stunt performers get an Oscar category all their own?

Trailer: Godzilla (Teaser)


Godzilla

This past summer saw the return of kaiju to the film vernacular with the release of Guillermo Del Toro’s Pacific Rim. The very same studios which released this film, Warner Bros. Pictures and Legendary Pictures return next summer with a similar film, but this time with the return of the granddaddy of all kaiju: Godzilla.

Godzilla is a reboot of the kaiju franchise with Gareth Edwards trying to make up for the travesty that was Roland Emmerich’s Godzilla of over a decade ago. This time around it looks like (at least from the teaser) that Edwards is going the serious route with this reboot. It helps that he has quite the cast to play around with. This Godzilla will star Bryan Cranston, Elizabeth Olsen, Aaron Taylor-Johnson and Ken Watanabe.

We also get a brief glimpse of Godzilla itself right near the end followed by the iconic monster scream that’s as recognizable as the tweets and twoots of R2-D2.

Godzilla will return to the big-screen on May 16, 2014.

44 Days of Paranoia #23: Pickup On South Street (dir by Samuel Fuller)


For today’s entry in the 44 Days of Paranoia, let’s take a look at Sam Fuller’s 1953 film noir, Pickup on South Street.

Pickup On South Street opens with Candy (Jean Peters) on a subway.  In her purse, she’s carrying an envelope that’s been given to her by her boyfriend, the rather shady Joey (Richard Kiley).  Candy is delivering the envelope to friends of Joey.  What Candy doesn’t know is that Joey and his friends are communists and that the envelope contains top secret micro-film.  She also doesn’t know that she’s being followed by both the FBI and Skip Martin (Richard Widmark), a professional pickpocket.

Skip picks Candy’s purse and, without realizing it, steals the microfilm that everyone wants.  With the help of professional informant Moe (Thelma Ritter, a great character actress who gives a great performance here), both Candy and the police track down Skip and try to get him to return the microfilm.  Skip, however, has figured out what he’s stolen and announces that he’ll give the microfilm to whichever group is the first to pay him $25,000.  When the FBI make the mistake of trying to appeal to his patriotism, Skip merely smirks and asks, “Are you waving the flag at me?”

In his introduction to Sam Fuller’s autobiography A Third Face: My Tale of Writing, Fighting, and Filmmaking, Martin Scorsese writes, “(I)f you don’t like the films of Sam Fuller, then you just don’t like cinema.”  Now, I really can’t say whether that’s true or not because, while I love cinema, I’ve only seen three of the films that Sam Fuller directed over the course of his long career: The Naked Kiss, Shock Corridor, and now Pickup On South Street.  However, I can say that I loved all three of those films.  The Naked Kiss I loved because I happen to love old films that expose the secrets of small town America.  As Arleigh can tell you, I fell in love with Shock Corridor the minute that the film’s hero said, “NYMPHOS!”  As for Pickup On South Street, I love it because it’s truly a great film and one of the best B-movie ever made.

And make no mistake about it — Pickup On South Street is a B-movie, a melodramatic, wonderfully sordid, and terrifically entertaining B-movie.  It’s a thriller that both embraces and subverts the conventions of the genre and, as a result, it tells a story that manages to be both over-the-top and subtle at the same time.  By focusing on those on the margins of society, the Skips and the Moes of the world, Fuller also forces us to confront just how little the ideology of a government means to those of us who live on the margins of society.

This is certainly made clear by Thelma Ritter’s poignant performance as Moe, one of the weary inhabitants of the margins who has been reduced to just hoping that she’ll have enough money when she dies to be buried in a decent plot.  One watches Pickup on South Street and realizes that, regardless of which side ultimately end up with the microfilm, people like Moe are still most likely going to end up getting buried in an pauper’s grave.

Watching Pickup On South Street, it’s easy to see why Martin Scorsese had such high praise for Fuller.  Fuller’s camera literally never stops moving, nervously darting through the urban landscape and occasionally zooming in for a close-up of either a desperate face or Richard Widmark’s smirk.  And make no doubt about it — Richard Widmark’s charming but infuriating smirk tells you everything that you need to know about both the character Skip McCoy and Pickup On South Street as a film.  It’s a smirk that lets us know that both the character and the film are a lot more intelligent than they initially let on.

Pickup on South Street is a film that every lover of cinema must see.  And, after you’ve seen it, why not get a copy of Fuller’s autobiography?  It’s an interesting read.

Other Entries In The 44 Days of Paranoia 

  1. Clonus
  2. Executive Action
  3. Winter Kills
  4. Interview With The Assassin
  5. The Trial of Lee Harvey Oswald
  6. JFK
  7. Beyond The Doors
  8. Three Days of the Condor
  9. They Saved Hitler’s Brain
  10. The Intruder
  11. Police, Adjective
  12. Burn After Reading
  13. Quiz Show
  14. Flying Blind
  15. God Told Me To
  16. Wag the Dog
  17. Cheaters
  18. Scream and Scream Again
  19. Capricorn One
  20. Seven Days In May
  21. Broken City
  22. Suddenly