4 Shots From 4 Films: Special Richard Donner 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 would have been the 96th birthday of director Richard Donner.  It’s time for….

4 Shots From 4 Richard Donner Films

The Omen (1976, dir by Richard Donner, DP: Gilbert Taylor)

Superman (1978, dir by Richard Donner, DP: Geoffrey Unsworth)

Lethal Weapon (1987, dir by Richard Donner, DP: Stephen Goldblatt)

Scrooged (1988, dir by Richard Donner, DP: Michael Chapman)

Brad recommends SPEAK NO EVIL (2024)!


My wife and I were browsing around our 10 different movie apps a couple of nights ago when we came across the psychological thriller SPEAK NO EVIL on NBC’s Peacock app. I’ve always kinda liked the actor James McAvoy, at least I did in WANTED (2008), so we decided to give it a spin. 

In SPEAK NO EVIL, the vacationing Dalton family, Ben (Scoot McNairy), Louise (Mackenzie Davis), and their daughter Agnes (Alix West Lefler) meet Paddy (James McAvoy), Ciara (Aisling Franciosi), and their son Ant (Dan Hough). The families hit it off instantly and have a great time together, but they soon say goodbye and go their separate ways back to their homes. A couple of months later, the Daltons receive a letter in the mail asking them to take a week to come visit their fast friends at their family farm. Needing a break from their normal routines, they decide to take Paddy & Ciara up on their offer. At first, everyone seems to be having a great time together. But it soon becomes apparent that Paddy & Ciara see the world radically different than Ben and Louise, whether it be their views on the environment, or much more powerfully and personally, their views on raising children. As the fun turns sour, the Dalton’s try to leave, but getting away from Paddy & Ciara isn’t as easy as it seems. Soon we’re learning why Ant can’t speak properly, and we’re seeing disturbing evidence that the Dalton’s aren’t the first family invited out to the farm. The question now is whether or not they’ll be the last?!! 

SPEAK NO EVIL, which is based on a 2022 Danish film of the same name, opens up in a beautiful countryside paradise. I was blown away by the gorgeous Eastern European locations where the families were enjoying their vacations. The Dalton’s, more vulnerable than they might first appear, are taken in by the outgoing and free-spirited Paddy and Ciara. Even after they’ve gone back to their normal lives, they seem to miss the excitement that their vacation friends brought to their lives. Their vulnerability leads to a terribly shortsighted decision to spend a week at the secluded farm of a couple they barely know. While we might question their decision-making skills, I think that most of us would agree that many of our very worst decisions come from positions of weakness and vulnerability. The Daltons will most certainly soon come to regret their decision. 

I was interested in watching SPEAK NO EVIL because I like psycho thrillers and James McAvoy. As far as I’m concerned, neither disappointed. This film spends the first 90% of its run-time slowly tightening its grip on us viewers prior to unleashing hell over the last 10%. McAvoy is both creepy, powerful and evil as Paddy. When we finally see him snap, we’re not terribly surprised based on his gradually more depraved behavior witnessed earlier in the film. Scoot McNairy is good in the film, even though his Ben Dalton comes across as a relatively weak husband and dad most of the time. The truth is, he’s like most normal people would be if we found ourselves in this situation. And Mackenzie Davis is good as Louise Dalton, although there are a few times when she behaves in ways that undermines her character’s perceived intelligence in order to keep the plot moving along. The children characters end up having meaningful roles in the resolution of the film, and the child actors do a fine job, which is not always the case. At the end of the day, SPEAK NO EVIL doesn’t feel like the most original of films, but I think the director and actors tell a familiar, thrilling story quite well. 

The last thing I’m going to say is that I’ve never seen the original 2022 Danish film that SPEAK NO EVIL (2024) is based on. I understand that its resolution is much, much different than this version. I do plan on watching it soon, as it’s currently playing on Tubi. Regardless of how I end up feeling about the original, my wife and I watched this 2024 version and enjoyed it. No later viewing of the source material can take that away. 

Honor Amongst Men (2018, directed by Fred Carpenter)


Honor Amongst Men?

Don’t even ask.

John Halmo (Robert Clohessy) is a veteran cop who is been on the job for so long that he wears a dinosaur pin.  The film portrays one very long day on Long Island, as John deals with cocky young cops, squabbling drug addicts, his Alzheimer’s-afflicted father (Ed Asner), and a motorcycle gang war.  Chuck Zito plays the the main motorcycle baddie.  Joan Jett plays Stephanie, who spend a lot of time yelling.  It’s cool to see Joan Jett in a movie.

