Film Review: Boyfriend Killer (dir by Alyn Darnay)

Posted on February 14, 2017 by Lisa Marie Bowman

In the Lifetime film, Boyfriend Killer, there was a brief scene that I really liked and I think it epitomizes why I enjoyed this film and why I watch Lifetime films in general.

In the scene, Sandra Durro (Barbie Castro, who also produced this film) shares a hug with Krystal Kellers (Kate Mansi), her son’s girlfriend. The camera quickly cuts back and forth from Sandra’s face to Krystal’s face and the audience sees that both of them have the same look of irritation and loathing on their face. That really does get to a basic truth. A mom is never going to fully trust her son’s girlfriend. And a girlfriend is always going to suspect that her boyfriend’s mom is judging her.

Of course, Sandra has good reason to not fully trust Krystal. Boyfriend Killer opens with the death of Sandra’s son, Preston. Preston, who was handsome and charismatic and had a great life ahead of him, was killed in a car crash and Sandra suspects that it wasn’t an accident. When Sandra and her friend Carrie (Yancy Butler) are packing up Preston’s things, Krystal suddenly shows up and announces that she wants to help.

From the first minute we meet Krystal, there’s something off about her. She claims to be sad but her grief is almost too theatrical. It’s almost as if all she knows about being sad is what she’s seen in the movies. Add to that, Krystal claims that she and Preston were deeply in love, despite the fact that Preston rarely spoke about her. Krystal always seems to be sneaking around the house, searching for something. When Sandra gets near Preston’s computer, Krystal freaks out. Krystal explains that she and Preston both used that computer so if Sandra touches it, she’ll actually be invading Krystal’s privacy.

Well, what’s a mother to do?

It turns out that things between Preston and Krystal were never as perfect as Krystal claims. In fact, shortly before his death, Preston had told Krystal that he never wanted to see her again. Could that have had something to do with the fact that Krystal tried to convince Preston to kill her ex?

Sandra certainly thinks that it might. However, before Sandra can really pursue her suspicions, she has a funeral to attend, a funeral that Krystal makes all about her. It turns out that Krystal has an announcement to make, one that catches everyone by surprise…

Boyfriend Killer is a fun melodrama, one that pretty much epitomizes everything that we love about Lifetime movies. Barbie Castro is relatable and sympathetic as the grieving mother (you really want her to get justice for her son) and Yancy Butler provides good support as her friend. Kate Mansi, who played a similar role in Unwanted Guest, is a force of nature in the role of Krystal. Krystal is a familiar Lifetime character — the duplicitous temptress — but Mansi plays the role with such determination and drive that Krystal becomes a wonderfully hissable villain. Krystal is less defined by the bad things she does than by her total confidence that she’ll never get caught. You alternate between marveling at how far she’ll go and eagerly anticipating the moment when she gets her comeuppance.

Finally, I have to make special mention of Patrick Muldoon, who plays Sandra’s alcoholic ex-husband. To a certain group of pop culture fanatics, Muldoon will always be known as Jeff, the handsome college student whose smile and killer dance moves inspired Kelly to dump Zack on Saved By The Bell. (Hell, I would have dumped Zack for Jeff. Jeff’s in college, has a great smile, and is a manager at the Maxx. Zack’s in high school and spends all of his time with Screech.) And some are always going to think of Muldoon as being the doomed Zander Barclow in Starship Troopers.

However, over the past few years, Patrick Muldoon has given some seriously good performances. They haven’t gotten the attention that they deserve but he was excellent in both Patient Killer and Deadly Revenge. And he’s excellent here, playing a well-meaning guy who cannot shake his demons. It’s a good and poignant performance, one that elevates the film.

One of the great things about Lifetime is that they constantly rebroadcast all of their movies so keep an eye out for Boyfriend Killer!

A Quickie With Lisa Marie: Deadly Ex (dir by Tom Shell)

Posted on February 14, 2017 by Lisa Marie Bowman

On Sunday night, I watched the premiere of Deadly Ex on the Lifetime Movie Network.

In Deadly Ex, Jason Gerhardt plays Gary. He’s a guy who appears to have a successful life, despite a few regrets. For instance, he gave up his teenage dream of being a lawyer but he’s still managed to do okay for himself. He’s married to Jess (Marguerite Moreau) and his two wonderful, teenage children (Sammi Hanratty and Matt Cornet) but domestic bliss has somehow eluded him. In fact, he’s on the verge of divorce.

