2016 In Review: The Best of SyFy

Posted on January 7, 2017 by Lisa Marie Bowman

Well, here we are! We have reached the end of the first week of January, 2017 and that means that it is time for me to start listing my favorite movies, books, songs, and TV shows of the previous year! Let’s start things off by taking a look at the best that the SyFy network had to offer in 2016!

Below, you will find my nominees for the best SyFy films and performances of the previous year. The winners are listed in bold and starred. As you’ll quickly notice, it was a good year for films about zombies, spiders, and sharks!

(Please note: When it comes to determining the nominees, I have used the credits for each film as listed on the Internet Movie Database. If anyone feels that they have been miscredited, feel free to let me know and I’ll correct the mistake. Thanks!)

Best Picture

2 Lava 2 Lantula, produced by Neil Elman, Anthony Frankhauser, Lisa M. Hansen, Paul Hertzber

Atomic Shark, produced by Tanya Bellamy, Diane Boone, Matt Chiasson, Angela Meredith Furst, Griff Furst, Stephen Furst, M. Juan Gonzalez, Ross Herbert, Howie Klein, Som Kohanzadeh, Yoram Kohanzadeh, Isiah LaBorde, Kevin Lamb, Daniel March, Will Matherne, David Poughatsch, Lee C. Rogers, Miguel Sandoval, Arthur Scanlan, Ben Yimlimai

Dead 7, produced by Paul Bales, Nick Carter, David L. Garber, David Michael Latt, David Rimawi, Micho Rutare, Dylan Vox

Isle of the Dead, produced by Paul Bales, Lauren Elizabeth Hood, David Michael Latt, David Rimawi

*The Night Before Halloween, produced by Blake Corbet, Priscilla Galvez, Christina O’Shea-Daly, Marek Povisal, Lance Samuels, Mary Anne Waterhouse

Ozark Sharks, produced by Kenneth M. Badish, Sam Claitor, Eric Davies, Daniel Lewis, Jordan Lewis, Pierre-Andre Rochat, Tommy Talley

Best Director

Nick Lyons for Isle of the Dead

Nick Simon for 2 Lava 2 Lantula

Misty Talley for Ozark Sharks

*Sheldon Wilson for The Night Before Halloween

Best Actor

*Nick Carter in Dead 7

Steve Guttenberg in 2 Lava 2 Lantula

Justin Kelly in The Night Before Halloween

Michael Papajohn in Ozark Sharks

Best Actress

Jessica Blackmore in Dam Sharks

Laura Cayouette in Ozark Sharks

*Bailee Madison in The Night Before Halloween

Maryse Mizanin in Isle of the Dead

Best Supporting Actor

Raymond J. Barry in Day of Reckoning

*D.C. Douglas in Isle of the Dead

Alex Harrouch in The Night Before Halloween

Thomas Francis Murphy in Ozark Sharks

Best Supporting Actress

*Allisyn Ashley Arm in Ozark Sharks

Barbara Crampton in Day of Reckoning

Kristina Hughes in Stakeland 2: The Stakelander

Kiana Madiera in The Night Before Halloween

Best Screenplay

*2 Lava 2 Lantula, Neil Elman, Ashley O’Neil

Isle of the Dead, Jacob Cooney, Brandon Trenz

The Night Before Halloween, Sheldon Wilson

Ozark Sharks, Marcy Holland, Greg Mitchell

Best Cinematography

Atomic Shark, Don E. FauntLeRoy

*The Night Before Halloween, Daniel Grant

Planet of the Sharks, Mark Atkins

Stakeland 2: The Stakelander, Matt Mitchell

Best Costumes

*Dead 7, Sarah Sharp

Isle of the Dead, Cailan Calandro

Planet of the Sharks, Mary-Sue Morris

Stakeland 2: The Stakelander, Brenda Shenher

Best Editing

Atomic Shark, Stephen Pfeil

Isle of the Dead, Rob Pallatina

The Night Before Halloween

*Ozark Sharks, Misty Talley

Best Makeup

The Crooked Man, Laurie Hallack, Laura Morton, Hannah Schenck, Eric S. Wilson

*Isle of the Dead, Leslie Burdick, Dennis M. Chavez, Michael Robert Cypher, Lleva Radina

