Taxi Driver is nearly 50 years old but it’s still one of cinema’s most definitive portraits of urban paranoia and societal detachment. Travis (played by Robert De Niro) obsesses on the city that he harshly judges even though he’s as much a part of New York as those who he wishes will be washed away.
This scene features Robert De Niro, Martin Scorsese, and Paul Schrader at their definite best. I imagine that, for a lot of people, this is one of those scenes that solidified their opinions on New York City. For the record, the last time I was in New York, everyone was fairly pleasant. They weren’t exactly friendly but I also didn’t get my bag stolen. (Those of us who don’t live in New York tend to assume that we’ll get mugged as soon as we leave JFK.)
I do worry about the future of New York, especially with the election that is being held today. To say I’m not a fan of either of the two front runners would be an understatement but, at the same time, it’s not my place to tell people in New York City how to vote. (I’m a big believer in not telling people in other cities and states how to vote. Whenever anyone from up north asks me why Beto didn’t win in 2018, I tell them the truth. A bunch of pro-Beto yankees came down here and got on everyone’s nerves right before they voted.) Instead of telling people what to do, I’ll just say that I sincerely hope that whatever happens will work out as well as it possibly can.
(That’s another reason I don’t endorsements. “Vote for the candidate who will work as well as he possibly can,” probably isn’t going to gets the cheers that some other slogans would.)
As the latest “Song of the Day,” Soundgarden’s Fell on Black Days stands out as one of Chris Cornell’s most hauntingly introspective songs. It captures that quiet terror of realizing, almost suddenly, that life has slipped into a dark space without a clear cause. The lyrics don’t dramatize depression or despair—they circle it, giving voice to numb reflection rather than clear tragedy. Cornell doesn’t sing from a place of theatrical pain but introspective confusion, which makes it all the more relatable: that sense of waking up one day and finding that something within has gone dim.
Cornell’s vocal performance is the emotional backbone of the song. His delivery is restrained at first, almost conversational, carrying that familiar mix of grit and vulnerability that made his voice so magnetic. As the song builds, the tension burns through his tone—he never screams, but you feel the anguish vibrating at the edges. It’s that ability to stay melodic while channeling raw feeling that separates him from many of his grunge-era peers. You can hear both power and exhaustion inhabiting the same breath.
Musically, Fell on Black Days moves with a slow, uneasy groove that fits the song’s mood of quiet dread. Instead of following a typical rock rhythm, it flows a little off-kilter, giving it that feeling of imbalance Cornell describes in the lyrics. The guitars are thick and moody but not overly heavy, letting the vocals breathe. Thayil’s riffing feels more like a shadow behind the melody, while the bass and drums give it a tired, rolling heartbeat. It’s less about flashy playing and more about atmosphere—a sound that matches the weight of realizing your life has turned darker without you noticing.
Fell on Black Days
Whatsoever I’ve feared has come to life And whatsoever I’ve fought off became my life Just when everyday seemed to greet me with a smile Sunspots have faded and now I’m doing time
Now I’m doing time ‘Cause I fell on black days I fell on black days
Whomsoever I’ve cured I’ve sickened now And whomsoever I’ve cradled I’ve put you down I’m a search light soul they say But I can’t see it in the night I’m only faking when I get it right When I get it right ‘Cause I fell on black days I fell on black days
How would I know That this could be my fate How would I know That this could be my fate, uh yeah
What you wanted to see good has made you blind And what you wanted to be yours has made it mine So don’t you lock up something that you wanted to see fly Hands are for shaking not tying
No, not tying I sure don’t mind a change I sure don’t mind a change Yeah, I sure don’t mind Sure don’t mind a change I sure don’t mind a change
‘Cause I fell on black days I fell on black days
How would I know That this could be my fate How would I know That this could be my fate
How would I know That this could be my fate How would I know That this could be my fate
Welcome to Late Night Retro Television Reviews, a feature where we review some of our favorite and least favorite shows of the past! On Mondays, I will be reviewing CHiPs, which ran on NBC from 1977 to 1983. The entire show is currently streaming on Prime!
This week, the CHiPs team investigates an accident and a guest star gives a really terrible performance.
Episode 4.20 “Dead Man’s Riddle”
(Dir by Michael Caffey, originally aired on May 10th, 1981)
An accident in the mountains causes three cars to explode and one driver to die. Since the dead driver was a captain with the Los Angeles fire department, the MAIT Team is sent out to recreate the accident and to try to figure out what happened. They know that at least three cars were involved in the accident. One driver died. One driver is in the hospital. And the other driver appears to be missing. Getraer suspects that the accident could be due to people racing each other in the mountains.
What makes this episode odd is the casting of Joanna Kerns as psychiatrist Colleen Jacobs. She’s assigned to the MAIT Team. She actually drives through the mountains frequently and she even gets involved in racing sometimes. In fact, she saw one of the cars right before the accident! At first, she doesn’t bother to share this with anyone. Instead, she just sits in the background with a guilty look on her face. Finally, Jon Baker — in an unmarked car — tricks her into trying to race him. That’s when she finally confesses….
….and faces absolutely no consequences! Oh sure, Getraer gets a little annoyed and says that it would have been helpful if Dr. Jacobs had been honest from the start. But Dr. Jacobs is allowed to continue to work with the MAIT Team. Even though she intentionally withheld evidence from investigators, she’s not charged with obstruction. Ponch tells her that she’s getting a chance to redeem herself which I don’t think is police policy. No one comments on the fact that, even though she was worried that she may have previously caused a fatal accident, she still tried to race Baker. Does no one care that, at the very least, she appears to have no impulse control?
Making things even stranger is that Joanna Kerns gives one of the worst performances that I have ever seen as Dr. Jacobs, delivering half of her lines as if she’s struggling not to laugh. Even when she’s admitting her fear that she may have been responsible for the accident, she still seems like she’s on the verge of breaking out into laughter. It’s very odd.
Speaking of odd, an eccentric old man named Max (Owen Brooks) claims that he saw a UFO before the crash. (Dr. Jacobs laughs when she repeats this.) It turns out that he just saw a hubcap flying through the air.
In the end, it’s proven that the captain was not at fault in the accident. That’s all that anyone really seems to care about. I assume that Dr. Jacbos and Baker then proceeded to race each back to Los Angeles.
5 Shots From 5 Films is just what it says it is, 5 shots from 5 of my favorite films. As opposed to the reviews and recaps that we usually post, 5 Shots From 5 Films lets the visuals do the talking!
The greatest tough guy of the movies, Charles Bronson, was born 104 years ago today.
Death Wish (1974)Death Wish II (1982)Death Wish 3 (1985)Death Wish 4: The Crackdown (1987)Death Wish V: The Face of Death (1994)
Now, to make clear, I’m not the Bronson expert that Brad is so I will picking from a smaller pool of selections. But no matter! Let’s do this!
6. Death Wish III (1985, dir by Michael Winner)
Yes, I have to start with Death Wish III. The Death Wish sequels are definitely a mixed bag but Death Wish III was wonderfully over-the-top, a film that cheerfully dropped Bronson in the middle of an absurd circus and allowed him to tame the lions, as it were. I will always love this film for the presence of Plunger Guy, a bad guy who heads into battle carrying a plunger.
5. Breakheart Pass (1975, dir by Tom Gries)
This is an enjoyable mix of a western, a murder mystery, and an adventure film. Charles Bronson is a mysterious man on a snowbound train. Charles Durning, Ben Johnson, Richard Crenna, Jill Ireland, and Ed Lauter co-star and everyone — especially Johnson and Durning — bring a lot to their roles. This may not be one of Bronson’s best-known films but it is one of his most enjoyable and Bronson himself is at his most likable.
