4 Shots From 4 Films: Special Gus Van Sant 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 the Shattered Lens wishes a happy birthday to one of the pioneers of American independent cinema, Gus Van Sant!

It’s time for….

4 Shots From 4 Gus Van Sant Films

Drugstore Cowboy (1989, dir by Gus Van Sant, DP: Robert Yeoman)

To Die For (1995, dir by Gus Vant Sant, DP: Eric Alan Edwards)

Gerry (2002, dir by Gus Van Sant, DP: Harris Savides)

Elephant (2003, dir by Gus Van Sant, DP: Harris Savides)

Scenes That I Love: The Car Chase From Bullitt


94 years ago today, the English director Peter Yates was born in Aldershot, Hampshire.  Yates would go on to direct films in almost every genre but today, he’s perhaps best-remembered for directing what is considered to be one of the best car chases of all time.  Today scene that I love comes from Peter Yates’s 1968 film Bullitt and yes, that is Steve McQueen doing his own driving through the streets of San Francisco.

Retro Television Reviews: Murder In New Hampshire: The Pamela Smart Story (dir by Joyce Chopra)


Welcome to Retro Television Reviews, a feature where we review some of our favorite and least favorite shows of the past!  On Sundays, I will be reviewing the made-for-television movies that used to be a primetime mainstay.  Today’s film is 1991’s Murder In New Hampshire: The Pamela Smart Story!  It  can be viewed on YouTube!

When Pamela Wojas (Helen Hunt) first became engaged to Gregg Smart (Hank Stratton), she thought that they would never get older or settle down to a conventional life.  She thought that Gregg would always have long hair and that they would spend the rest of their lives following Van Halen around the country.  But then Gregg got a job with a New Hampshire insurance company and he cut his hair.  And then Pam failed in her attempts to get hired by the local news station and instead, she ended up accepting a job as the part-time media director at a local high school.

Pam spearheaded the school’s anti-drug campaign and ended up working closely with two students in particular, Billy Flynn (Chad Allen) and Cecelia Pierce (Riff Reagan).  Billy and Pam bonded over their shared love of Van Halen and soon, they were having an affair.  Was Pam just trying to relive her youth or was she already setting up Billy to murder her husband?

Based on the true story that also inspired Gus Van Sant’s To Die For, Murder In New Hampshire jumps back and forth through time.  The film opens with Gregg being shot and killed by Billy and one of his friends.  It then cuts to a courtroom, where a prosecutor (Howard Hesseman) tells the jury that Gregg was murdered on the orders of his own wife.  A very conservatively and modestly-dressed Pam sits in the courtroom and provides quite a contrast to the far more wild and hedonistic Pam who we see in the film’s frequent flashbacks.  While Gregg settles comfortably into life as a suburban insurance agent, Pam continually tries to hold onto her past.  While Gregg wins awards for selling the most insurance, Pam tells Billy that Gregg beats her and that he’s dangerous.

It’s difficult to watch Murder In New Hampshire without comparing it To Die For.  They both tell the same story and they even use the same flashback structure.  But if To Die For presented Nicole Kidman as being a soulless killer who was driven by her obsession with being a star, Murder In New Hampshire suggests that Pam’s main motivation was that she just couldn’t handle the idea of settling down and living a conventional, suburban life.  As well, To Die For presented Joaquin Phoenix’s gunman as being someone who was essentially incapable of thinking for himself.  In Murder In New Hampshire, Billy is far more active character.  Though he is undoubtedly manipulated by Pam, Billy is still portrayed as someone who made his own decision to get involved in Pam’s schemes.  If To Die For is a stylized satire of the true crime genre, Murder In New Hampshire is the epitome of what was being satirized.

That said, Murder In New Hampshire is a good example of the true crime genre, largely due to Helen Hunt’s wonderful performance as Pam Smart.  Hunt plays Pam as someone who has never grown up and who is so scared of being required to that she’ll even resort to murder to pull it off.  While Murder In New Hampshire never quite escapes the shadow of To Die For, it’s still an effective film when taken on its own terms.

Live Tweet Alert: Watch The Bat with #ScarySocial


As some of our regular readers undoubtedly know, I am involved in a few weekly live tweets on twitter.  I host #FridayNightFlix every Friday, I co-host #ScarySocial on Saturday, and 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, for #ScarySocial, Deanna Dawn will be hosting 1959’s The Bat, starring Vincent Price!