Sharknado 4, Krystal Bagorio, Stacy Bisel, Haley Coats, Rebeca Ovadia, Magali Serrano, Melissa K. Webb

Stakeland 2: The Stakelander, Raven Dee, Jill Demaer, Lindi Edge, Pete Gerner, Nina McArthur, Brian Spears, Krista Stevenson

Best Score

*Dead 7, Drew Lerdal, Bryan Shackle

Isle of the Dead, Chris Cano, Chris Ridenhour

Ozark Sharks, Andrew Morgan Smith

Sharknado 4, Christopher Cano, Chris Ridenhour

Best Production Design

2 Lava 2 Lantula, Yana Veselova, Megan Sunzeri

Dead 7, Caitlin Langen, Mikki Mamaril

*Isle of the Dead, Kalise Wallace, Taylor Jean

Sharknado 4, Kalise Wallace

Best Sound

Atomic Shark

Isle of the Dead

The Night Before Halloween

*Sharknado 4

Best Visual Effects

Atomic Shark

*2 Lava 2 Lantula

The Night Before Halloween

Shadows of the Dead

Congratulations to all the nominees! Thank you for keeping us entertained in 2016!

Want to see my picks for last year? Click here!

Click here for my picks from 2014!

And here for my picks from 2013!

Tomorrow, we’ll take a look at the best from Lifetime!

Previous Entries In The Best of 2016:

Music Video of the Day: I Do, I Do, I Do, I Do, I Do by ABBA (1975, dir. Lasse Hallström)

Posted on January 7, 2017 by Valerie Troutman

You can basically just enjoy this one. They started changing up the background, introduced instruments you didn’t normally hear in their music, made heavy use of fades, and only the two guys ever appeared to be in the same place and time during the entire video. That last one is kind of interesting for a song whose title is automatically associated with love and marriage. The lovers they are standing in for aren’t physically together with each other in the video. Oh, and they actually have ending credits. You don’t see that everyday.

That’s all I have to say about this one. It’s not one of my favorites of there’s in both song and video.

ABBA retrospective:

Artwork of the Day: Hot Saturday

Posted on January 7, 2017 by Dazzling Erin

Artist Unknown

A Movie A Day #6: The Cannonball Run (1981, directed by Hal Needham)

Posted on January 6, 2017 by Jedadiah Leland

A legendary Hollywood stuntman, Hal Needham moved into directing in the 1970s and proved that all he required to make a successful film were willing stuntmen, fast cars, Coors beer, and Burt Reynolds. Following that logic, The Cannonball Run may very well be the ultimate Hal Needham movie.

The Cannonball Run follows several teams of racers as they compete to see who can be the first to reach California from Connecticut. Trying to stop them is Arthur J. Foyt (George Furth), who represents the Safety Enforcement Unit and who believes that cars are a menace. However, Foyt is no match for these racers, who include:

J.J. (Burt Reynolds), who is racing in memory of his father, and his mechanic Victor (Dom DeLuise), who turns into Captain Choas whenever he is feeling threatened. J.J. and Victor are driving an ambulance and are accompanied by crazy Dr. Van Helsing (Jack Elam) and a fake “patient” (Farrah Fawcett),
Bradford Compton (Bert Convy) who is riding a motorcycle and who, because of the weight of his mechanic, has to pop a wheelie for the entire race,
An Arab oil sheik (Jamie Farr) who is racing for “the glory of Islam” and who would probably not be in the movie if it were made today,
Sidney Goldfarb (Roger Moore), the heir to a mattress fortune who has had extensive plastic surgery to make himself look like Roger Moore,
Jackie Chan and Michael Hui, called “The Japanese team” even though they both speak Cantonese throughout the entire movie,
Terry Bradsahw and Mel Tillis because why the Hell not?,
Marcie (Adrienne Barbeau) and Jill (Tara Buckman), using their cleavage to get out of speeding tickets, or at least they do until they’re pulled over by Valerie Perrine,
And Dean Martin and Sammy Davis, Jr., pretending to be priests and apparently drunk throughout filming.