4. Death Wish (1973, dir by Michael Winner)
“My heart bleeds a little for the less fortunate,” Bronson’s Paul Kersey says at the start of the film and those of us watching immediately say, “C’mon, Charlie, really?” That said, one reason why Death Wish works as well as it does is because Bronson actually gives a very good and very emotionally honest performance as a man who finally snaps and starts to take the law into his own hands. (I love the barely veiled contempt that’s present whenever Paul talks to his son-in-law.) Not surprisingly, considering that it was directed by Michael Winner, Death Wish is an often-sordid film that doesn’t have a hint of subtlety. But it’s also brutally effective, a film that captures the way a lot of people feel when they hear about reports of out-of-control crime. Even today, it’s easy to see why Death Wish was the film that finally Bronson a star in the United States.
3. Once Upon A Time In The West (1968, dir by Sergio Leone)
Bronson plays Harmonica in the most epic of all of Sergio Leone’s spaghetti westerns. Leone pays homage to the American western while also gleefully subverting it. The quiet and unemotional Bronson is the film’s hero. Henry Fonda is the sadistic villain who guns down a child. Jason Robards is an outlaw. While I don’t consider it to be quite as good as either The Good, The Bad, or the Ugly or Once Upon A Time In America, Once Upon A Time In The West is still one of Leone’s masterpieces.
2. From Noon Till Three (1976, dir by Frank D. Gliroy)
For all of his reputation for being a tough guy who didn’t show much emotion, there was no denying Bronson’s love for his second wife, Jill Ireland. From Noon Till Three brings Bronson and Ireland together in a film that is a third western, a third romantic comedy, and a third social satire. It’s a film that gives Bronson a chance to show off his romantic side and it might leave you surprised! The film also featured Jill Ireland’s best performance in a Bronson film. I always highly recommend this one. It’s proof that there was more to Bronson than just shooting the bad guys.
Ten To Midnight (1983, dir by J. Lee Thompson)
This is the ultimate 80s Bronson film and one that I like for a reason that might surprise you. On the one hand, you’ve got Bronson as a tough cop, Andrew Stevens as his liberal partner, and Gene Davis as the disturbingly plausible serial killer, Warren Stacy. Bronson is great as the world weary cop. His scenes with Stevens are amusing and, at times, even poignant. (It helps that Stevens was the rare co-star that Bronson liked.) Davis is terrifying and the film’s final moments are very emotionally satisfying. (“No, we won’t.”) But the reason why I love this film is because of the relationship between Bronson’s cop and his daughter, who played by Lisa Eilbacher. Their scenes together — testy but loving — are well-acted by both actors and they always make me think of me and my Dad. Ten To Midnight is the Bronson film that actually makes me cry.
Two Americans meet up in Turkey in 1922. Josh Corey (Charles Bronson) is a cynical soldier-of-fortune who, along with his mercenary crew, is hoping to make money out of the ruins of the Ottoman Empire. Adam Dyer (Tony Curtis) is the heir to a shipping company and is hoping to get his last remaining boat out of the Turkish dock where it’s been interned since World War I. Osman Bey (Gregorie Aslan), one of the local powerbrokers who has risen to power since the Turkish Revolution, hires Josh and Adam to escort his daughters and their protector, Alia (Michele Mercier), to Mecca. Actually, the plan is for them to instead go to Cairo to recover a priceless treasure. The journey to Cairo is filled with action and betrayal as Josh and Adam try to navigate the upheaval of the post-war Middle East.
You Can’t Win ‘Em All is a mix of action and comedy, an adventure that owes more than a little to the other big budget heist films of the 60s and 70s. (Director Peter Collinson was hired due to his work on The Italian Job.) The film’s humor comes from the partnership of the stoic Bronson with the talkative Tony Curtis. In fact, the film’s main flaw is that Tony Curtis talks too much. Curtis simply will not shut up. After about fifteen minutes, I was tired of listening to him. Curtis’s acting limitations really come through the more that he talks and, as a result, Bronson walks away with the entire movie by saying next to nothing. Bronson keeps largely quiet because he doesn’t have to speak to make an impression. His stare says everything that needs to be said.
You Can’t Win ‘Em All is uneven but it has a few good action sequences and Bronson doing what Bronson did best. Watching this movie made me appreciate Charles Bronson all the more. Even when working with a less-than-great script and a miscast co-star, Bronson still had the undefinable quality that made him a star.
Welcome to Retro Television Reviews, a feature where we review some of our favorite and least favorite shows of the past! On Mondays, I will be reviewing Miami Vice, which ran on NBC from 1984 to 1989. The entire show can be purchased on Prime!
This week, Vice helps the communists once again.
Episode 5.5 “Borrasca”
(Dir by Vern Gillum, originally aired on December 9th, 1988)
Martillo Borrasca (Juan Fernandez) is a drug dealer who uses the money to fund anti-communist revolutionaries in his native South American country. Castillo, Tubbs, and Switek want to arrest him, especially after Barrisco and his men use a machete to hack an undercover cop to death. CIA agent Reese (Brion James) wants the Vice Squad to lay off Barrisco because Barrisco is working to overthrow a communist.
Personally, I’m on Reese’s side. Sure, Borrasca is a bad guy and he deserves to be punished for his crimes but the communist dictators in South and Central America were just as bad. Just because they quoted Marx and spouted a lot of anti-imperialist propaganda, that didn’t change the fact that they oppressed their own people and many of them were involved in the drug trade themselves. This episode aired long before the rise of Hugh Chavez but one need only look at the state of Venezuela today to see that the CIA perhaps had a point.
Castillo, of course, doesn’t see it that way. He assassinated Barrisco while the latter is trying to make an escape via helicopter. “I have a code,” Castillo says. Really, Castillo? That’s your code? Assassinate a drug dealer but don’t do anything about the dictators who would have allowed the Russians to plant nuclear missiles in their countries?
This episode was actually pretty routine. How many times have we been through the whole “The Vice Squad is after a drug dealer who has friends in the government” thing? On the one hand, I always appreciate Miami Vice’s cynicism about the War on Drugs. On the other hand, it’s frequent defense of communism has always been one of the show’s more glaring blind spots. Communists make just as much money from the drug trade as capitalists.
Crockett was not in this episode. Instead, Tubbs worked with Switek. It was nice to see Switek get to more than usual but, in the end, this was definitely a Castillo episode.
As possibly the biggest fan in the world of the legendary tough guy actor Charles Bronson, I’m often asked to name my favorite films that he has starred in. This is almost an impossible task, because I love his movies for many different reasons and oftentimes it doesn’t have a thing to do with what film critics think. Well, a few years ago, I decided I would try to rank all of the films where he has the lead role from my favorite to least favorite films. I threw out his supporting roles, which eliminates great films like THE GREAT ESCAPE and THE MAGNIFICENT SEVEN, and focused on films where he plays the main character. I also tried to choose the films I just enjoy watching the most. Since this is supposed to just be fun, and it’s also 100% subjective, I reserve the right to change the rules or my rankings at any time! In honor of Charles Bronson’s 104th birthday, here we go:
#5: ONCE UPON A TIME IN THE WEST (1968) – I’ve heard many people throw this classic spaghetti western into the “large ensemble cast” grouping of Charles Bronson films such as THE DIRTY DOZEN and THE GREAT ESCAPE. While I won’t argue that the cast is extremely impressive since it also stars Henry Fonda, Jason Robards and Claudia Cardinale, I don’t consider Bronson’s role in this film to be the same as those others. Here, the main storyline in the film concerns his character Harmonica’s quest to meet with the black-hatted Frank (Henry Fonda) to settle their business from the past, both beginning and ending with Harmonica in two of the most impressive scenes in movie history. I love this movie more than anything for the way Sergio Leone turns Bronson into an impossibly awesome instrument of justice. Every shot with Bronson makes him look like a badass, and every line that comes out of his mouth sounds incredibly cool. Leone had wanted Bronson for all three of the “Dollars trilogy” films, and once he finally got him, we can see why. His camera lingers on his face and eyes for a length of time that I guess was never done before or after. Henry Fonda is one of the all-time great Hollywood stars, Jason Robards is an acting legend, and Claudia Cardinale just may be the most beautiful woman who’s ever graced the face of Earth, but Charles Bronson is the star and centerpiece of ONCE UPON A TIME IN THE WEST. After this incredible performance Bronson would soon become the most popular star in the world, winning the Golden Globe award as “World Film Favorite” in 1972.
#4: DEATH WISH 3 (1985) – You are reading this right, in my list of my favorite Charles Bronson films, I rank DEATH WISH 3 above ONCE UPON A TIME IN THE WEST, and I’m not ashamed. My interest with Charles Bronson started with a late-night viewing with my dad of the original DEATH WISH, and it began to grow with some rentals of films like VIOLENT CITY and THE MECHANIC, but it reached its bloom as a full-blown obsession when I received DEATH WISH 3 as a Christmas present in 1986. It was the only Bronson film I owned on VHS (not counting a nearly unwatchable former rental tape of THE MECHANIC) and I watched it almost daily over the next sixth months or so. I still know every line of dialogue spoken in the film by heart. Granted, I recognize that new viewers may watch the film and wonder what the hell is wrong with me. To understand why I love DEATH WISH 3 so much, you have to be able to put yourself in the mind of a 13-year-old boy from Toad Suck, Arkansas, who is still new in discovering the world of R Rated cinema. This film had cussing, nudity and comic book level characters and kills from the opening scene to the last. And it had Bronson, the first tough guy actor I had ever really noticed. It would probably take an expert therapist to explain why I love Bronson and this film so much, but the fact is that it kicked off a lifelong interest that still continues almost 40 years later. If I can’t sleep at night, I just start streaming DEATH WISH 3 and lay my head down on my pillow and go to sleep to a nostalgic lifetime lullaby.
#3: RED SUN (1971) – While it does have its share of high-profile supporters, most famously Quentin Tarantino, RED SUN is another film that I hold in higher esteem than most. I remember seeing the huge VHS box at the local mom and pop movie rental store in Conway, Arkansas when I was a kid. I thought Bronson looked pretty darn cool with his cowboy hat, long hair and pointed gun. I rented the movie and liked it, but the quality of the VHS tape was horrendous, and I discovered in the years since that that particular version of the film was severely edited for content as well. The proud owner of a region-free DVD player, a couple of decades ago I bought a region 2 DVD of the film from Studio Canal. For the first time I was able to see the film, including Ursula Andress’ uninhibited performance, in its full glory. One of the things I love the most about RED SUN is Bronson’s engaging performance in the central role. He’s very much a rascal, he’s funny, he’s tough when he needs to be, and he even has a big heart, even if it takes a while to find it. The next thing I love about the film is the fact that he teams up with the incredible Japanese actor Toshiro Mifune. As Mifune himself is in my top 5 favorite actors of all time, the fact that he teamed up with Bronson in this fun western gives major bonus points to the entire production. They make an appealing pair as they head off after the evil Gauche, played by Alain Delon, another international favorite, whose LE SAMOURAI is an all-time classic in my book. With RED SUN, director Terence Young, who helmed the earliest James Bond films, took one of the great international casts ever assembled and delivered a fun and entertaining film that I revisit often!