If you want to join us on Saturday night, just hop onto twitter, start the film at 9 pm et, and use the #ScarySocial hashtag!  The film is available on Prime, Tubi, and YouTube.  I’ll probably be there and I imagine some other members of the TSL Crew will be there as well.  It’s a friendly group and welcoming of newcomers so don’t be shy.

Scenes that I Love: Walter Matthau Talks To Robert Shaw in The Taking of Pelham One Two Three


98 years ago, on this date, Joseph Sargent was born in New Jersey.  Sargent would go on to become one of the busiest directors of the 70s, 80s, and 90s, working in both film and television.  Though he would never receive the type of critical attention as some of his contemporaries, Sargent was a skilled director who specialized in making entertaining, no-nonsense films.  Though his reputation was tarnished a bit by the fourth Jaws film, it should be remembered that Sargent was also responsible for films like Colossus: The Forbin Project, Tribes, Nightmares, and The Taking of Pelham One Two Three.

1974’s The Taking of Pelham One Two Three has come to be recognized as a genre classic.  It’s certainly one of my favorite films about how New Yorkers will be rude to anyone in any circumstances.  You can see an example of this in today’s scene that I love.  Having hijacked a train, Robert Shaw calls in his last of demands and gets a very New York response.

4 Shots From 4 Films: Special Paul Schrader 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 is the birthday of the one and only Paul Schrader!  It’s time for….

4 Shots From 4 Paul Schrader Films

Blue Collar (1978, dir by Paul Schrader, DP: Bobby Byrne)

American Gigolo (1980, dir by Paul Schrader, DP: John Bailey)

Cat People (1982, dir by Paul Schrader, DP: John Bailey)

First Reformed (2018, dir by Paul Schrader, DP: Alexander Dynan)

Here’s The Trailer For The Marvels!


The trailer for The Marvels dropped today.  I got through about 30 seconds of it before I started to get a headache thinking about how insufferable the discourse around this film is going to be.  Comic book films can be fun but, over the past few years, the discourse around them has become unbearable.  Will this film be accused of being too woke or not woke enough?  Probably both because that seems to be the way of the culture right now.

On a personal note, I have to admit that I’m at the point where I’m a bit bored with all of the Marvel films and TV shows.  I was very much invested in the MCU for its first ten years but Endgame just felt like the logical place to end the saga.  Everything after that — with the possible exception of the Spider-Man films — has felt somewhat anti-climatic.  The first ten years of the MCU worked because every film, in one way or another, was clearly a part of a bigger story.  Post-Endgame, it’s hard not to feel like the films are lacking the epic feel that previously excited audiences.

Will The Marvels reverse the MCU’s fortunes?  We’ll find out later this year!  For now, here’s the trailer:

Live Tweet Alert: Join #FridayNightFlix for White Line Fever!


 

As some of our regular readers undoubtedly know, I am involved in a few weekly live tweets on twitter and I hope to continue to be until the site finally becomes unusable.  (It’s going to happen eventually so enjoy it while you can!)  I host #FridayNightFlix every Friday, I co-host #ScarySocial on Saturday, and 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, #FridayNightFlix has got 1975’s White Line Fever!  Jan-Michael Vincent is an independent trucker, determined to do things his way!

If you want to join us this Friday, just hop onto twitter, start the movie at 10 pm et, and use the #FridayNightFlix hashtag!  It’s a friendly group and welcoming of newcomers so don’t be shy.

White Line Fever is available on Prime!  See you there!

Monday Live Tweet Alert: Join Us For Killer Elite and The Untouchables!


As some of our regular readers undoubtedly know, I am involved in hosting a few weekly live tweets on twitter and occasionally Mastodon.  I host #FridayNightFlix every Friday, I co-host #ScarySocial on Saturday, and I am one of the five hosts of Mastodon’s #MondayActionMovie!  Every week, we get together.  We watch a movie.  We snark our way through it.

Tonight, for #MondayActionMovie, the film will be 2011’s Killer Elite!  Selected and hosted by Sweet Emmy Cat, this movie features an all-star cast and failed to make back its budget so you know it has to be good!