How bad is Gary’s marriage? It’s so bad that he leaves his wife and children behind when he goes to his high school reunion! However, that also means that he gets to spend some time catching up with his ex-girlfriend, Valerie (Natasha Henstridge). In turns out that, in high school, Gary wasn’t the best boy friend. He rather callously dumped Valerie. But that was a long time ago and Gary’s changed. He says that he’s sorry and he means it. Valerie tells him that she forgives him and…

Well, this is a Lifetime film. And it’s called Deadly Ex. So you can probably guess that Valerie hasn’t quite forgiven or gotten over Gary. Instead, Valerie follows Gary back to his hometown. She enrolls as a student in Jess’s yoga class. She starts to send gifts to Gary’s house. And, eventually, she shows up with a knife…

Plotwise, Deadly Ex is typical Lifetime fare but it’s distinguished by two things. First off, Natasha Henstridge gives a terrific performance as the insanely driven Valerie. Films like this are only as good as their villains and Henstridge bravely throws herself into her performance. Marguerite Moreau also does a good job, playing a mother who will take any risk to defend her family. Secondly, the final confrontation between Valerie and Jess is extremely well-done and director Tom Shell actually keeps you guessing as to how it’s going to end and who is going to survive.

Finally, Deadly Ex manages to tap into a fantasy that I think everyone has. Who hasn’t wanted to run into their ex and brag about how wonderful their life has been since the break-up? For that matter, who hasn’t wanted to get a chance to put an ex in his place? Me, I’d rather do it with a perfectly timed quip than a knife but I guess that’s just me.

(Also, I should mention that, while watching the film, I was able to totally relate to Gary and Jess’s daughter, Carissa, largely because she had perfected the dismissive “whatever” glance that I’ve been employing since I was 13 years old.)

If you’re into Lifetime movies (and who isn’t, really?), Deadly Ex is one to keep an eye out for.

Lisa Reviews An Oscar Nominee: The Thin Man (dir by W.S. Van Dyke)

Posted on February 14, 2017 by Lisa Marie Bowman

Last night, I rewatched the classic 1934 mystery-comedy, The Thin Man.

And you know what?

Nick and Nora Charles should be everyone’s relationship goal.

Technically, The Thin Man is a murder mystery and it’s actually a pretty good one. While I was rewatching the film, I was surprised to see that the whodunit aspect of the plot held up far better than I remembered. But, ultimately, the movie is really a portrait of the ideal romance. Every couple should aspire to be like Nick and Nora.

Nick Charles (William Powell) is a retired private detective, an unflappable gentleman who speaks exclusively in quotable quips. Nick is the type who can apparently spend every hour of the day drinking without ever getting stupidly drunk. He has beautiful homes on both coasts and a list of friends that would make anyone jealous. Whether cop or crook, everyone loves Nick.

Nora Charles (Myrna Loy) is Nick’s wife. She’s independently wealthy. She’s beautiful. She’s always chic. She is always the smartest and funniest person in the room. And she’s probably the only person who can outquip Nick. Nora loves Nick’s lifestyle, whether they’re throwing a party or literally shooting ornaments off of a Christmas tree. As Nora says at the end of one crowded party, “Oh, Nicky, I love you because you know such lovely people.”

And, of course, there’s Asta. Asta is their terrier. If Nick and Nora are the ideal couple, Asta is the ideal pet. Asta is just as quick to investigate a mystery as Nick and Nora. Asta may be a playful dog but he’s also remarkably well-behaved. No insistent yapping. No accidents on the carpet. No growling at visitors. As I’ve mentioned many times on this site, I’m not a dog person but I love Asta.

It’s not just that Nick and Nora are obviously in love and, in this pre-code film, they’re actually allowed to express that love. And it’s not just that they say things in The Thin Man that they wouldn’t be allowed to get away with in the film’s sequels. (If you have any doubt that this is a pre-code film, just check out the scene where the police are going through Nora’s dresser. “What’s that man doing in my drawers?” Nora demands while Nick does a double take.) It’s that Nick and Nora seem to be having so much fun. They’re wealthy. Other than to themselves, they really have no commitments. (Nick only comes out of retirement because Nora say she thinks a mystery sounds like it would be fun to solve.) They have no children to worry about. Even if you don’t want to be either Nora or Nick by the end of this film, you’ll still definitely want to hang out with them.

The Thin Man is a murder mystery. In fact, it’s probably one of the most enjoyable movies ever made about a double murder. Dorothy Wynat (Maureen O’Sullivan) asks Nick to help find her father (Edward Ellis), the thin man of the title. The investigation leads to a rather complicated mystery, one in which everyone that Nick and Nora meets is a suspect. I have to admit that, with my ADD, I always have a hard time following all of the clues.