Based on a real life (and very illegal) cross-country race that was held four times in the 1970s, The Cannonball Run is profoundly stupid movie that, if you’re in the right mood for it, is also profoundly fun. It’s a movie that really has no plot but it does have a lot of cars, a lot of stunts, a lot of cleavage, and a lot of politically incorrect humor, some of which has not aged well. Despite being hated by the critics, The Cannonball Run was a huge box office hit and it still remains a nostalgic guilty pleasure for a lot of people, myself included. One person who did not like The Cannonball Run was Burt Reynolds who, in an interview with the New York Times, once said, “”I did that film for all the wrong reasons. I never liked it. I did it to help out a friend of mine, Hal Needham. And I also felt it was immoral to turn down that kind of money. I suppose I sold out so I couldn’t really object to what people wrote about me.”

Burt has a point but, in defense of The Cannonball Run, what other movie actually features Jackie Chan beating up Peter Fonda?

Or Roger Moore playing someone who thinks that he’s Roger Moore?

Or Jack Elam playing a mad scientist?

Or Sammy and Dino, phoning it in one last time?

Or Captain Chaos?

Like most of Hal Needham’s films, The Cannonball Run ends with outtakes of Burt Reynolds blowing his lines and hitting people.

Tomorrow’s movie a day will be a film that Burt Reynolds is presumably much more proud of, Sharky’s Machine.

Artwork of the Day: Four O’Clock on Friday

Posted on January 6, 2017 by Dazzling Erin

By Robert Bonfils

Music Video of the Day: Hasta Mañana by ABBA (1974, dir. ???)

Posted on January 6, 2017 by Valerie Troutman

I am going to have to go by the release of their singles because working off of mvdbase or IMVDb is causing me to jump over videos. This one fits in between Waterloo and Bang-A-Boomerang. For me, this is right on the borderline between saying it is a music video and that it was possibly a live broadcast. I didn’t realize it would be this tough to do a simple retrospective of ABBA music videos, but it is. The real issue is the drastic difference in quality between the music videos on their official channel and the few that you find elsewhere.

I have discovered a couple of things about the band that are kind of relevant going forward. Reportedly there is going to be some sort of virtual reunion of the band in the coming year. Basically it would entail having them each sing from the comfort of their own home, and have it pieced together digitally. Why not? How many Let’s Plays have you watched where the people doing it aren’t in the same room together. I’ve made a few myself where I was the one at the computer and I shared my screen with the other person. It works fine.

I’ve also found out what I kind of suspected already. Frida & Benny and Agnetha & Björn were couples during most of the bands’ run. It doesn’t really have any bearing on the music videos themselves, but I did stumble upon it while digging through all the videos on YouTube.

Finally, it seems that the primary focus was frequently on Agnetha. There’s a big surprise for you if you watch their videos. I would have never guessed after watching Take A Chance On Me and SOS.

Getting to this video. There are definitely multiple sets. There are definitely edits. There are video effects at play. The thing that bothers me is that there is nothing that says the parts with the rocking chairs couldn’t have been pieced together with parts that were shot at another time. Perhaps they aired a version to the TV audience that is in this video, but you would only see them in the chairs if you were in the studio audience? But, those change out later too. As a result, I’m calling it as a music video.

I find it interesting how they move from Old Hollywood, where these couples have to be in their own beds, to sharing bunks. I know it ties in with the tents, but they do the same with the chairs as well by taking them from rocking chairs to very 1970s ones. You also see them climb a set of stairs to reach a top before descending. It’s not that they’ve come full circle so much as it is that they have moved ahead, but in that future they are just in a modern and less fancy form of separate beds (bunks). That’s all I find particularly interesting other than that it is in black and white. That’s the last reason why it was difficult to call it definitively as a music video.

Enjoy!

