Song of the Day: The Number of the Beast (by Iron Maiden)


Iron Maiden’s “The Number of the Beast” has always been more than its fire-and-brimstone title suggests — it’s paranoia turned into power. The song’s galloping riffs and Bruce Dickinson’s almost theatrical wail capture the feeling of witnessing something apocalyptic yet beautiful. In the context of 28 Years Later: The Bone Temple, that sense of awe and fear fits perfectly with the film’s tone. The track mirrors the world’s collapse into ritual madness — humanity trying to reframe its pain through cultish belief, just as Maiden’s lyrics dance between religious imagery and sheer existential panic.

There’s also a rhythm to the song that mirrors how The Bone Temple paces its moments of horror and release. The pounding drums feel like the heartbeat of survivors, racing through collapsed cities while their faith in reason splinters. Just as Iron Maiden’s piece builds to a manic crescendo, the film layers intensity until chaos feels almost sacred. The chorus could easily underscore the movie’s climactic sequences — not as a literal choice, but emotionally, where fascination with evil becomes indistinguishable from fear.

What ties them together most is their shared refusal to moralize the apocalypse. Iron Maiden tells a story about vision and hysteria — not right or wrong — and The Bone Temple does the same, showing how people build new devotions in the ashes of old systems. Both suggest that when we stare into horror long enough, it stares back with rhythm and purpose. In that way, “The Number of the Beast” isn’t just an anthem of terror; it’s a hymn for the end of reason — making it the perfect spiritual soundtrack for this chapter of the 28 Years Later world.

The Number of the Beast

Woe to you, o’er Earth and Sea
For the Devil sends the beast with wrath
Because he knows the time is short
Let him who hath understanding reckon the number of the beast
For it is a human number
Its number is six hundred and sixty six

I left alone, my mind was blank
I needed time to think to get the memories from my mind
What did I see? Can I believe that what I saw
That night was real and not just fantasy?
Just what I saw, in my old dreams, were they
Reflections of my warped mind staring back at me?
Cause in my dreams, it’s always there
The evil face that twists my mind and brings me to despair

Yeah!

The night was black, was no use holding back
Cause I just had to see, was someone watching me?
In the mist, dark figures move and twist
Was all this for real or just some kind of hell?

666 the number of the beast
Hell and fire was spawned to be released

Torches blazed and sacred chants were phrased
As they start to cry, hands held to the sky
In the night, the fires are burning bright
The ritual has begun, Satan’s work is done

666 the number of the beast
Sacrifice is going on tonight

This can’t go on, I must inform the law
Can this still be real, or just some crazy dream?
But I feel drawn towards the chanting hordes
They seem to mesmerize, can’t avoid their eyes

666 the number of the beast
666 the one for you and me

I’m coming back, I will return
And I’ll possess your body and I’ll make you burn
I have the fire, I have the force
I have the power to make my evil take its course

Scene that I Love: Cary Grant and Ingrid Bergman Are Notorious


The great Cary Grant was born 122 years ago today.

In honor of Cary Grant’s legendary career and screen charm, today’s scene that I love comes from one of my favorite Cary Grant/Ingrid Bergman/Claude Rains/Alfred Hitchcock movies!  From 1946’s Notorious, here is a scene that I love.

4 Shots From 4 Films: Special John Boorman Edition


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

Today, the Shattered Lens wishes a happy 93rd birthday to British director John Boorman.

Boorman is one of those great director who sometimes doesn’t seem to get as much credit as he deserves.  An undeniably idiosyncratic director, Boorman easily moved from genre to genre and who brought his own individual style to each of his films.  Sometimes, critics and audiences responded to that vision and sometimes, they didn’t.  And yet even Boorman’s so-called failures have come to be appreciated over the years.  Zardoz is a cult classic.  Even The Exorcist II: The Heretic is not quite the disaster that some insist.  If nothing else, it’s one of the strangest studio productions to ever be released.

At his best, Boorman is one of the most influential directors of all time.  How many neo-noirs have ripped off the look and the feel of Point Blank?  The ending of Deliverance has been imitated by a countless number of horror films and, indeed, every backwoods thriller owes a debt to Boorman’s film about four businessmen spending a weekend canoeing.  Excalibur is one of the most elegiac of all the Arthurian films while Hope and Glory retains its power to make audiences both laugh and cry with its portrayal of life on the British homefront during World War II.  Meanwhile, films like The General and The Emerald Forest gave underrated characters actors like Powers Boothe and Brendan Gleeson a chance to shine.

So today, in honor of the career and the legacy of John Boorman, here are….

4 Shots from 4 John Boorman Films

Point Blank (1967, dir by John Boorman, DP: Philip H. Lathrop)

Deliverance (1972, dir by John Boorman, DP: Vilmos Zsigmond)

Excalibur (1981, dir by John Boorman, DP: Alex Thomson)

The General (1998, dir by John Boorman, DP: Seamus Deasy)

Music Video of the Day: Snow Waltz by Lindsey Stirling (2022, dir by Lindsey Stirling)


Snow?  We have no snow.  However, we do have freezing temperatures that have left me shivering under the covers.  Today’s music video of the day feels appropriate.  Luckily, Lindsey Stirling can make any sudden weather change better.

Enjoy!

I Watched Perry Mason: The Case Of The Ruthless Reporter (1991, Dir. by Christian I. Nyby II)


When arrogant news anchor Brett Huston (John James) is shot and killed, his co-anchor Gillian Pope (Kerrie Keane) is arrested and charged with the crime.  It looks like an open-and-shut case because Brett was shot with Gillian’s gun.  Luckily, Gillian is friends with Perry Mason (Raymond Burr) and soon Perry is on the case with Della Street (Barbara Hale) and Ken Malansky (William R. Moses).

Now this is how you do a Perry Mason movie!  Brett’s murder is linked to a memo that he wrote in which he criticized the other members of the news team and argued that they should all be fired.  All of the suspects are enjoyably eccentric.  There’s a weatherman (Peter Jurasik) who wants to be a stand-up comedian.  There’s the sports reporter (Philip Michael Thomas) who used and sold steroids.  There’s the producer (Susan Sullivan), who was also Brett’s ex-wife.  Brett even insulted the station manager (Jerry Orbach, who previously appeared as a different suspect in The Musical Murder).  Ken, as usual, finds time for romance, this time with reporter Cassie Woodfield (Mary Page Keller) who appears to have someone trying to kill her as well.  Along with a great cast of characters, this mystery had a solution that took me by surprise but which also made sense when I looked back on it.  The final courtroom reveal was perfect.  This is also probably the only Perry Mason film where the hours of a hamburger restaurant proved to be instrumental to the case.

The Case of the Ruthless Reporter was a good one!

S.F.W. (1994, directed by Jefery Levy)


Cliff Spab (Stehpen Dorff), his friend Joe Dice (Jack Noseworthy), and teenager Wendy Pfister (Reese Witherspoon) are in the wrong convenience store at the wrong time and end up being taken hostage by a group of masked terrorists who have guns and video cameras.  For 36 days straight, their ordeal is broadcast live on television.  They become the number one show in the country and Cliff’s nihilistic attitude makes him a star.  When the terrorists threaten to kill him, he spits back, “So fucking what!?”  Alienated young people take up S.F.W. as a personal chant and credo.  When Joe finally fights back, both he and the terrorists are killed in the shoot-out.  Wendy and Cliff are now celebrities, even though they don’t want to be.  Released into the real world, Cliff has to deal with everyone wanting to make money off of him.  His alienation has been turned into a product.  He just wants to be reunited with Wendy but his fans want him to tell them how to live their lives.  Fandom turns out be a fickle beast.

Earlier this morning, I came across a news item that Jefery Levy, the director of S.F.W., had died at the age of 67.  S.F.W. used to show up frequently on cable in the 90s but I hadn’t thought about it in years.  When I first saw S.F.W., I didn’t care much for it.  Cliff came across as being a poseur and Stephen Dorff came across like he was way too impressed with himself.  With John Roarke playing everyone from Phil Donahue to Sam Donaldson and Gary Coleman appearing as himself, the movie seemed like it was trying too hard to be outrageous.  Looking back on it now, though, I realize S.F.W. may not have been a good movie but it was still a very prophetic movie.  What seemed implausible in the 90s — like the 36-day live stream from inside the convenience store hostage situation and Cliff Spab’s fans switching their allegiance to a self-righteous virgin who yells that everything matters while trying to assassinate him — feels far too plausible today. 

In 1994, S.F.W. and Jefery Levy predicted the 2020s.  The only thing it got wrong was having Cliff Spab not wanting to be a famous.  Today, Cliff Spab would probably be presenting the Best Podcast award at the Golden Globes.

Happy 59th Birthday to the Incredible South Korean Actor Song Kang-ho!


I discovered South Korean cinema when I ran across the blu ray for SHIRI (1999) at Best Buy some time around the turn of the century. Making the impulse buy, I discovered SHIRI to be an incredible action film. With my appetite sufficiently whetted, I hopped on the Internet and just started searching for more. The next movie I came across was JOINT SECURITY AREA (2000), another great film. I took notice of the actor Song Kang-ho in both films, so I started watching his career very closely. Soon he was starring in the psychological thriller SYMPATHY FOR MR. VENGEANCE (2002) and the serial killer film MEMORIES OF MURDER (2003). Not only was Song giving incredible acting performances, he was working for two of the great South Korean directors at the time, Park Chan-Wook and Bong Joon Ho. These two incredible directors were making the best films in South Korean cinema and Song’s fingerprints were all over their best work. Films like THE HOST (2006), THIRST (2009) and SNOWPIERCER (2013) soon followed, culminating in Song’s lead performance in Bong Joon Ho’s Oscar winning film PARASITE (2018), the first foreign language film to ever take home the Best Picture Oscar! 

I have now been a fan of Song Kang-ho for over 25 years. He’s still working hard. I just noticed that he has a series that’s streaming on Hulu called UNCLE SAMSIK. I need to check that out. I also noticed that many of his best films are currently available for streaming on so many different platforms… Netflix, Tubi, the Roku Channel, PlutoTV, etc., etc.!

Check out this trailer for MEMORIES OF MURDER. If this doesn’t light your fire, your wood’s wet! Happy Birthday, Song Kang-ho. Thanks for a quarter century of entertainment!

4 Shots From 4 Films: Special James Earl Jones Edition


4 Or More Shots From 4 Or More 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, we remembers the great James Earl Jones.  It’s time for….

4 Shots From 4 James Earl Jones Films

Conan The Barbarian (1982, dir by John Milius, DP: Duke Callaghan)

Gardens of Stone (1987, dir by Francis Ford Coppola, DP: Jordan Cronenweth)

Field of Dreams (1989, dir by Phil Alden Robinson, DP: John Lindley)

The Hunt for Red October (1990, directed by John McTiernan, DP: Jan de Bont)

Scenes That I Love: James Earl Jones in Field of Dreams


Today would have been James Earl Jones’s 95th birthday.

Today’s scene that I love features him reacting to an impromptu visit from Kevin Costner in 1989’s Field of Dreams.  With his famous voice, his good humor, and his own inspiring story of overcoming a childhood stutter to become one of our greatest actors, it’s often easy to forget that some of Jones’s best moments came when he played characters who were just fed up with the stupidity of the world.