Why is Chuck Zito such an unconvincing biker in this?  He was a member of the Hell’s Angels for twenty-five years.  He did time for the gang.  If anyone should have felt authentic in this movie, it was Chuck Zito.  But Zito seems lost.  Maybe it’s the bad CGI that the movie uses whenever Zito shoots someone.  Bad CGI and a bad performance.

Robert Clohessy is good, though.  Clohessy’s been playing tough cops since the start of his career.  Hill Street Blues, Oz, Blue Bloods, NYPD Blue, Homicide, Ohara (a show the featured Pat Morita as a detective), all of them featured Clohessy as a cop.  Clohessy gives a great performance in Honor Amongst Men.  It’s too bad that the rest of this disjointed film isn’t as good.

Honor Amongst Men is a film that wants to say something about how the world is changing and how there’s less room for honorable men like John Halmo.  John is being pressured to retire.  His father is losing his ability to remember the past.  Even Chuck Zito is just a man looking for old-fashioned revenge.  A lot of good movies have been made about honorable men suddenly finding themselves in a world where honor is disappearing and Clohessy’s performance is good enough that this movie’s message sometimes comes through.  But the movie itself is disjointed and features too many scenes that just don’t work, either because everyone other than Clohessy’s is overacting or because the director lets them drag on for too long.  Good intentions can only go so far.

 

Join #TubiThursday For Predator!


Hi, everyone!  Tonight, on Mastodon, I will be hosting the #TubiThursday watch party!  Join us for Predator (1987)!

You can find the movie on Tubi and you can join us on Mastodon at 9 pm central time!  (That’s 10 pm for you folks on the East Coast.)  We will be using #TubiThursday hashtag!  See you then!

Predator (1987, directed by John McTiernan, DP: Donald McAlpine)

4 Shots From 4 Films: Special William Castle 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!

Tomorrow, the Shattered Lens will celebrate the 112th anniversary of the birth of director and showman, William Castle!  It’s time for for an early edition of….

4 Shots From 4 William Castle Films

House on Haunted Hill (1959, dir by William Castle, DP: Carl E. Guthrie)

13 Ghosts (1960, dir by William Castle, DP: Joseph F. Biroc)

Strait-Jacket (1964, dir by William Castle, DP: Arthur E. Arling)

Shanks (1974, dir by William Castle, DP: Joseph F. Biroc)

Film Review: Target Earth (dir by Sherman A. Rose)


1954’s Target Earth has an intriguing premise.

Nora King (Kathleen Crowley) wakes up in a Chicago hotel room, surrounded by the pills that she took the previous night as a part of an unsuccessful suicide attempt.  The room is quiet, too quiet.  Getting out of bed, Nora eventually finds herself walking around Chicago.  The city, which should be busy, is silent.  At first, there doesn’t seem to be anyone else around.  Eventually, Nora does run into a man named Frank (Richard Denning) and later, they meet a couple (Richard Reeves and Virginia Grey) who are busy getting drunk at a local cafe.

It’s a premise that feels like it could have been used in an episode of the Twilight Zone and the somewhat harsh black-and-white cinematography only increases the sense of isolation.  Obviously something big has happened in Chicago but no one is quite sure what it could be.  Our four survivors meet a few other people as they wander around the city.  Some people are terrified.  Some people, like the psychotic Davis (Robert Roark), aren’t concerned with what happened but instead are focused on how they can take advantage of the situation.  From the start, the atmosphere is effectively creepy and ominous.  Richard Denning and especially Kathleen Crowley give strong performances, capturing their confusion at the situation.

And then the robot shows up.

Now, I have to be honest.  I love this robot.  It’s big and ludicrous and it move so stiffly that there are times that it looks like it’s going to trip and end up flat on its back.  There’s something undeniably charming about the fact that, in 1954, an actor got into a silly robot costume (complete with fake arms) and then waddled around while everyone pretended to be terrified of him.  While the robot is definitely dangerous and it can fire a laser beam from its eye, I have to admit it immediately reminded of Torg, the cardboard robot from Santa Claus Conquers The Martians.  It’s exactly the type of thing that people like me tend to love about cheap, 1950s science fiction.  Back then, robots were considered to be so exotic that they only had to exist to be intimidating.  Today, we’re spoiled by fancy robots.  We expect every robot to be The Terminator.

That said, as charming as I found the robot to be, it totally altered the atmosphere of the movie.  As soon as the robot shows up, Target Earth goes from being atmospheric to campy.  The actors are still good.  Robert Roark is genuinely menacing as the evil Davis.  But that robot pretty much assures that we’ll never forget we’re watching a l0w-budget sci-fi flick.

As was typical of 50s sci-fi, things are eventually explained by the military.  We get some stock footage.  We get some scenes of concerned officers discussing what’s happening in Chicago.  Personally, I would have preferred it if the film had extended the mystery a bit.  It’s at its best when the viewer doesn’t know what’s going on.  That said, the film’s first half is wonderfully suspenseful.  The robot is perhaps too adorable for its own good but the movie still leaves you wondering what you would do if you woke up and discovered that the rest of humanity has vanished.

White Ghost (1988, directed by B.J. Davis)


In 1972, Lt. Steve Shepherd (William Katt) disappeared in the jungles of Vietnam.  He was listed as being MIA and he was mistakenly presumed dead.  Instead, he survived in the jungle and continued to fight his own war against the North Vietnamese.  Eventually, he “married” a Thai woman named Thi Hau (Rosalind Chao).  The North Vietnamese began to call him the “White Ghost.”

16 years later, Major Cross (Reb Brown) hears the legend of the White Ghost and arranges for a group of elite rangers to parachute into the jungle and retrieve Lt. Shepherd.  However, Thi Hau has been captured by the Vietnamese army and is being held at one of their torture camps.  Shepherd is determined to rescue her.  As well, one the rangers (Wayne Crawford) has a personal issue with Shepherd that goes back to their time in Vietnam.  He determined to get his revenge, no matter what the cost.

White Ghost came out at a time when films like Rambo: First Blood II and Missing In Action were bringing in the big bucks at the box office.  Like those movies, White Ghost gives audiences a chance to watch as the Vietnam War is refought, this time with America as the victor.  What sets White Ghost apart is that Shepherd not only has to destroy the Vietnamese prison camp but he also has to avoid his fellow Americans while doing it.  This is a violent movie with an astronomical body count.  The action is pretty much nonstop and, for once, not even the hero can escape without a scratch.  Director BJ Davis was a stuntman and, not surprisingly, he gets fantastic work from the film’s stunt team.  This film also owes a debt to Predator, with its jungle locations and its emphasis on booby traps.  Karl Johnson appears as one of the Rangers and he looks so much like Jesse Ventura that I actually checked to make sure that it wasn’t him.

At first, William Katt seemed miscast as Steve Shepherd and he seemed to be in surprisingly good shape for someone who has spent sixteen years living in the jungle.  By the end of the movie, though, Katt had won me over.  He looked convincing shooting a machine gun and throwing grenades and his scenes with Rosalind Chao had enough depth that you cared whether or not he was able to rescue her.  Reb Brown fans will probably be disappointed that he spends most of the movie behind a desk but, in the gloriously frenetic finale, he does finally get to do his trademark yelling.

White Ghost is an exciting slice of Namsploitation.  At one point, there was a sequel planned that would have featured Shepherd fighting crime in America but unfortunately, it never happened.

 

Scenes That I Love: Jack Nicholson’s Freeway Performance in Bob Rafelson’s Five Easy Pieces


Today, the Shattered Lens wishes a happy 89th birthday to the legendary Jack Nicholson.

Today’s scene that I love comes from the 1970 film, Five Easy Pieces.  In this Oscar-nominated film, Jack Nicholson plays Bobby Dupea.  Born to a wealthy and music-obsessed family, Bobby currently works in an oil field and is alternatively angry, cynical, and idealistic.  After Jack Nicholson’s Oscar-nominated turn in Easy Rider, Five Easy Pieces featured Nicholson playing the type of role for which he would be best-known in the 70s, the wayward rebel who must choose between being a part of society or being forever an outcast.

In this scene, Bobby and his oilfield co-worker find themselves stuck in a traffic jam.  Bobby gets a chance to show off both his temper and his talent.  It’s a great scene and Nicholson gives such a strong performance that it’s only later that you realize that Bobby’s anger didn’t really accomplish much.

4 Shots From 4 Films: Special Jack Nicholson 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 is Jack Nicholson’s 89th birthday!

It’s been sixteen years since Jack Nicholson last appeared in a movie, the forgettable How Do You Know.  And yet, he remains a screen icon with a filmography that is a cinema lover’s dream.  He’s worked with everyone from Roger Corman to Stanley Kubrick to Milos Forman to Martin Scorsese and, along the way, he’s become a symbol of a very American type of rebel.  Though often associated with the counter-culture, his style has always been too aggressive and idiosyncratic for him to be a believable hippie.  Instead, he’s one of the last of the beats, an outsider searching for meaning in Americana.

Happy birthday, Jack Nicholson.  May you have many happy returns!

4 Shots From 4 Jack Nicholson Films

Easy Rider (1969, dir by Dennis Hopper, DP: Laszlo Kovacs)

Chinatown (1974, dir by Roman Polanski, DP: John A. Alonzo)

The Shining (1980, dirby Stanley Kubrick, DP: John Alcott)

The Departed (2006, dir by Martin Scorsese, DP: Michael Ballhaus)