ABBA retrospective:

Playing Catch-Up With The Films of 2016: Eye In The Sky (dir by Gavin Hood)

Posted on January 5, 2017 by Lisa Marie Bowman

Eye in the Sky is many things. It’s a tense and involving drama. At times, it’s a satire of the bland and often cowardly bureaucracy that controls so much of the world. Occasionally, it’s an angry polemic and a sad-eyed look at the state of the world today. It’s a film about drone warfare, one that is remarkably honest about both the costs and the benefits of being able to randomly blow people up on the other side of the world. It’s a film that will make you think and it will make you cry and it will even make you laugh in a resigned sort of way.

But, at heart, it’s ultimately the story of two houses in Nairobi, Kenya.

In the first house, terrorists are plotting their next attack. The film leaves little doubt as to what they are planning. Thanks to a miniature drone controlled by Jama Farah (played by Barkhad Abdi and it’s good to see him giving as good a performance here as he did in Captain Phillips), both American and British intelligence are aware of what’s happening in that house. A British jihadist is planning her next attack. Guns are being loaded. Suicide vests are being prepared. If nothings done to stop their plans, hundreds of people are going to die.

Sitting nearby is the other house. And, in this other house, an apolitical Kenyan family is going about their day with zero knowledge of what’s happening just a few doors down. 11 year-old Alia Mo’Allim (Aisha Takow) twirls a hula hoop while her father watches. Later, in the day, she’ll go out in her village and, while the local militia harasses anyone who doesn’t look right to them, Alia will attempt to sell bread. She’ll set up her table directly outside of the first house.

And what no one in that village realizes is that an armed drone is hovering above them. As they go about their day, they have no idea that there are men and women in America and Britain who are debating whether or not to blow them up.

Colonel Katherine Powell (a steely and totally convincing Helen Mirren) is determined to blow up that house and the terrorists within, even if it means blowing up Alia in the process. However, before Powell can give the order, she has to get permission from Lt. Gen. Frank Benson (Alan Rickman, at his weary best) and Benson has to get permission from the government. And the government is full of people who are eager to take credit for killing terrorists but who don’t want to be blamed for any of the inevitable collateral damage. Everyone passes responsibility to someone else.

Powell may be the most determined of everyone to blow up that house but she is not the one who will actually be firing the missiles. That responsibility falls on two Americans, Lt. Steve Watts (Aaron Paul) and Carrie Gershon (Phoebe Fox). As the teorrists prepare and Alia tries to sell bread and the bureaucrats debate, Watts and Gershon are the only ones who seem to truly understand what’s about to happen. If they fire the missiles, Alia will probably die. If they don’t, hundreds of other definitely will.

It all makes for incredibly tense and thought-provoking film, one that is all the more effective because it actually allows both sides to make their case. In Eye in the Sky, no one is presented as being perfect. On the one hand, Powell may be willing to manipulate the data to get permission to fire that missile. But, on the other, the film doesn’t deny that Powell is right when she says that if they don’t blow up the terrorists when they have a chance, hundreds of innocent people are going to die. Towards the end of the film, Alan Rickman says, “Never tell a soldier that he doesn’t understand the cost of war,” and Eye in the Sky appears to understand that cost as well. Nobody escapes this film untouched.

Well-acted and intelligently written and directed, Eye in the Sky was one of the most thought-provoking films of the previous year. See it if you haven’t.

Playing Catch-Up With The Films of 2016: Alice Through The Looking Glass, Gods of Egypt, The Huntsman: Winter’s War, Me Before You, Mother’s Day, Risen

Posted on January 5, 2017 by Lisa Marie Bowman

Here are six mini-reviews of six films that I saw in 2016!

Alice Through The Looking Glass (dir by James Bobin)

In a word — BORING!

Personally, I’ve always thought that, as a work of literature, Through The Looking Glass is actually superior to Alice’s Adventures in Wonderland. That’s largely because Through The Looking Glass is a lot darker than Wonderland and the satire is a lot more fierce. You wouldn’t know that from watching the latest film adaptation, though. Alice Through The Looking Glass doesn’t really seem to care much about the source material. Instead, it’s all about making money and if that means ignoring everything that made the story a classic and instead turning it into a rip-off of every other recent blockbuster, so be it. At times, I wondered if I was watching a film based on Lewis Carroll or a film based on Suicide Squad. Well, regardless, the whole enterprise is way too cynical to really enjoy.

(On the plus side, the CGI is fairly well-done. If you listen, you’ll hear the voice of Alan Rickman.)

Gods of Egypt (dir by Alex Proyas)

I don’t even know where to begin when it comes to describing the plot of Gods of Egypt. This was one of the most confusing films that I’ve ever seen but then again, I’m also not exactly an expert when it comes to Egyptian mythology. As far as I could tell, it was about Egyptian Gods fighting some sort of war with each other but I was never quite sure who was who or why they were fighting or anything else. My ADHD went crazy while I was watching Gods of Egypt. There were so much plot and so many superfluous distractions that I couldn’t really concentrate on what the Hell was actually going on.

But you know what? With all that in mind, Gods of Egypt is still not as bad as you’ve heard. It’s a big and ludicrous film but ultimately, it’s so big and so ludicrous that it becomes oddly charming. Director Alex Proyas had a definite vision in mind when he made this film and that alone makes Gods of Egypt better than some of the other films that I’m reviewing in this post.

Is Gods of Egypt so bad that its good? I wouldn’t necessarily say that. Instead, I would say that it’s so ludicrous that it’s unexpectedly watchable.

The Huntsman: Winter’s War (dir by Cedric Nicolas-Troyan)

Bleh. Who cares? I mean, I hate to put it like that but The Huntsman: Winter’s War felt pretty much like every other wannabe blockbuster that was released in April of last year. Big battles, big cast, big visuals, big production but the movie itself was way too predictable to be interesting.

Did we really need a follow-up to Snow White and The Huntsman? Judging by this film, we did not.

Me Before You (dir by Thea Sharrock)

Me Before You was assisted suicide propaganda, disguised as a Nicolas Sparks-style love story. Emilia Clarke is hired to serve as a caregiver to a paralyzed and bitter former banker played by Sam Claflin. At first they hate each other but then they love each other but it may be too late because Claflin is determined to end his life in Switzerland. Trying to change his mind, Clarke tries to prove to him that it’s a big beautiful world out there. Claflin appreciates the effort but it turns out that he really, really wants to die. It helps, of course, that Switzerland is a really beautiful and romantic country. I mean, if you’re going to end your life, Switzerland is the place to do it. Take that, Sea of Trees.

Anyway, Me Before You makes its points with all the subtlety and nuance of a sledge-hammer that’s been borrowed from the Final Exit Network. It doesn’t help that Clarke and Claflin have next to no chemistry. Even without all the propaganda, Me Before You would have been forgettable. The propaganda just pushes the movie over the line that separates mediocre from terrible.

Mother’s Day (dir by Garry Marshall)

Y’know, the only reason that I’ve put off writing about how much I hated this film is because Garry Marshall died shortly after it was released and I read so many tweets and interviews from people talking about what a nice and sincere guy he was that I actually started to feel guilty for hating his final movie.

But seriously, Mother’s Day was really bad. This was the third of Marshall’s holiday films. All three of them were ensemble pieces that ascribed a ludicrous amount of importance to one particular holiday. None of them were any good, largely because they all felt like cynical cash-ins. If you didn’t see Valentine’s Day, you hated love. If you didn’t see New Year’s Eve, you didn’t care about the future of the world. And if you didn’t see Mother’s Day … well, let’s just not go there, okay?

Mother’s Day takes place in Atlanta and it deals with a group of people who are all either mothers or dealing with a mother. The ensemble is made up of familiar faces — Jennifer Aniston, Julia Roberts, Kate Hudson, and others! — but nobody really seems to be making much of an effort to act. Instead, they simple show up, recite a few lines in whatever their trademark style may be, and then cash their paycheck. The whole thing feels so incredibly manipulative and shallow and fake that it leaves you wondering if maybe all future holidays should be canceled.

I know Garry Marshall was a great guy but seriously, Mother’s Day is just the worst.

(For a far better movie about Mother’s Day, check out the 2010 film starring Rebecca De Mornay.)

