The Cheyenne Tornado (1935, directed by William A. O’Connor)


“You see, stranger, I am a sheep man.” — James Farley (Ed Porter)

On the frontier, a range war has broken out between the cattlemen and the sheepherders.  When rancher Seth Darnell is murdered, the blame is put on the sheepherders.  When the Cheyenne Kid (Reb Russell) rides up on the small camp of the sheepherders and hears their problems, he decides to investigate on his own by getting a job at the Darnell ranch.  Soon, Cheyenne is discovering the truth and also being pursued by both Darnell’s daughter (Victoria Vinton) and the daughter (Tina Menard) of the leader of the sheepherders.

Reb Russell was a former college football star who had a minor B-western career in the 30s.  Supposedly, he didn’t really much care for Hollywood and he retired from acting in 1935, the same year that The Cheyenne Tornado came out.  Russell went on to find a lot of success as a rancher himself.

The Cheyenne Tornado is a typical B-western.  It’s short.  There’s a lot shots of men riding on horses.  There’s a little gunplay and a mystery that anyone should be able to solve.  The acting is bad all the way around with even star Reb Russell failing to make much of an impression.  It probably did not matter to the film’s target audience in 1935.  They were there for the old west action and the movie does deliver that.

 

Happy Science Fiction Day!


Science Fiction Day is observed every year on January 2nd.  The date was chosen to honor the birthday of Isaac Asimov.  To help you get in the mood for Science Fiction Day, here are some classic covers from Science Fiction Magazine!  Keep watching the skies!

by A. Leslie Ross

by Alex Schomburg

by Allen Gustav Anderson

by Edmund Emshwiller

by Frank R. Paul

by Harold Bennett

by Leo Morey

by Milton Luros

Catching Up With The Films of 2025: Anniversary (dir by Jan Komasa)


 Anniversary begins with a party.  Ellen Taylor (Diana Lane), a professor at Georgetown University, is celebrating the 25th anniversary of her marriage to Paul (Kyle Chandler), a restauranteur.  The family has gathered at Lina and Paul’s ocean-side mansion.  Daughter Cynthia (Zoey Deutch) and her husband Rob (Daryl McCormick) are environmental attorneys.  Another daughter, Anna (Madeleine Brewer), is a performance artist who is very close to the youngest child, teenage Birdie (McKenna Grace).  Finally, Josh (Dylan O’Brien) is the only son, a struggling writer who arrives with his fiancée, Liz Nettles (Phoebe Dynevor).

Ellen immediately recognizes Liz as a former student, one who wrote a dissertation advocating for a one-party state.  At the time, Ellen called out Liz’s totalitarian ideology, to the extent that Liz accused Ellen of bullying her and ended up transferring to a different college.  Now, Ellen is not happy to discover that Liz has written a book called The Change and that Josh has abandoned his own “sci-fi trilogy” to help Liz out with her projects.  Liz is polite to Ellen but, before she leaves, she gives her future mother-in-law a forced hug and says, “I’m not scared of you anymore.”

From there, the film jumps forward from year-to-year, from gathering-to-gathering.  Liz’s book is a best-seller that soon sparks a movement.  Ellen watches in horror as her neighbors start to fly Change flags (which is the American flag, with the stars in the center).  Josh goes from being awkward and dorky to being arrogant and finally threatening.  With each year, the Change becomes more powerful and more menacing, until eventually Paul can’t even stand outside at night without a drone warning him that he’s violating curfew.  Anna becomes a fugitive while Birdie tries to find her place in a rapidly changing world.  The tragedies that follow all feel inevitable.

Anniversary is definitely an uneven film.  Some of the performances are better than others.  Diane Lane, Kyle Chandler, Dylan O’Brien, and Phoebe Dynevor all give excellent performances.  If nothing else, this film shows that Dylan O’Brien may be one of the most underrated actors working today.  At the same time, Madeline Brewer goes so over-the-top that I was almost relieved when Anna had to go into hiding and Zooey Deutch is let down by a script that doesn’t seem to be quite sure what to do with her character.  There are a few moments that are a bit too heavy-handed for their own good and the viewer is sometimes left to wonder if the film has the self-awareness necessary to understand that the Taylors, with their combination of wealth and radical chic politics, are often their own worst enemies.

That said, Anniversary is definitely a film of the moment.  There are enough brilliant scenes — like a meeting with two “census takers” that gradually turns menacing — to make up for the scenes that don’t work.  It’s best moments have an undeniable power in which the viewer realizes that the film’s melodrama is far more plausible today than it would have been in a pre-COVID era.  The scene where Paul is told that he is violating curfew would seem heavy-handed if not for the fact that, in 2020, we pretty much saw the same thing happening across the country.

Some online critics have complained that The Change’s ideology is purposefully left vague but that misses the point that most successful movements actually are vague about the details.  (Historically, most American third party movements tend to fall apart as soon as they start taking actual policy positions.)  The Change becomes powerful specifically because people can view it as being whatever they want it to be.  Whereas some people might see it as a return to a “simpler” time, others will view it as the warmth of collectivism replacing the frigidity of rugged individualism.  The Change is all about vibes and paranoia, the feeling that people are being left behind by the system and the only way to solve the problem is for everyone to embrace The Change without question.  The thing that all the followers of The Change share is a belief that dissent cannot be tolerated.

Anniversary is a crudely effective film, one that shows a small act of revenge can grow into something much larger.  It was overlooked when released but it still carries a powerful punch.

Film Review: Old Boyfriends (dir by Joan Tewkesbury)


In 1979’s Old Boyfriends, Talia Shire plays Dianne Cruise.

A sociology professor (or so she claims at one point), Dianne is struggling with an unhappy marriage and trying to recover from a recent breakdown.  After deliberately crashing her car, she leaves her husband and goes on a trip across the country.  She sets out to track down three ex-boyfriends.

Jeff Turrin (Richard Jordan) was her college boyfriend, the one who asked her to marry him three times.  Jeff is now working as a director.  When we first see him, he’s shooting a commercial for a political campaign in which Sam the Fisherman (Gerrit Graham) complains that the current governor of Colorado is a “long-hair” who gets in the way of small businessmen like himself.  Dianne shows up on the set.  Sam hits on her.  Interestingly, it takes Jeff a while before he recognizes her.  (Jeff comments that Dianne used to have longer hair but still, it seems like Jeff should be able to recognize someone to whom he proposed marriage three times.)

After having an affair with Jeff, who is in the process of getting a divorce, Dianne tracks down Eric Katz (John Belushi), the aspiring musician who humiliated her in middle school by telling everyone that she was “easy.”  Eric owns a formal wear store and he still performs with his band. (Belushi sings the Hell out of Jailhouse Rock at one point.)  He mostly performs at proms.  As he explains it to Dianne, most of his customers are teenagers looking for prom outfits so it only makes sense that he should perform for them as well as dress them.

Dianne’s third old boyfriend is Louis Van Til but, when Dianne arrives at his home, she is told that Louis died in Vietnam.  Under the watchful eye of his mother (Bethel Leslie) and his psychiatrist (John Houseman), she starts an obviously doomed relationship with Louis’s sensitive younger brother, Wayne (Keith Carradine).

While Dianne travels around the country, Jeff continues to look for her.  He even hires a private detective named Art Kopple (Buck Henry).

Old Boyfriends is a film that I had been meaning to watch for a while.  (I first read about it in a biography of John Belushi.)  A lot of talent went into making the film.  The script is by Paul and Leonard Schrader.  Director Joan Tewkesbury wrote the script for Robert Altman’s Nashville and indeed, there is an Altmanesque feel to the loose way that the film’s story unfolds.  The cast is full of talented people.  This was John Belushi’s first film after Animal House and Talia Shire’s first after Rocky.  With all that talent, you would think that the end result would be more interesting than it actually is.  The story is intriguing.  The cast is impressive.  But Old Boyfriends falls flat.

Why doesn’t the film work?  A lot of it is due to Tewkesbury’s direction.  She struggles with the film’s frequent shifts in tone and she always seems to be keeping a certain distance from the characters.  Talia Shire is in nearly every scene but the film seems to be determined to just observe her as opposed to actually allowing the viewer to get into her head.  Shire herself never seem to be particularly comfortable with the role and, as a result, none of her visits with her old boyfriends carry much of an emotional impact.  (Unfortunately, they don’t carry much of an intellectual impact either.)  Jordan, Belushi, and Carradine all give good performances but the film itself doesn’t seem to be sure what it wants to say about any of them.

