This Casey Jones should not be mistaken for either the comic book artist or the Disney animator who share the same name. Instead, this Casey Jones was an illustrator who was active in the 50s and 60s. Check out some of his covers below and see what was considered to be racy in the 1950s:
The year is 1978. A television producer named Garry Marshall (Daniel Roebuck) teaches America how to laugh again by casting Pam Dawber (Erinn Hayes) and a hyperactive stand-up comedian named Robin Williams (Chris Diamantopoulos) in a sitcom about an alien struggling to understand humanity. Despite constant network interference, the show makes Robin a star but, with stardom, comes all the usual temptations: lust, gluttony, greed, pride, envy, wrath, and John Belushi.
The Behind The Camera films, which all dramatized the behind the scenes drama of old television shows, were briefly a big thing in the mid-aughts. Because they were lousy, they never got good reviews but they did get good ratings from nostalgia-starved baby boomers and gen xers. I think The Unauthorized Mork & Mindy Story was the last one produced. It probably would have been better if there had been any sort of drama going on behind-the-scenes of Mork & Mindy but, according to this movie, everyone got along swimmingly. Williams may get hooked on cocaine but the film squarely puts the blame for that on John Belushi. The script, which was obviously written with one eye on avoiding getting sued, is sanitized of anything that could have reflected badly on anyone who was still alive when the movie aired.
Stuck with unenviable task of having to play one of the most famous people in the world, Chris Diamantopoulos was not terrible as Robin Williams. Considering how sanitized the script was, not terrible is probably the best that could be hoped for. There was not much of a physical resemblance but Diamantopoulos nailed the voice and some of the mannerisms. Erinn Hayes looks like Pam Dawber but, just as in the actual show, the movie gives her the short end of the stick and focuses on Williams.
For aficionados of bad television, this is mostly memorable for Daniel Roebuck’s absolutely terrible performance as Garry Marshall and a scene in which Williams is heckled in a comedy club but an overweight man who steps out of the shadows and announces that he’s John Belushi! Roebuck’s performance as Garry Marshall begins and end with his attempt to impersonate Marshall’s familiar voice. He was much better cast as Jay Leno in The Night Shift. As for Belushi , since he was not around to sue or otherwise defend himself, the movie goes all out to portray Belushi (who was played by Tyler Labine) as being an almost demonic influence on Williams. The film’s portrayal of Belushi is even worse and probably more inaccurate than Wired and that’s saying something!
To quote Mork himself: Shazbot! This movie is full of it.
Producer/director Roger Corman finally cut ties with American-International Pictures after they butchered his apocalyptic satire GAS-S-S! Striking out on his own, Corman’s next movie was VON RICHTOFEN AND BROWN, a World War I epic about famed German aerial ace The Red Baron and the Canadian pilot who shoots his down Roy Brown. There are grand themes, as Corman sought to make a statement on the futility of war, the end of chivalry, and the mechanized savagery of what was to be “the last war”. The film looks good, shot in Ireland, with exciting aerial footage, but despite all the outer trappings VON RICHTOFEN AND BROWN is still a Corman drive-in movie.
John Philip Law also looks good as Baron Manfred von Richtofen, the aristocrat/warrior who became the feared Red Baron. Law was always great to watch, whether as the blind angel in BARBARELLA, the black-clad supervillain in DANGER: DIABOLIK, sexy Robin Stone in…
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For centuries, artists have been fascinated by eclipses. In honor of both today’s solar eclipse and everyone who is going to go blind from looking at it without special glasses, here are nine excellent eclipse paintings.
Happy Solar Eclipse Day from all of your friends at the Shattered Lens!
Over the past few years, there’s been many movies about the end of the world.
A lot of them have been pretty bad. I never did find the high heel that I threw at the screen while watching Seeking A Friend For The End Of The World.
And some of them have been pretty good. Dawn of the Planet of the Apes and its sequels come to mind.
And then there’s Lars Von Trier’s Melancholia. Von Trier is always going to be controversial filmmaker but no one has ever matched his brilliance when it came to capturing the end of existence. In Melancholia, a depressed woman (played in a revelatory performance by Kristen Dunst) finds unexpected strength in the end of the world. As can be seen in the scene below, it’s a beautifully sad film, one that ends on a note of triumphant apocalypse: