“9 Minutes” (Dir. P.J. Wolff) Short-Film Review

Posted on October 1, 2021 by casewright

Why do aliens always molest people in trailer parks/rural areas? Is it a slumming thing? I get that they’d wanna send the big guns to take over everything like a gigantic bomber, but the lure of the trailer park and its inhabitants aren’t really interesting to me and haven’t gotten into interstellar travel or even bent a wormhole. Also, if you’re an alien, why wait? I get it if you’re sending semi-autonomous drones like we do to Mars, but again our drones would be WAY more interested in a Martian city rather than fatty Martians drinking Pabst Blue Ribbon.

There’s the whole lost time thing. First, if you were to lose time because they’re going at the speed of light, you’d come back thousands of years later. Why would it be great for the aliens? By the time the Greys got back here, we humans would be 10000 years in the future and we’d all be dead or extremely advanced or maybe even beyond these particular aliens. In fact, their alien homeland might be extinct when they return home because of their fancy-pants super-luminal travel and nonchalant disregard of basic relativity. Go ahead and visit alien varmints, you’d come back and we’d have our own flyin’ saucers you little smug alien bitches! Teach you to probe us and bother people in the Berkshires!

This short on Dust answers the question: what happens when you get abducted and have your memory wiped. John, the quasi-protagonist, more like creepy hermit is building his very own personal trailer park. John always reachin for the stars with his feet on the ground! John has no one, but his trusty dog Jet who is much more interesting than John.

John sees a cloud in the sky that looks kinda weird and he takes a photo. Later that night, it’s aliens!!!! He does the floaty thing, but hits record on his phone. All could think was I really don’t wanna see this guy probed; my YouTube algorithms will never be the same.

He wakes up and his hands are burned and his phone shows a recording of 9 Minutes. It’s mostly him running around a lot. His dog, Jet, appears dead and they left John this……

Damn Weird Aliens! The dog comes back to life as a robo-dog?

The short had a couple of quick thrills and it’s fun to see the take on the alien abduction genre. Maybe, he’ll paint with acrylic? Please let it be so!!!!

Horror on the Lens: Robot Monster (dir by Phil Tucker)

Posted on October 1, 2021 by Lisa Marie Bowman

Hi there and welcome to October! This is our favorite time of the year here at the Shattered Lens because October is our annual horrorthon! For the past several years (seriously, we’ve been doing this for a while), we have celebrated every October by reviewing and showing some of our favorite horror movies, shows, books, and music. That’s a tradition that I’m looking forward to helping to continue this year.

Today’s horror film is a true classic of its kind, the 1953 science fiction epic Robot Monster.

Now, I should admit that this is not the first time that I’ve shared Robot Monster in October. I share it every year and, every year, YouTube seems to pull the video down in November. That sucks because Robot Monster is one of those weird films that everyone should see. So, I’m going to share it again. And, hopefully, YouTube will let the video stay up for a while.

As for what Robot Monster is about…

What happens with the Earth is attacked by aliens? Well, first off, dinosaurs come back to life. All of humanity is killed, except for one annoying family. Finally, the fearsome Ro-Man is sent down to the planet to make sure that it’s ready for colonization. (Or something like that. To be honest, Ro-Man’s exact goal remains a bit vague.)

Why is Ro-Man so fearsome? Well, he lives in a cave for one thing. He also owns a bubble machine. And finally, perhaps most horrifically, he’s a gorilla wearing a diver’s helmet. However, Ro-Man is not just a one-dimensional bad guy. No, he actually gets to have a monologue about halfway through the film in which he considers the existential issues inherent in being a gorilla wearing a diver’s helmet.

Can humanity defeat Ro-Man? Will Ro-Man ever get his intergalactic supervisor to appreciate him? And finally, why are the dinosaurs there?

Despite the film’s reputation for being borderline incoherent, most of those above questions actually are answered if you pay attention to the first few scenes of Robot Monster. In fact, one could even argue that Robot Monster is maybe a little bit more clever than it’s often given credit for. Of course, it’s still a zero-budget mess of a film but it’s also undeniably fun and, in some sections, unexpectedly dark. If you’ve never seen it before, you owe it to yourself to set aside an hour and two minutes in order to watch it. You’ve never see anything like it before.

Finally, I should note that Robot Monster’s hero was played by George Nader, who actually did go on to appear in several mainstream films. Despite his good looks and talent (which may not be obvious in this film but which he did have), George Nader struggled to get starring roles in Hollywood, where he was often dismissed as just being a member of Rock Hudson’s entourage. (It’s been theorized that Nader struggled because the studios feared that giving him too big of a role would lead to the gossip magazines writing about Nader’s relationship with Hudson, though the two were just friends. Nader was in a relationship with Hudson’s private secretary, Mark Miller, from 1947 until Nader’s death in 2001.) Nader finally left Hollywood and went on to have a pretty successful career in Europe. He was perhaps best known for playing secret agent Jerry Cotton in a series of films in the 60s.

Happy October and enjoy Robot Monster!

(On another note, this movie was a favorite of TSL Contributor Gary Loggins. Gary passed away a year ago today so this showing is dedicated to his memory. We miss you, Gary!)

Cleaning Out The DVR: Bad Girl (dir by Fin Edquist)

Posted on October 1, 2021 by Lisa Marie Bowman

When is a Lifetime film not a Lifetime film?

When it’s an Australian film, of course!

Bad Girl takes place in rural Australia. A family has just bought a new home. Peter (Ben Wispear) and Michelle (Felicity Price) are minor celebs, the type whose houses are often featured in magazines. They have a 17 year-old, adopted daughter named Amy (Sara West). When the film begins, Amy is the bad girl of the title. She has a bad attitude, she dressed in all black, she considers smoking crack as soon as they arrive at the news house, and she’s continually told that she’s being given “one more chance.” Amy takes one look around the house and decides that she doesn’t want that chance. Soon, she’s trying to run away.

Fortunately, it appears that Amy has made a new friend! Chloe (Samara Weaving) says that she lives next door. Chloe appears to be everything that Amy isn’t. Chloe is polite. She’s respectful. She doesn’t smoke crack cocaine. She doesn’t try to run away. She doesn’t regularly threaten to commit suicide. I mean, is she even a teenager!? At first, Peter and Michelle are happy that Chloe is Amy’s friend. Chloe might just be the good influence that Amy needs. But — wait a minute! What if …. what if Chloe is the bad girl!?

Well, you can probably already guess the answer to that one. Here’s one thing that I’ve learned from both the movies and real life: anyone who appears to be perfect is secretly screwed up. Chloe appears to be such an idealized friend that she might as well have psycho written across her forehead. In other words, it’s no spoiler to tell you that Chloe has an agenda of her own and soon, Amy is going to be faced with the unenviable task of trying to convince her parents that the perfect girl is actually the bad girl.

There’s a lot about Bad Girl that’s predictable and the parents aren’t particularly sympathetic. Even though Amy has, admittedly, given them reason to be concerned, they’re still way too quick to side against her as far as I’m concerned. It’s totally possible that may have been intentional on the part of the filmmakers but it still makes it difficult to really care about what happens to Peter and Michelle.

That said, Bad Girl does work when it just focuses on the relationship between Amy and Chloe. They have an interesting dynamic. Chloe wants to live what she believes Amy’s life to be while Amy secretly wants to be the person who she initially believes Chloe to be. However, neither Amy nor Chloe are really who everyone assumes that they are. Trapped out in the middle of nowhere, Amy and Chloe have both built up fantasies about what life is like out in the rest of the world. The only difference is that Amy, for all of her problems, can tell the difference between reality and fantasy while Chloe is so determined to live the fantasy that she’s willing to destroy reality. Sara West and Samara Weaving both do a great job of bringing Amy and Chloe to life. In fact, they do such a good job acting opposite each other that you kind of regret that their friendship is going to have to end. You find yourself wishing that all of their fantasies could have come true.

Bad Girl has its flaws but it worth watching for the performances of West and Weaving.

Insomnia File #48: Malice (dir by Harold Becker)

Posted on October 1, 2021 by Lisa Marie Bowman

What’s an Insomnia File? You know how some times you just can’t get any sleep and, at about three in the morning, you’ll find yourself watching whatever you can find on cable or Netflix? This feature is all about those insomnia-inspired discoveries!

If you were having trouble getting to sleep last night around 12 midnight, you could have turned over to the Cinemax and watched the 1993 thriller, Malice. And then you could have spent the next few hours trying to figure out what you just watched.

Seriously, there’s a lot going on in Malice. The screenplay is credited to Aaron Sorkin and Scott Frank and while it has enough overly arch dialogue and untrustworthy women to plainly identify it as being a product of Sorkin’s imagination, it’s also filled with a mini-series worth of incidents and subplots and random characters. This is also one of those films where no one can simply answer a question with a “yes” or a “no.” Instead, it’s one of those movies where everyone gets a monologue, giving the proceedings a rather theatrical feel. It’s the type of thing that David Mamet could have pulled off. (Check out The Spanish Prisoner for proof.) Harold Becker, however, was a far more conventionally-minded director and he often seems to be at a loss with what to do with all of the film’s Sorkinisms (and, to be fair, Frankisms as well).

The film starts out as a thriller, with a serial rapist stalking a college campus and Prof. Andy Safian (Bill Pullman) becoming an unlikely suspect. Then it turns into a domestic drama as Andy and his wife, Tracy (Nicole Kidman), talk about starting a family. Then Andy meets a brilliant surgeon named Jed Hill (Alec Baldwin) and the film turns into a roommate from Hell story after Jed moves in with them. Then it becomes a medical drama after a mistake by Dr. Hill leaves Tracy unable to have children. Then it returns briefly to the campus rapist story before then turning into a modern-day noir as Andy discovers that Tracy has secrets of her own. (Whenever one watches a film written by Aaron Sorkin, you can practically hear him whispering, “Women are not to be trusted….” in the background.) Even as you try to keep up with the plot, you find yourself distracted by all of the cameos. George C. Scott glowers as Jed’s mentor. Anne Bancroft acts the Hell out of her role as a drunken con artist. Peter Gallagher is the lawyer you distrust because he’s Peter Gallagher. Tobin Bell shows up as a handyman. Gwynneth Paltrow, in one of her first roles, plays dead convincingly

It’s a big and busy and messy film and it too often mistakes being complicated for being clever. Bill Pullman is a likable hero but you have to be willing to overlook that the script requires him to do some truly stupid things. Nicole Kidman is always well-cast as a femme fatale but again, the script often lets her down.

Surprisingly enough, it’s Alec Baldwin who comes out of the film unscathed. Watching Baldwin in this film, it’s hard to believe that he’s the same actor who has since become something of a bloated self-parody. Yes, he’s playing an arrogant character (which is pretty much his trademark) but, in Malice, he actually brings a hint of subtlety and wit to his performance. Baldwin does very little bellowing in the film, despite playing a role that one would think would naturally appeal to all of his bellowing instincts. Malice is a mess but it’s nice to see the type of actor that Alec Baldwin once was.

Previous Insomnia Files:

Lisa Marie’s Oscar Predictions for September

Posted on September 30, 2021 by Lisa Marie Bowman

Well, it’s the time of the month again.

No, not that time! That time ended two days ago. I’m talking about the fact that it’s time for me to once again share my monthly Oscar predictions. Thanks to the festival circuit, we’ve finally gotten some advance word on the big Oscar contenders that will be coming out over the next few months.

Belfast, as of right now, sounds like the prohibitive favorite to win it all. At first, it seemed like the reaction to The Power of the Dog was a bit mixed but later reactions were almost overwhelmingly positive. It sounds like the type of film that will be nominated even if it won’t necessarily win. Maggie Gyllenhaal’s The Lost Daughter is coming on strong, as is Spencer. For me, the biggest surprise has been the amount of acclaim that Dune has been getting. I was a bit dismissive of its Oscar chances earlier this year but now it definitely sounds like it will be in the hunt.

West Side Story has been seen by no one but I continue to list it because it’s a Spielberg film and, with all the musicals that are being released this year and which have subsequently struggled with either critics or audiences or both, it still seems the most likely to pick up a nomination. I’m a little bit skeptical on whether or not Nightmare Alley is going to be an “Oscar picture” but the trailer was nice to look at so I’m giving it the benefit of the doubt. House of Gucci is three hours long and full of stars so it’s either going to be an Oscar nominee or a complete bomb.

You may notice a lack of predicted nominations for Licorice Pizza. Licorice Pizza is a film that I fully expect to love but the trailer definitely feels a bit more like Inherent Vice than The Phantom Thread. I still think that the actors could get nominated but the rumor right now is that Bradley Cooper’s role is actually very small. That’s why I no longer have him listed as a supporting actor nominee.

Again, keep in mind that I’m not an expert. The picture is a bit clearer but I don’t claim to have any inside information or anything like that. These are just my guesses, for better or worse. To see how my thinking has evolved, check out my predictions for March and April and May and June and July and August!

Best Picture

Belfast

CODA

Dune

House of Gucci

The Lost Daughter

Nightmare Alley

The Power of the Dog

Spencer

The Tragedy of MacBeth

West Side Story

Best Director

Kenneth Branagh for Belfast

Jane Campion for The Power of the Dog

Guillermo del Toro for Nightmare Alley

Steven Spielberg for West Side Story

Denis Villeneuve for Dune

Best Actor

Clifton Collins, Jr. in Jockey

Benedict Cumberbatch in The Power of the Dog

Peter Dinklage in Cyrano

Will Smith in King Richard

Denzel Washington in The Tragedy of MacBeth

Best Actress

Jessica Chastain in The Eyes of Tammy Faye

Olivia Colman in The Lost Daughter

Penelope Cruz in Parallel Lives

Frances McDormand in The Tragedy of MacBeth

Kristen Stewart in Spencer

Best Supporting Actor

David Alvarez in West Side Story

Willem DaFoe in Nightmare Alley

Ciaran Hinds in Belfast

Jason Isaac in Mass

Kodi Smit-McPhee in The Power of the Dog

Best Supporting Actress

Jessie Buckley in The Lost Daughter

Dame Judi Dench in Belfast

Ann Dowd in Mass

Kirsten Dunst in The Power of the Dog

Marlee Matlin in CODA

4 Shots From 4 Films: Special Michael Powell Edition

Posted on September 30, 2021 by Lisa Marie Bowman

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, TSL celebrates the 116 anniversary of the birth of Michael Powell, the British visionary who changed the face of cinema, both on his own and through his collaboration with Emeric Pressburger. It seems appropriate that we pay tribute to Powell on the day before October, as his 1960 film Peeping Tom is considered by many to be the first slasher film. (It’s not but it’s influence on the genre cannot be overstated.)

In honor of Michael Powell, TSL is proud to present….

4 Shots From 4 Michael Powell Films

The Thief of Bagdad (1940, dir by Michael Powell, Tim Whalen, and Ludwig Berger, DP: George Perinal)

Black Narcissus (1947, dir by Michael Powell and Emeric Pressburger, DP: Jack Cardiff)

The Red Shoes (1948, dir by Michael Powell and Emeric Pressburger, DP: Jack Cardiff)

Peeping Tom (1960, dir by Michael Powell, DP: Otto Heller)

4 Shots From 4 Films: Special Nicolas Winding Refn Edition

Posted on September 29, 2021 by Lisa Marie Bowman

Today, the Shattered Lens wishes a happy 51st birthday to Danish director Nicholas Winding Refn! Drive was one of the first films to really be celebrated on this site, receiving reviews from several contributors. Personally, I preferred The Neon Demon.

In honor of of the man and his work, it’s time for….

4 Shots from 4 Nicolas Winding Refn Films

Bronson (2008, dir by Nicolas Winding Refn, DP: Larry Smith)

Drive (2011, dir by Nicolas Winding Refn, DP: Newton Thomas Sigel)

Only God Forgives (2013,dir by Nicolas Winding Refn, DP: Larry Smith)

The Neon Demon (2016, dir by Nicolas Winding Refn, DP: Natasha Braier)

4 Shots From 4 Films: Special Arthur Penn Edition

Posted on September 27, 2021 by Lisa Marie Bowman

99 years ago today, Arthur Penn was born in Philadelphia. In the 50s, Penn was one of the new crop of directors who made a name for themselves directing for television. Like most of his colleagues, he transitioned into film. Unlike many of his colleagues, he remained a fiercely iconoclastic director, one who was willing to challenge the conventions of Hollywood. While his early films often struggled at the box office, he was respected by actors and hailed as a visionary by the directors of the French New Wave.

In 1967, he and Warren Beatty changed the course of American cinema with Bonnie and Clyde. Penn followed up that classic film with movies like Alice’s Restaurant, Little Big Man, Night Moves, and a handful of others. When he died in 2010, Penn was hailed as one of the most influential (if sometimes underrated) directors of all time.

Today, in honor of the anniversary of his birth, the Shattered Lens offers up….

4 Shots From 4 Arthur Penn Films

Mickey One (1965, dir by Arthur Penn, DP: Ghislain Cloquet)

Bonnie and Clyde (1967, dir by Arthur Penn, DP: Burnett Guffey)

Little Big Man (1970, dir by Arthur Penn, DP: Harry Stradling Jr)

Night Moves (1975, dir by Arthur Penn, DP: Bruce Surtees)

Film Review: Out of Bounds (dir by Richard Tuggle)

Posted on September 27, 2021 by Lisa Marie Bowman

Just a country boy

Born and raised in South Des Moines

He took the midnight bus to anywhere….

That’s the story of Darryl Cage, the protagonist of the 1986 film, Out of Bounds. Played by Anthony Michael Hall, Darryl is an Iowa farm boy who goes to Los Angeles to live with his brother. Unfortunately, when his flight lands, Darryl’s suitcase is switched with another one that’s full of cocaine! Darryl becomes an accidental drug mule and end up getting his brother killed! WHAT A DUMBASS!

So now, Darryl is on the run. He’s a small town farmer in the big city, trying to avoid bad guy Roy (Jeff Kober) and the police, led by Lt. Delgado (Glynn Turman). Fortunately, Darryl meets an aspiring actress named Dizz (Jenny Wright). Dizz gives him a makeover and introduces him to the Los Angeles club scene. Siouxsie and the Banshees make a cameo appearance at one club. They perform one song and fortunately, it’s Cities in the Dust. Unfortunately, they don’t actually get involved in the plot of the film. I would have liked to have seen Siouxsie beat up Jeff Kober. But it doesn’t happen.

Out of Bounds is one of the many films that came out in the mid-to-late-80s in which the actors who were (somewhat unfairly) considered to be Brat Packers attempted to prove that they were capable of doing more than just projecting teen angst. Judd Nelson and Ally Sheedy, for instance, starred in a forgettable neo-noir called Blue City. Andrew McCarthy starred in an interesting but ultimately uneven film called Kansas. Emilio Estevez not only starred in Wisdom but he directed it too. And Anthony Michael Hall starred in Out of Bounds.

Anthony Michael Hall was best-known for playing nerdy characters in Sixteen Candles and The Breakfast Club and it’s probable that he was attempting to escape being typecast when he took his role in Out of Bounds. This was Anthony Michael Hall’s chance to play an action hero! Unfortunately, Anthony Michael Hall made the same mistake that many of his peers made while trying to give the performance that would allow them to break free of the Brat Pack label. He tried too hard. While Glynn Turman, Jeff Kober and Jenny Wright obviously understood the type of rather silly movie that Out of Bounds was going to be and they modified their performances accordingly, Anthony Michael Hall apparently tried to duplicate the method intensity of Marlon Brando or James Dean. In other words, Hall took the film far more seriously than it deserved to be taken.

Out of Bounds get off to a bad start as soon as it opens with Anthony Michael Hall on the farm in Iowa. There’s absolutely nothing about the young Anthony Michael Hall that leaves on with the impression that he’s ever spent any time on a farm. Everything about him screams Hollywood before he even lands in Los Angeles. Hence, it gets difficult to really buy him as being the wide-eyed innocent that everyone else views him as being. Since a good deal of the film’s plot is dependent upon Hall being naïve, that’s a problem. He may be a farm boy but he certainly doesn’t freak out after shooting someone. He’s also somehow learned how to throw a knife straight into someone’s gut. Out of Bound‘s director, Richard Tuggle, directed two films for Clint Eastwood so he obviously knew how to frame a fight scene but Hall is so miscast that it’s impossible to really get into the movie.

The film is pretty much stolen by Jenny Wright and Jeff Kober. Kober is properly menacing and, just as she did in Near Dark and I, Madman, Jenny Wright works wonders with a role that could have just been formulaic. Jenny Wright has apparently retired from acting. Jeff Kober still shows up in movies and on television, usually playing villains. (Earlier this year, he played yet another drug trafficker on General Hospital.) Watching them give compelling performance in a film like Out of Bounds, it’s hard not to feel that both of them deserved bigger career than they had (or, in Kober’s case, still have).

The film is also stolen by its soundtrack, which is very 80s but in the best possible way. Adam Ant, The Smiths, the aforementioned Souixsie and the Banshees, they all make an appearance and provide the film with a bit of narrative momentum that it would otherwise lack. Watching the film, 80s Los Angeles comes across like a fun place. No wonder Darryl Cage wanted to stay even though everyone was trying to kill him.

Out of Bounds is ultimately pretty forgettable and it didn’t make Anthony Michael Hall into an action star. But, that’s okay. Like a lot of former Brat Packers, he’s proven himself to be a reliable character actor. There is life after high school. Even more importantly, there’s also life after Iowa.

Cleaning Out The DVR: Psycho Intern (dir by Ann Forry)

Posted on September 27, 2021 by Lisa Marie Bowman

Here at the Shattered Lens, we have a very simple but very important rule.

DON’T SLEEP WITH THE INTERNS!

Of course, we also don’t have any interns so I’ve never really had to go out of my way to enforce that rule but still, if we did have interns, the rule would definitely be to not sleep with them. Seriously, I’ve seen enough Lifetime films to know better. Anytime you see a Lifetime film with the word “Intern” in the title, you know that the intern is going to be attractive, you know that the boss is going to be dealing with a difficult divorce or some other personal issue, and you know that one night of passion is going to leave to at least 40 minutes of trouble.

That’s certainly the case when it comes to Alex Prescott (Madison Smith), the handsome young man who works as an intern for Maya (Emmanuelle Vaugier). At first, Alex just seems like an overly earnest college student who is oddly eager about making coffee. But then, after Maya’s assistant is injured in a mysterious accident, Alex becomes an indispensable part of the office. In fact, Alex is so helpful and so supportive and so handsome that it doesn’t seem to matter that he never brought in the information necessary for the company to run a background check for him. And when he’s asked to offer up some proof that he actually is a college student, he claims that university’s server has gone down and it’ll be a while before he can get that proof.

That all sounds pretty suspicious to me but one can’t really blame Maya for not paying to much attention. She’s got a lot to deal with. Not only is her daughter coming by for a visit but Maya also has a big presentation coming up. Unfortunately, she also has to deal with a misogynistic coworker. Fortunately, that coworker is sent to the hospital, the result of another mysterious accident! There certainly do seem to be a lot of mysterious accidents and incidents whenever Alex is around. Maya would probably notice that if she wasn’t busy having a one night stand with him in the office.

Afterwards, Maya is all like, “We have to transfer you to another office!” But Alex …. well, the title of the movie is Psycho Intern, afterall!

This is hardly the first movie about a psycho to air on Lifetime, nor will it be the last. Hell, it’s not even the first Lifetime movie about a psycho intern! For whatever reason, interns are always bad news on Lifetime, which leads me to wonder what life is like at corporate headquarters. One of the main themes of Lifetime movies that take place in the corporate world is that executives should never trust anyone who makes less money than them because those people will always end up trying to kill them. That’s certainly the case here but, what the film lacks in originality, it makes up for in entertaining melodrama. Madison Smith does a good job of switching back and forth from being charming to being batshit insane. Emmanuelle Vaugier is a veteran of these type of films and she bring her usual flair to the role. It’s a Lifetime movie that promises a psycho intern and it keeps its promise.