Risen (dir by Kevin Reynolds)

As far as recent Biblical films go, Risen is not that bad. It takes place shortly after the Crucifixion and stars Joseph Fiennes as a Roman centurion who is assigned to discover why the body of Jesus has disappeared from its tomb. You can probably guess what happens next. The film may be a little bit heavy-handed but the Roman Empire is convincingly recreated, Joseph Fiennes gives a pretty good performance, and Kevin Reynolds keeps the action moving quickly. As a faith-based film that never becomes preachy, Risen is far superior to something like God’s Not Dead 2.

A Movie A Day #5: ffolkes (1979, directed by Andrew V. McLaglen)

Posted on January 5, 2017 by Jedadiah Leland

A group of terrorists, led by Lou Kramer (Anthony Perkins, at his bitchiest) and Harold Schulman (Michael Parks), have hijacked Esther, a supply ship that services two North Sea oil rigs, Ruth and Jennifer. Kramer demands that the British government pay him 25 millions pounds. If he’s not paid, he’ll blow up the two oil rigs, destroying the British economy and causing a catastrophic environmental disaster. Kramer has also rigged the Esther with explosives. If anyone tries to board the boat, he will blow both the ship and himself up, taking the crew with him.

The British Prime Minister (Faith Brook, playing Margaret Thatcher) could pay the ransom or she could call in counter terrorism expert, Rufus Excalibur ffolkes (Roger Moore).

(Though the name undoubtedly looked odd to American audiences, ffolkes is a common Welsh surname and is often spelled with both fs lowercase.)

Made in between The Spy Who Loved Me and Moonraker, ffolkes was Roger Moore’s attempt to defy the typecasting that had defined his career. Other than his loyalty to Queen and country, ffolkes has very little in common with James Bond. James Bond was a suave smoker who bedded several women per film, lived in a hip London flat, drank Martinis, and was always ready with a quip. ffolkes is humorless, drinks Scotch, hates cigarette smoke, and lives in an isolated castle. The biggest difference between Bond and ffolkes? Embittered by one bad marriage, ffolkes has no interest in women and refuses to work with them. Instead, ffolkes loves cats.

ffolkes had always been overshadowed by Moore’s work as James Bond but it holds up well as a good, old-fashioned adventure film. In many ways, Anthony Perkins’s Kramer feels like a predecessor to Die Hard‘s Hans Gruber and, if ffolkes had been released ten years later, it probably would have been referred to as being “Die Hard at sea.” If you can get used to him playing someone other than James Bond, Roger Moore does a good job as the eccentric ffolkes and James Mason provides welcome support as ffolkes’s only friend.

Though ffolkes was a box office disappointment, it retains a cult following and it used to show up regularly on British television. (I saw it at least once every summer that I went to the UK.) When it was originally released in the U.K., it was called North Sea Hijack. When it was released in the U.S., presumably under the assumption that American audiences wouldn’t be able to find the North Sea on a map, the title was changed to ffolkes, which probably left audiences more confused than the North Sea ever would have. When the movie was first broadcast on American television, the title was changed yet again, this time to Assault Force.

To quote Roger Moore: “The film has so many title changes that I’ve lost count. But everyone seems to like the character I played.”

For tomorrow’s movie a day, it’s another film where Roger Moore did not play James Bond, The Cannonball Run.

Pre Code Confidential #9: James Cagney in BLONDE CRAZY (Warner Brothers 1931)

Posted on January 5, 2017 by gary loggins

cracked rear viewer

When James Cagney burst onto the screen like a machine gun barrage in 1931’s THE PUBLIC ENEMY, a star was immediately born. His rough-and-tumble personality was perfectly suited to films of the era, and he’s given a good showcase in BLONDE CRAZY, along with Pre-Code cutie Joan Blondell , who could dish it out with the best of them. Though it’s a little creaky in spots, BLONDE CRAZY is tons of fun, and Cagney gives everybody a lesson in what being a movie star is all about.

Cagney plays Bert Harris, a bantamweight bellboy looking to make a fast buck during the Depression running crap games and selling bootleg hootch. When he first meets blonde Anne Roberts (our girl Joan) he ogles her body lecherously, and we know right from the get-go what his intentions are! But Ann’s no sucker, she a been-around-the-block kinda gal, and soon this dynamic duo are…

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