Following #MondayActionMovie, Brad and Sierra will be hosting the #MondayMuggers live tweet.  We will be watching 1987’s The Untouchables!  The film, which features a look at why Chicago is the worst city ever, is on Prime!

For those of you keeping track, that’s two De Niro films in one night!

It should make for a night of fun viewing and I invite all of you to join in.  If you want to join the live tweets, just hop onto Mastodon, pull up Killer Elite on YouTube, start the movie at 8 pm et, and use the #MondayActionMovie hashtag!  Then, at 10 pm et, switch over to Twitter and Prime, start The Untouchables, and use the #MondayMuggers hashtag!  The live tweet community is a friendly group and welcoming of newcomers so don’t be shy. 

Retro Television Reviews: Can Ellen Be Saved (dir by Harvey Hart)


Welcome to Retro Television Reviews, a feature where we review some of our favorite and least favorite shows of the past!  On Sundays, I will be reviewing the made-for-television movies that used to be a primetime mainstay.  Today’s film is 1974’s Can Ellen Be Saved!  It  can be viewed on YouTube!

Ellen Lindsey (Katharine Cannon) is an intelligent but depressed teenager who feels that she just doesn’t belong anywhere in the world.  She’s not interested in the money and class-obsessed lifestyle of her parents, Arnold (Leslie Nielsen, back in his serious actor days) and Bea (Louise Fletcher).  At the same time, she’s also not interested in the silly lives of her friends, who spend all of their time chasing boys and talking about celebrities.  Ellen is looking for something deeper and she thinks that she may have found it when she attends a religious retreat led by a charismatic man named Joseph (Michaele Parks).

Everyone at the retreat is very friendly and very dedicated and very concerned with finding more to life than just surface pleasures.  They spend hours listening to sermons.  They spend even longer singing hymns.  The leaders of the retreat emphasize that anyone can leave whenever they want but, if they do, they’ll still be making the biggest mistake of their life.  Ellen is happy because she’s finally found a group of friends who seem to feel the same way that she does about society and materialism.  Joseph is happy because he’s brainwashed another member of his cult who he can now send out to panhandle for him and the compound.

Arnold and Bea are not happy when Ellen runs away to join Joseph’s commune.  When Arnold visits the commune, he discovers a secretive world where outsiders are not welcome.  He also discover that Ellen no longer seems to be capable of thinking for herself.  With the police unwilling to help, Arnold and Bea turn to an enigmatic deprogrammer named James Hallbeck (John Saxon).  Hallbeck specializes in grabbing kids that have joined cults and bringing them back to their parents.  Of course, it’s hard not to notice that neither Joseph nor Arnold seems to be giving much thought to what Ellen actually wants from her life.

Can Ellen Be Saved? is a well-made TV movie that has a lot in common with later films like Split Image and Ticket To Heaven.  As in both those movies, the first half of the film details how cults initially brainwash their members while the second half deals with the sometimes harsh process of reversing that brainwashing.  And, just as in those two later films, Can Ellen Be Saved? features parents who mistakenly assume that their child can be returned to them exactly as she was before.  Though all three of the films feature cults that are definitely sinister, they also feature main characters who were lost before they joined the cult and all three of them end on an ambiguous note, leaving us to wonder if the characters have regained their free will or if they’ve just traded one brainwashing for another.

Along with being a well-written and well-acted film, Can Ellen Be Saved features one of those once-in-a-lifetime casts.  Popping up in small roles are familiar faces like William Katt, Rutanya Alda, and Kathleen Quinlan.  Michael Parks and John Saxon are both convincing as two morally ambiguous characters whose own motives are left enigmatic.  Katherine Cannon is sympathetic as Ellen, whose need to be a part of something leaves her vulnerable to manipulation.  Finally, it must be said that Leslie Nielsen — despite his reputation for having been a dull dramatic actor — is actually very effective as Ellen’s confused but well-meaning father.  Usually, when I watch Neilsen in a dramatic film, I find myself expecting him to wink at the camera or deliver a silly line in a deliberately flat and unemotional tone.  But, in this film, I actually forgot I was watching Leslie Nielsen.  Instead, he just become a suburban dad, trying to understand why his daughter was so dissatisfied with the life that he had worked so hard to give her.

I wasn’t expecting much from Can Ellen Be Saved? but it turned out to be surprisingly effective.