It’s a disappointing film.  It’s not awful but, while watching it, it’s hard not to think about how much better it could have been.  One gets the feeling that Robert Altman, with his eye for quirky detail and his skill with improvisation, could have gotten something worthwhile out of the material.  As it is, Old Boyfriends is an intriguing idea that doesn’t quite work.

Review: Fallout (Season 2, Episode 3 “The Profligate”)


“If you think everyone else is the bad guy, chances are, you’re the bad guy.” — Lucy McLean

Episode 3 of Fallout season 2 takes a deliberate breath after the season’s earlier frenzy, shifting focus to simmering tensions and the cracks forming within key factions. It trades some high-octane action for deeper dives into moral gray areas and character dilemmas, while sprinkling in plenty of nods to the game’s lore that will thrill longtime fans. The result is an episode that feels more introspective than explosive, building quiet dread that hints at bigger fractures ahead without fully detonating them just yet.

The spotlight falls heavily on Caesar’s Legion this time around, turning their rigid hierarchy into a pressure cooker of internal strife. Lucy finds herself right in the thick of it, her wide-eyed vault dweller optimism clashing hard against a group that views compromise as heresy. Hanging in the balance between rival power plays, she becomes a symbol of the wasteland’s brutal tug-of-war, where diplomacy often looks more like desperation. It’s a tough spot for her character, one that tests her limits and forces some uncomfortable reflections, though the episode spends more time on the surrounding politics than her personal evolution at first.

The Ghoul shines in his signature blend of cynicism and cunning, navigating a high-stakes deal that underscores his “ends justify the means” survival code. His interactions with NCR remnants carry that dry, world-weary edge, laced with flashbacks that keep peeling back layers of his pre-war life under influences like Vault-Tec and figures from New Vegas lore. These moments aren’t just backstory—they tie directly into his current ruthlessness, showing how old betrayals and power games echo into the irradiated present. It’s the kind of character work that makes his choices feel earned and uneasy, never fully heroic or villainous.​

Meanwhile, Maximus’s path with a Brotherhood superior veers into unexpectedly dark territory, blending camaraderie with the order’s uglier underbelly. What starts as armored antics at a familiar Nuka-Cola site uncovers dilemmas about who gets to claim “civilization,” hinting at rifts that could shake the Brotherhood to its core. His arc builds to a tense crossroads, mirroring the Legion’s own divisions and raising questions about loyalty in a world where ideals curdle fast. It’s a smart parallel that keeps the episode’s themes cohesive without feeling forced.

Guest spots add some unexpected flair, like Macaulay Culkin’s turn as a Legion figure whose quirky menace fits the faction’s cultish vibe perfectly. He brings a bureaucratic fervor to the role, emphasizing how the Legion ritualizes its brutality right down to succession squabbles over key artifacts. These cameos feel organic, enhancing the world rather than stealing focus, and they nod to the games’ eccentric cast without overwhelming the main threads.

Pacing-wise, this hour simmers more than it boils, which might test viewers craving constant momentum. Lucy’s predicament holds steady for a stretch, the Ghoul operates in the shadows, and Maximus’s detour unfolds gradually before tensions spike. That restraint pays off by letting atmosphere build—the Legion camp’s stark crosses and sun-scorched decay capture the series’ horror-Western mashup beautifully. Locations like Camp Golf and NCR outposts evoke New Vegas nostalgia, but twisted into symbols of faded glory, reinforcing the show’s point that no empire endures unscathed.

For game fans, the episode is a treasure trove of subtle references, from Legion dynamics to Securitron teases, woven in ways that serve the plot rather than just fan service. Newcomers won’t feel lost, as the context emerges naturally through dialogue and fallout from prior episodes. Visually, it’s peak Fallout: practical effects make the wasteland feel lived-in and lethal, with practical power armor clanks and irradiated horrors that pop off the screen.​​

By the later beats, the episode starts hinting at shifts in the power balance, leaving characters at pivotal junctures without spelling everything out. Lucy grapples with harsh realities that could harden her edge, the Ghoul’s gambit ripples outward in unpredictable ways, and Maximus faces choices that test his place in the Brotherhood. These teases set up a powder keg for the back half, where alliances fray and the wasteland’s chaos might force some reluctant team-ups or betrayals.​​

All told, episode 3 delivers a balanced mix of lore love, character depth, and atmospheric tension, even if its slower gear occasionally mutes the thrill. Strengths like the Ghoul’s layered flashbacks and faction parallels outweigh any mid-episode lulls, making it a solid bridge that primes the pump for escalation. In a season already nailing the games’ spirit, this one reminds us why Fallout endures: beneath the satire and shootouts lies a grim meditation on humanity’s stubborn flaws.

Scene I Love: The Bandit Breaks The Speed Limit in Smokey and the Bandit


In honor of National Speed Limit Day, today’s scene that I love features Burt Reynolds breaking the speed limit over and over again in 1977’s Smokey and the Bandit.  This scene is almost enough to make me want to go on a road trip.

4 Shots From 4 Films: Special Todd Haynes Edition


4 Shots From 4 Films is just what it says it is, 4 shots from 4 of our favorite films. As opposed to the reviews and recaps that we usually post, 4 Shots From 4 Films lets the visuals do the talking.

Today, the Shattered Lens wishes a happy birthday to director Todd Haynes!  It’s time for….

4 Shots From 4 Todd Haynes Films

Safe (1995, dir by Todd Haynes, DP: Alex Nepomniaschy)

Velvet Goldmine (1998, dir by Todd Haynes, DP: Maryse Alberti)

I’m Not There (2007, dir by Todd Haynes, DP: Edward Lachman)

Carol (2015, dir by Todd Haynes, DP: Edward Lachman)

Live Tweet Alert: Join #FridayNightFlix for The Alternate!


As some of our regular readers undoubtedly know, I am involved in a few weekly watch parties.  On Twitter, I host #FridayNightFlix every Friday and I co-host #ScarySocial on Saturday.  On Mastodon, I am one of the five hosts of #MondayActionMovie!  Every week, we get together.  We watch a movie.  We tweet our way through it.

Tonight, at 10 pm et, I will be hosting #FridayNightFlix!  The movie?  2000’s The Alternate, starring Eric Roberts!

If you want to join us this Friday, just hop onto twitter, find The Alternate on Prime or Tubi, start the movie at 10 pm et, and use the #FridayNightFlix hashtag!  I’ll be there happily tweeting.  It’s a friendly group and welcoming of newcomers so don’t be shy.

See you there!

Moments #32: The First Morning Of 2026


I took this picture yesterday, from my bedroom window.  It’s the first picture that I took in 2026.  This is the morning on January 1st, 2026.  It may not be my best photograph but it’s an important one.  It’s the first image of the year.  I love this tree.  In just a few months, that ugly, scary old tree will no longer be an eyesore.  It’ll be full of green leaves and I’ll have a wonderful view.

Previous Moments:

  1. My Dolphin by Case Wright
  2. His Name Was Zac by Lisa Marie Bowman
  3. The Neighborhood, This Morning by Erin Nicole
  4. The Neighborhood, This Afternoon by Erin Nicole
  5. Walking In The Rain by Erin Nicole
  6. The Abandoned RV by Erin Nicole
  7. A Visit To The Cemetery by Erin Nicole
  8. The Woman In The Hallway by Lisa Marie Bowman
  9. Visiting Another Cemetery by Erin Nicole
  10. The Alley Series by Erin Nicole
  11. Exploring The Red House by Erin Nicole
  12. The Halloween That Nearly Wasn’t by Erin Nicole
  13. Watchers and Followers by Erin Nicole
  14. Visitors by Erin Nicole
  15. Fighting by Case Wright
  16. Walking In The Fog by Erin Nicole
  17. A Spider Does What It Can by Erin Nicole
  18. Downtown Richardson, In The Rain by Erin Nicole
  19. Me, our kids, and ONCE UPON A TIME IN HOLLYWOOD! by Bradley Crain
  20. The Statues of SMU by Erin Nicole
  21. Exploring the Back Yard Of An Abandoned House by Erin Nicole
  22. The Ugly Old Swing by Erin Nicole
  23. The Fourth of July In My Town by Erin Nicole
  24. A 4th of July Tradition: Blurry Firework Pictures! by Erin Nicole
  25. That Doll by Erin Nicole
  26. Invasion of the Dolls by Erin Nicole
  27. The Dollhouse by Erin Nicole
  28. Jake and Max by Erin Nicole
  29. The Morning of October 26th by Erin Nicole
  30. Casper The God by Erin Nicole
  31. Carrying The Flag by Erin Nicole