The Blues Brothers (1980, directed by John Landis)


The Blues Brothers!  They’re on a mission from God.

Jake (John Belushi) and Elwood Blues (Dan Aykroyd) are two Chicago orphans who love the blues and committing crime.  After Jake is paroled from Joliet Prison, he’s picked up by Elwood in an old police car.  Elwood traded the original Bluesmobile for a microphone.  Jake understands, even if he still doesn’t like being seen in a police car.  When they  visit the orphanage where they were raised, Sister Mary Stigmata (Kathleen Freeman) beats them with a ruler and tells them that the orphanage is going to close if she can’t pay a $5,000 tax bill.  Jake and Elwood set out to reform their band, raise $5,000, and save the orphanage.  Jake and Elwood may be two career criminals who never take off their dark glasses but they’re on a mission from God.

Along the way to putting the band together and raising $5,000, Jake and Elwood meet characters played by everyone from James Brown to Ray Charles to Aretha Franklin.  You never know when a big production number might break out.  Jake and Elwood also step on a few toes.  Soon, the Blues Brothers being chased by the police, the national guard, Jake’s parole officer (John Candy), Charles Napier’s country-western band, and a group of Illinois Nazis (led by Henry Gibson).  There’s also a mysterious woman (Carrie Fisher) who wants to kill them.  She has an impressive array of weapons but terrible aim.

The Blues Brothers was the first comedy to be based on a Saturday Night Live bit.  Unlike most other SNL movies, The Blue Brothers develops its plot far beyond what was originally seen on television.  Jake and Elwood get a full backstory and they also get personalities that go beyond the black suits and the dark eyewear. The Blues Brothers features Belushi at his most energetic but it’s also one of the few films to actually know what to do with Dan Aykroyd’s eccentric screen presence.  If Belushi’s Jake is all about earthly pleasures, Aykroyd’s Elwood almost seems like a visitor for another world.  Aykroyd’s performance of the Rawhide theme song is one of the film’s highlight.

The Blues Brothers has its share of funny lines and its famous for the amount of pointless destruction that it manages to fit into its storyline (with the “unnecessary violence” being authorized by the Chicago police to stop the Blues Brothers) but it’s also as surprisingly sincere tribute to the blues.  It’s a movie that can balance Ray Charles shooting at a shoplifter and a massively destructive car chase in a suburban mall with Cab Calloway playfully performing Minnie the Moocher and Aretha Franklin bringing down the house (or diner, as the case may be).  The movie can feature both a jump over an open drawbridge and Steven Spielberg as the clerk at the tax office.  It’s one of the strangest comedies ever made and it features all the excesses that would bring an end to 70s Hollywood but when Jake and Elwood say they’re on a mission from God, you believe them.

 

My 2026 Super Bowl Predictions


What if they played a Super Bowl and no one cared?

Back when I played Madden, the announcers would always say that Super Bowl Sunday was an “unofficial national holiday,” and I usually agreed right before I set the game to rookie mode so that the Ravens could win by a 100 points.  But this year, no one seems to be too excited about the prospect of either the Patriots or the Seahawks winning the big game.  I know that I’m not really enthusiastic about either team.  The NFL doesn’t seem to be excited that either.  Maybe if Taylor Swift was dating a Seahawk, the NFL would care more.

I always make a prediction though and I’m usually wrong.  So, this year:

Patriots 28

Seahawks 7

Why not?  The Patriots winning yet another Super Bowl would be the perfect anticlimax to this season.

Song of the Day: Breakin’ My Heart (by Mint Condition)


Whenever “Breakin’ My Heart” by Mint Condition comes on, it’s like flipping back to the spring of ’91 — those final high school days buzzing with possibility and that sweet uncertainty of what came next. I remember those silky keys and that laid-back groove spilling out of boomboxes in the parking lot after school, turning ordinary afternoons into something electric. It was the ultimate slow jam for passing notes in class and those marathon phone calls about crushes that felt like the whole world.

What made the track stick so deep was its smooth, patient vibe, like it was custom-made to linger in those tender high school romance moments — Stokley’s voice carrying that perfect mix of ache and hope. At senior prom, when “Pretty Brown Eyes” finally hit, the gym lights dimmed, and suddenly every sway felt like a promise. It bridged those innocent, heart-on-your-sleeve high school flings right into the haze of early college, where relationships got messier, longer-distance, and way more real, with calls late at night from someone met through college halls and weekend jaunts to clubs.