Of course, so does Nick. That truly is part of the appeal of The Thin Man. Nick is often confused about what it all the clues and evidence add up to but that never seems to upset him. He and Nora are too busy enjoying themselves to get upset. That’s one reason why, even after you know who the murderer is, The Thin Man is a movie that’s enjoyable to watch over and over again. The Thin Man is less about the mystery and more about the way Nick and Nora manage to throw the perfect dinner party even as they reveal who the murderer is.

1934 was a good year for comedy. The Thin Man was nominated for best picture but it lost to another charming little comedy, It Happened One Night.

Scenes I Love: George Meets Mary Again in It’s A Wonderful Life

Posted on February 14, 2017 by Lisa Marie Bowman

It may seem strange, on Valentine’s Day, to share a scene that I love from a Christmas movie. Well, we’re all about being strange here at the Shattered Lens!

Add to that, George and Mary share one of the greatest romances ever put on the big screen. It may be a Christmas movie but it’s also a love story.

So, for your viewing pleasure, here’s how it all started…

4 Shots From 4 Films: The Thin Man, Bonnie and Clyde, The Notebook, Like Crazy

Posted on February 14, 2017 by Lisa Marie Bowman

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 is all about letting the visuals do the talking.

Love love love

4 Shots From 4 Films

The Thin Man (1934, dir by W.S. Van Dyke)

Bonnie and Clyde (1967, dir by Arthur Penn)

The Notebook (2004, dir by Nick Cassavetes)

Like Crazy (2011, dir by Drake Doremus)

A Movie A Day #44: Let Him Have It (1991, directed by Peter Medak)

Posted on February 13, 2017 by Jedadiah Leland

The year is 1953. The place is Croydon. Derek Bentley (Christopher Eccleston) is 19 years old but has the mental capability of an 11 year-old. Unable to hold down a job and judged unfit for the national service, Derek drifts into a gang led by 16 year-old Christopher Craig (Paul Reynolds). When Derek and Craig are caught burglarizing a warehouse, it leads to a tense rooftop confrontation between Craig and the police. Derek has already been captured by the time that the police demand that Craig hand over his gun. Bentley shouts, “Let him have it, Chris!” Craig opens fire, killing one officer.

Because he’s a minor, Craig is only facing a prison sentence for killing the police officer. But, as a legal (if not mental) adult, Derek will be hung if he’s found guilty. Under the common purpose doctrine, it doesn’t matter that Derek didn’t actually shoot the gun. The only thing that matters is what Derek meant when he said, “Let him have it, Chris!” Derek says that he was telling Craig to hand over his gun. The Crown says that Derek was ordering Craig to open fire.

Let Him Have It is based on a true story. The case of Derek Bentley was one of the many cases that eventually led to the death penalty being abolished in the UK. Let Him Have It was released at the height of a long campaign to secure a pardon for Derek. That pardon was finally issued in 1998, though it was too late to help Derek Bentley.

Let Him Have It is a powerful and angry docudrama, one that reveals in searing detail how Derek was railroaded by the British legal system. In his film debut, Eccleston gives a powerful performance as Derek and he is ably supported by both Paul Reynolds and, in the role of Derek’s father, Tom Courtenay. Let Him Have It leaves little doubt as to why the case of Derek Bentley remained a cause célèbre for 45 years after his initial trial.

Lisa Reviews An Oscar Nominee: The Divorcee (dir by Robert Z. Leonard)

Posted on February 13, 2017 by Lisa Marie Bowman

Before I get into reviewing the 1930 best picture nominee, The Divorcee, I want to share something that I recently posted on twitter:

I am thoroughly imperfect, occasionally a little bit self-absorbed, and sometimes a little angry but deep down, I am a good person.

— Lisa Marie Bowman (@LisaMarieBowman) January 29, 2017

I’m not just sharing this because it’s one of the best things that I’ve ever tweeted. I’m also sharing it because it’s a beyond perfect description of Jerry (played, in an Oscar-winning performance, by Norma Shearer), the lead character in The Divorcee. (Whenever you tweet something that is beyond perfect, you’ve earned the right to make sure everyone else knows it.) The Divorcee came out in 1930 so, needless to say, it’s a bit dated but I totally related to the character of Jerry and that’s perhaps the main reason why I enjoyed this film.