#2: MR. MAJESTYK (1974) – A simple story about a man in rural Colorado who just wants to be left alone so he can pick his melons, MR. MAJESTYK has been one of my favorite Charles Bronson films since the beginning. I remember Dad renting this one when I was a kid in my early Bronson discovery period, prior to the life-changing DEATH WISH 3 purchase. I loved the movie, but dad had to take it back to the video store after a couple of days, and I wouldn’t see it again for quite a while. Flash forward about 37 years and one of the great days of my life was spent in those same rural Colorado locations (Canon City, Manzanola, La Junta) where Vince Majestyk had righted wrongs a half a century before. My wife and I toured the various locations, and I felt like I was walking in the footsteps of the great Charles Bronson. It was an almost mystical experience, which I documented through tons of pictures and self-made videos. A few months later, as part of the THIS WEEK IN CHARLES BRONSON podcast, I was even blessed with the opportunity to co-host an interview with Jordan Rhodes, one of the two stars of the 1974 production that is still alive, the other being the beautiful Lee Purcell. It was the type of experience you assume you’ll never get in life, and then it happens! There are now so many personal reasons for MR. MAJESTYK to be special to me, but it’s also just a great 70’s action film with an interesting story, a badass hero, and a uniquely awesome set of villains. Elmore Leonard’s screenplay rocks and makes Bronson a working-class hero in a role that fits him like a glove. Throw in Al Lettieri as the biggest bully in the Bronson canon, and Paul Koslo as a creepy, local, wannabe ass-kicker, and the stage is set for action and audience satisfaction. My only warning is to stay away if the mutilation of fruit offends you. This movie contains the most horrid melon massacre in film history!
#1: HARD TIMES (1975) – The directorial debut of Walter Hill, HARD TIMES is the undisputed and still reigning number 1 champion of my favorite Charles Bronson films. When I published my first review in November of 2024 for The Shattered Lens, it was for HARD TIMES, where I declared that the movie is my personal favorite film. My thought was just to go ahead and truly introduce myself to the readers of the site, so they’ll know where I’m coming from as a cinema lover. I have a long history with this film that includes my own personal and working relationship with my dad. Dad was the kind of guy who worked all the time, and even harder on the weekends when he wasn’t doing his paid job as a high school basketball coach and teacher. Being his son, I was always right there with him, helping as we mowed our neighbors’ yards, hauled wood, built sheds… you name it, we did it. One day in appreciation for my help over the summer, dad took me to Wal-Mart and told me I could pick out a movie, and he would buy it for me. They had a nice, fresh stack of HARD TIMES VHS copies on their shelves and that’s what I selected. I had not seen the film before so when we got home, I wanted to watch it. What really surprised me is that Dad sat and watched the whole movie with me. What you have to understand is that my dad never sits still, and if he does, he usually falls asleep. That day he watched the movie, laughed at the right places, commented on the film at times, and seemed to really enjoy himself. I think all of us appreciate it when the special people in our lives will watch and enjoy a movie with us. That was one of those best movie moments ever when you consider it was with my dad. Not only do I have a fond memory of my first viewing, but HARD TIMES has also proven itself over the years to be one of Bronson’s best films and, in my opinion, an underrated 70’s classic. The polar opposite performances of Bronson as the quiet, powerful Chaney, and James Coburn as the fast-talking, hustler Speed, set the stage for high stakes drama in depression-era New Orleans. Somewhat like Harmonica from ONCE UPON A TIME IN THE WEST, Chaney is almost a mythic superhero as he rides into town on the train, impacts a lot of lives, and then gets back on the train and rides away. The audience satisfaction is off the charts as the mysterious drifter Chaney punches out smirking, younger opponents, hulking bald-headed opponents, shady managers who refuse to hand over the cash after a loss, and even a ringer who’s brought in all the way from Chicago. It’s a great film that was bought for me by a great dad, that’s filled with great actors who give great performances, all put together by a great director who would continue to make some of the greatest action movies of all time. How could this NOT be my favorite Charles Bronson film?!!