That song soundtracked our whole transition that summer before freshman year — cruising with windows down, radio cranked, as we traded high school goodbyes for the thrill and nerves of campus life. Mint Condition’s harmonies wrapped up all the nostalgia of backyard parties and first kisses, while hinting at the tougher navigations ahead, like figuring out if those feelings could stretch across states. Even now, it pulls me right back to that bridge between worlds — young love evolving, full of promise and those first real heartbreaks.

Breakin’ My Heart (Pretty Brown Eyes)

Pretty
Brown
Eyes

Pretty brown eyes, you know I see you
It’s a disguise, the way you treat me
(The way you treat me, pretty brown eyes)
You keep holding on to your thoughts of rejection
If you’re with me, you’re secured

You keep telling me that your time is always taken
But I keep seeing you out alone
(Out alone, pretty brown eyes) yeah
Listen to love, your heart is pounding with desire
Waiting to be unleashed

Quit breakin’ my heart
Breakin’ my heart (pretty brown eyes)
Yeah, breakin’ my heart, oh, yeah
Breakin’ my heart (pretty brown eyes)
Sugar, yeah, yeah

Don’t tell your friends
That I don’t mean nothing to you
Please, don’t deny the truth
(Pretty brown eyes)
Tell me right now, I know your heart is in the right place
You know I won’t let you down, oh, yeah, yeah

You can’t disguise all the pounding of your heart, yeah
(I see your eyes) I see your eyes
(Pretty brown eyes) and you can’t hide
Start to make sense and quit playing
These love games (silly little games)
Tell me what you’re gonna do, yeah

Quit breakin’ my heart
Breakin’ my heart (pretty brown eyes)
Yeah, breakin’ my heart, ooh
Breakin’ my heart (pretty brown eyes), yeah

I just want to know one thing
Will you be with me?
(Pretty brown eyes)
Ooh, ooh, ooh, oh, oh
Here comes my darlin’ (here comes my darlin’)
Here comes romance (here comes romance)
Here comes my lovin’ (here comes my lovin’)
(Please, honey will you dance?)

Quit breakin’ my heart
Breakin’ my heart (pretty brown eyes)
Breakin’ my heart, yeah
Breakin’ my heart, whoa

Got me cryin’ all inside (pretty brown eyes)
Ohh, ho, ho, ooh, I’m talking ’bout (breakin’ my heart)
I’m talkin’ ’bout you, I’m talkin’ ’bout me
I’m talkin’ ’bout we, I’m talkin’ ’bout we, we (pretty brown eyes)

Here comes my darlin’ (here comes my darlin’)
Here comes romance (here comes romance)
Here comes my lovin’, will you dance (here comes my lovin’, please, honey will you dance?)
Oh yeah, sugar pie, baby
Breakin’ my heart

Here comes my darlin’ (here comes my darlin’)
Here comes romance (here comes romance)
Will you dance (here comes my lovin’, please, honey will you dance?)
Oh, hoo, ohh, yeah (pretty brown eyes)
Heart, breakin’ my heart (pretty brown eyes)
Breakin’ my heart (pretty brown eyes)
Breakin’ my heart, breakin’ my heart

The DGA Honors Paul Thomas Anderson


If you were like me and you were hoping for some sort of big upset at the Oscars next month, it looks like we’re out of luck!  The Directors Guild has honored Paul Thomas Anderson as director of the year for One Battle After Another.

The winners are in bold:

FEATURE FILM
Paul Thomas Anderson – “One Battle After Another” (Warner Bros.)
Ryan Coogler – “Sinners” (Warner Bros.)
Guillermo Del Toro – “Frankenstein” (Netflix)
Josh Safdie – “Marty Supreme” (A24)
Chloe Zhao – “Hamnet” (Focus Features)

FIRST-TIME THEATRICAL FEATURE FILM
Hasan Hadi – “The President’s Cake” (Sony Pictures Classics)
Harry Lighton – “Pillion” (A24)
Alex Russell – “Lurker” (Mubi)
Charlie Polinger – “The Plague” (IFC)
Eva Victor – “Sorry, Baby” (A24)

4 Shots From 4 Films: Special King Vidor Edition


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, we celebrate the 132nd birthday of Texas-born filmmaker, King Vidor!  Though Vidor may no longer be a household name, he was one of the most important and idiosyncratic filmmakers of Hollywood’s Golden Age.  The Crowd is regularly cited as one of the most influential films ever made.  (Certainly every film that’s ever featured a shot of an anonymous office worker sitting in a room full of cubicles owes a debt to it.)  Duel in the Sun went on to inspire countless spaghetti westerns.  The Fountainhead is also regularly cited as a favorite by a surprisingly large number of directors.

In honor of King Vidor’s life and legacy, here are….

4 Shots From 4 King Vidor Films

The Champ (1931, dir by King Vidor, DP: Gordon Avil)

Duel In The Sun (1946, dir by King Vidor, DP: Lee Garmes)

The Fountainhead (1949, dir by King Vidor, DP: Robert Burks)

Solomon and Sheba (1959, dir by King Vidor, DP; Fred A. Young)

Music Video of the Day: I Love Rock ‘N’ Roll, covered by Britney Spears (2001, dir by Chris Applebaum)


It’s Britney!

Filmed at Long Island bar, this video is here to welcome us to Super Bowl Sunday!  Pretty soon, some people will be watching the game and some people will be watching the commercials and, here at the Shattered Lens, we’ll be posting any trailers that drop during the big game.  It’s a part of our tradition!

For now, though, let’s love rock and roll.

Enjoy!

Late Night Retro Television Review: Saved By The Bell 1.11 “The Friendship Business”


Welcome to Late Night Retro Television Reviews, a feature where we review some of our favorite and least favorite shows of the past!  On Saturdays, I will be reviewing Saved By The Bell, which ran on NBC from 1989 to 1993.  The entire show is currently streaming on Prime and Tubi!

This week, Zack and Jessie battle for business supremacy.

Episode 1.11 “The Friendship Business”

(Dir by Don Barnhart, originally aired on November 4th, 1989)

Hey, it’s the Buddy Bands episode!

One of the things about Saved By The Bell is that, if you’re a certain age, all you have to hear is one term — like “Buddy Band” or “I’m so excited” or “Zack Attack” — and you automatically know what episode is being referred to.  If you were in high school or college in the days when Saved By The Bell reruns were playing endlessly in syndication, you know what I’m talking about.

That’s changing, of course.  Saved By The Bell is no longer the ubiquitous cultural touchstone that it once was.  That’s a polite way of saying that those of us who grew up with it on television are getting older and, for the generation replacing us, Saved By The Bell is just one of the many old shows that they probably skip over while looking at whatever’s streaming online.  It’s sad to say but, in another few decades, all of the Saved By The Bell talk will be limited to assisted living facilities and to grandchildren saying, “Was Zack Morris a friend of yours, grandma?”

For now, though, I’m just happy that I can say “Buddy Bands” and everyone remembers that this episode featured Zack and Jessie leading rival companies that both got involved in the cut-throat world of friendship bracelets.  Zack thinks that he has the inside track because he’s got Lisa and the fashion club working for him but he eventually demands too much from her so Lisa defects over to Jessie’s company.  But then Jessie proves to be just as demanding as Zack.  Meanwhile, Zack convinces Belding to wear a Buddy Band.  Belding walks around the school saying, “Hello, fellow Buddy Bander!” and everyone demands their money back.  Jessie asks someone if their Buddy Band is defective.  “Belding’s wearing one!  It doesn’t get more defective than that!”

Among other things, this episode features the classic Buddy Bands commercial:

Seriously, why was everyone fighting over Zack when A.C. Slater — handsome, mysterious, ageless, and a great dancer! — was right there?

Along with the oddly overproduced Buddy Band commercial, this episode featured one of those weird Zack Morris fantasies, where he imagine being so rich that Screech — as Robin Screech — interviews him.  Zack imagines owning the school, being married to Kelly, and forcing Jessie, Slater, Lisa, and Mr. Belding to work for him.  It’s a chilling look inside Zack’s mind.

Indeed, this episode is also a good early example of Zack getting away with essentially being a sociopath.  Given $100 to start a company by teacher Mr. Tuttle (Jack Angeles, making his first welcome appearance on the show), Zack proceeds to steal Lisa’s idea of making friendship bracelets, tries to overthrow Jessie as company president (leading to Jessie forming her own company and going into the Buddy Band business), and then mercilessly exploits Screech and Lisa while doing very little work himself.  After this backfires on him, he sabotages Jessie’s company and drives her out of business.  Then, at the Max, everyone just decides to be friends again.  In fact, Zack doesn’t even flunk his business class because he learned an important lesson.  I mean, as much as I disliked Ms. Bliss, at least she actually got mad (albeit briefly) when Zack stole her money and invested in potatoes!

Anyway, this episode?  Classic!  Buddy Bands!