The Divorcee tells the type of story that, today, would probably make for a memorable Lifetime film. It’s a film that follows four friends over several years. They are the idle rich, the type who go to parties, dance on tables, and cheerfully ignore the ban on liquor. Jerry (Norma Shearer) loves Ted (Chester Morris). Dorothy (Helen Johnson) loves Paul (Conrad Nagel). However, Paul loves Jerry and when Jerry announces that she and Ted are engaged to be married, Paul doesn’t handle it well. In fact, Paul gets drunk, Paul drives a car with Dorothy in the passenger’s seat, and eventually Paul crashes the car, leaving Dorothy so disfigured that she spends the rest of the movie wearing a black veil.

The years pass. In order to make up for horribly disfiguring her, Paul agrees to marry Dorothy. Jerry marries Ted. They’re happy until they’re not. On the day of their third anniversary, Jerry discovers that Ted has been cheating on her. So, Jerry cheats on Ted. When Ted gets upset, they file for divorce.

Suddenly, Jerry is …. (dramatic music cue) … THE DIVORCEE!

Ted becomes an alcoholic, the type who makes scenes at parties and destroys ornate wedding cakes. In the past, I assume Jerry would have been forced to wear a scarlet D and she would have made it work because there’s nothing that Jerry can’t do. However, since this film takes place in the 1920s, Jerry spends her time flirting and plotting to steal Paul away from Dorothy.

And it would have worked too if not for the fact that Dorothy is a complete and total saint…

Drinking, sex, adultery, disfigurement, and Norma Shearer!? That’s right, this is a pre-code film! The Divorcee is actually a pretty typical example of a type of film that was very popular during the 1930s and actually remains rather popular today. This is a film where rich people do stupid things but look good doing it. When an audience watches a film like this, they can both look down on the rich and vicariously experience their lifestyle. No wonder these movies are so popular!

Anyway, I liked The Divorcee. It’s an incredibly silly little film but it’s hard for me not to enjoy something this melodramatic. Chester Morris and Conrad Nagel are stuck playing heels and Helen Johnson is a bit to saintly but it doesn’t matter because the film is pretty much designed to be a showcase for Norma Shearer, the most underrated of all of the Golden Age actresses. (Far too often, Shearer is dismissed as simply being Irving Thalberg’s wife.) Shearer gives a great performance. She seems to be having the time of her life and it’s fun to watch.

The Divorcee was nominated for best picture but it lost to a far different picture, All Quiet On The Western Front.

Twin Blasts From The Past: What To Do On A Date and Dating Do’s and Don’ts (dir by Ted Peshak)

Posted on February 13, 2017 by Lisa Marie Bowman

It’s been a while since I’ve shared any old educational films here on the Shattered Lens but I figured now might be the perfect time to share an old movie from 1951, What To Do On A Date. Produced by the good (or so I assume) people at Coronet Films, What To Do On A Date is … well, the plot is pretty much in the title.

Now, to be honest, this could have just as easily been called What To Do On A Date If You Want To Make Sure That Lisa Never Agrees To A Second Date. Seriously, this is totally squaresville. Like real Melvin. But you know what? I’m notoriously hard to please and, with Valentine’s Day coming up, this may be helpful to someone.

I don’t know who, exactly. But hey, it’s on YouTube and that’s the important thing.

(I’m all about helping. You know that.)

If you still need help after What To Do On A Date, you can watch 1949’s Dating Do’s and Don’ts. It was directed by the same guy who did What To Do On A Date. People in the 1940s were notorious for knowing what to do on dates. The Baby Boom didn’t just happen, y’know.

(Apparently, the version of Dating Do’s and Don’ts uploaded to YouTube is incomplete. But you’ll get the general point.)

A Movie A Day #43: The Big Heist (2001, directed by Robert Markowitz)

Posted on February 12, 2017 by Jedadiah Leland

the_big_heist_2001 In 1978, low-level mob associate Jimmy Burke (Donald Sutherland) is released after serving a six years in prison. As soon as he arrives home, he discovers that his son, Frank (Jamie Harris), has failed to keep up with the family business and that the Burke Crew is close to becoming a joke. Looking for a big score, Jimmy masterminds a robbery at John F. Kennedy International Airport. The so-called Lufthansa Heist becomes the largest cash robbery committed on American soil at that time. Growing paranoid, Burke decides it would be easier to just kill all the members of his crew than to give them their cut of the robbery. What Burke doesn’t realize is that his closest associates are destined to be his downfall. Tommy DeSimone (Rocco Sisto) has offended John Gotti (Steven Randazzo) while Henry Hill (Nick Sandow) has become hooked on drugs and is considering turning informant.

If all this sounds familiar, that’s because part of this story was already told in Goodfellas. The Big Heist was made for TNT and, because it focuses exclusively on the robbery, it goes into far more detail than Martin Scorsese’s film. For instance, the character of Frank Burke was entirely left out of Goodfellas and it’s interesting to see how much more negatively Henry Hill is portrayed in The Big Heist. Since it’s told from the viewpoint of Jimmy Burke instead of Henry Hill, The Big Heist makes for an interesting companion piece to Goodfellas but, at the same time, it never escapes the shadow of the other film. With both movies employing voice over narration and frequent freeze frames, it’s impossible to watch The Big Heist without comparing it to Goodfellas. Since Goodfellas was made by Martin Scorsese and The Big Heist was made for TNT, the former comes out on top.

It’s also hard to watch Donald Sutherland as Jimmy Burke without comparing his performance to Robert De Niro’s Jimmy Conway. Though he never reaches the heights of De Niro’s performance, Sutherland is convincing as a sociopathic criminal mastermind. Less convincing are Rocco Sisto and Nick Sandow, who both struggle to make an impression in roles previously made famous by Joe Pesci and Ray Liotta.

Lisa Reviews An Oscar Nominee: 42nd Street (dir by Lloyd Bacon and Busby Berkeley)

Posted on February 12, 2017 by Lisa Marie Bowman

If you’re a regular reader of this site, it will not take you by surprise to learn that the 1933 Best Picture Nominee, 42nd Street, is one of my favorite films of all time.

I mean, how couldn’t it be? Not only is it a pre-Code film (and we all know that pre-Code films were the best) and one the features both Ginger Rogers and Dick Powell in early roles but it’s also a film that depicts the backstage world of a stage musical with such a combination of love and snark that it will be familiar to everyone from community theater nerds to Broadway veterans. 42nd Street is a classic musical, though I have to admit that I think the majority of the songs are a bit overrated. Even more importantly, 42nd Street is the ultimate dance film. The film’s big production number, choreographed and filmed in the brilliant and flamboyant Busby Berkeley style, is such an iconic moment that it’s still being imitated and lovingly parodied to this day.

Every dance movie owes a debt to 42nd Street but few have come close to matching it. Remember how much we all hated Smash? There were a lot of reasons to hate Smash but the main reason was because it tried to be 42nd Street and it failed. There can only be one 42nd Street.

It’s hard to estimate the number of show business clichés that currently exist as a result of 42nd Street. Then again, it can be argued that they were clichés before they showed up in 42nd Street but 42nd Street handled them in such an expert fashion that they were transformed from being urban legends to immortal mythology.

42nd Street takes place in the backstage world, following the production of a Broadway musical through casting to rehearsals to opening night. It’s an ensemble piece, one populated by all the usual suspects. Julian Marsh (Warner Baxter) is the down-on-his-luck producer who desperately needs a hit. Dorothy Brock (Bebe Daniels) is the celebrated star who is dating a rich, older man (Guy Kibbee, who made quite the career out playing rich, older men) while secretly seeing her ex, a down-on-his-luck Vaudevillian (George Brent). From the minute that we first see Dorothy, we know that she’s eventually going to end up with a boken ankle. It’s just a question of which chorus girl will be promoted to take her place. Will it be “Anytime” Annie (Ginger Rogers) or will it be the naive and wholesome Peggy (Ruby Keeler)? You already know the answer but it’s still fun to watch.

If you had any doubts that this was a pre-code film, the fact that Ginger Rogers is playing a character named “Anytime” Annie should answer them. 42nd Street is often described as being a light-hearted camp spectacle but there’s a cynicism to the film, a cynicism that could only be expressed during the pre-code era. The dialogue is full of lines that, just a few years later, would never have gotten past the censors.

(This is the film where it’s said that Anytime Annie “only said no once and then she didn’t hear the question!” This is also the film where Guy Kibbee cheerfully tells Annie that what he does for her will depend on what she does for him. Just try to get away with openly acknowleding the casting couch in 1936!)

The menacing shadow of the Great Depression looms over every glossy production number. Julian needs a hit because he lost all of his money when the Stock Market crashed and if the show is not a hit, everyone involved in the production will be out on the streets. The chorus isn’t just dancing because it’s their job. They’re dancing because it’s an escape from the grim reality of the Great Depression and, for the audience watching, the production numbers provided a similar escape. 42nd Street said, “Yes, life is tough. But sometimes life is fun. Sometimes life is sexy. Sometimes, life is worth the trouble.” Someday, 42nd Street promises, all the misery will be worth it.

Ultimately, 42nd Street is all about that iconic, 20-minute production number: