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.
I love to share movies that are filmed in my beautiful home state of Arkansas. There aren’t a lot of movies filmed in Arkansas, but there are definitely some interesting movies filmed in Arkansas. Check these out!
Gene Hackman is a tremendous, multiple Oscar winning actor who has been in some of the best movies ever made. Of all that great work, the movie that means the most to me is HOOSIERS (1986). If you don’t believe me, just go ahead and follow me on X. I’m easy to find. My handle is @Hoosiers1986. I’ve shared before that my dad was a high school basketball coach at small schools here in Arkansas that weren’t much different from the one in Hickory, IN depicted in the film. Growing up in the Crain household, basketball was my life and my dad and HOOSIERS have always been such inspirations to me.
On his 95th birthday, I wanted to share this video I found of Hackman discussing his role as Coach Norman Dale in HOOSIERS, which includes clips from behind the scenes and of the film itself. I had never seen this material before so I found it especially interesting. He tells a really special story about a lady he met while on location. It was quite touching. Happy Birthday, Mr. Hackman! Enjoy!
There’s a brilliant scene that occurs towards the end of 1983’s The Right Stuff.
It takes place in 1963. The original Mercury astronauts, who have become a symbol of American ingenuity and optimism, are being cheered at a rally in Houston. Vice President Lyndon Johnson (Donald Moffat) stands on a stage and brags about having brought the astronauts to his supporters. One-by-one, the astronauts and their wives wave to the cheering crowd. They’re all there: John Glenn (Ed Harris), Gus Grissom (Fred Ward), Alan Shephard (Scott Glenn), Wally Schirra (Lance Henrisken), Deke Slayton (Scott Paulin), Scott Carpenter (Charles Frank), and the always-smiling Gordon Cooper (Dennis Quaid). The astronauts all look good and they know how to play to the crowd. They were chosen to be and sold as heroes and all of them have delivered.
While the astronauts are celebrated, Chuck Yeager (Sam Shepard) is at Edwards Air Force Base. Yeager is the pilot who broke the sound barrier and proved that the mythical “demon in the sky,” which was whispered about by pilots as a warning about taking unnecessary risks, was not waiting to destroy every pilot who tried to go too fast or too high. Yeager is considered by many, including Gordon Cooper, to be the best pilot in America. But, because Yeager didn’t have the right image and he had an independent streak, he was not ever considered to become a part of America’s young space program. Yeager, who usually holds his emotions in check, gets in a jet and flies it straight up into the sky, taking the jet to the edge of space. For a few briefs seconds, the blue sky becomes transparent and we can see the stars and the darkness behind the Earth’s atmosphere. At that very moment, Yeager is at the barrier between reality and imagination, the past and the future, the planet and the universe. And watching the film, the viewer is tempted to think that Yeager might actually make it into space finally. It doesn’t happen, of course. Yeager pushes the jet too far. He manages to eject before his plane crashes. He walks away from the cash with the stubborn strut of a western hero. His expression remains stoic but we know he’s proven something to himself. At that moment, the Mercury Astronauts might be the face of America but Yeager is the soul. Both the astronauts and Yeager play an important role in taking America into space. While the astronauts have learned how to take care of each other, even the face of government bureaucracy and a media that, initially, was eager to mock them and the idea of a man ever escaping the Earth’s atmosphere, Chuck Yeager reminds us that America’s greatest strength has always been its independence.
Philip Kaufman’s film about the early days of the space program is full of moments like that. The Right Stuff is a big film. It’s a long film. It’s a chaotic film, one that frequently switches tone from being a modern western to a media satire to reverent recreation of history. Moments of high drama are mixed with often broad humor. Much like Tom Wolfe’s book, on which Kaufman’s film is based, the sprawling story is often critical of the government and the press but it celebrates the people who set speed records and who first went into space. The film opens with Yeager, proving that a man can break the sound barrier. It goes on to the early days of NASA, ending with the final member of the Mercury Seven going into space. In between, the film offers a portrait of America on the verge of the space age. We watch as John Glenn goes from being a clean-cut and eager to please to standing up to both the press and LBJ. Even later, Glenn sees fireflies in space while an aborigines in Australia performs a ceremony for his safety. We watch as Gus Grissom barely survives a serious accident and is only rescued from drowning after this capsule has been secured. The astronauts go from being ridiculed to celebrated and eventually respected, even by Chuck Yeager.
It’s a big film with a huge cast. Along with Sam Shepherd and the actors who play the Mercury Seven, Barbara Hershey, Pamela Reed, Jeff Goldblum, Harry Shearer, Royal Dano, Kim Stanley, Scott Wilson, and William Russ show up in roles both small and large. It can sometimes be a bit of an overwhelming film but it’s one that leaves you feeling proud of the pioneering pilots and the brave astronauts and it leaves you thinking about the wonder of the universe that surrounds our Earth. It’s a strong tribute to the American spirit, the so-called right stuff of the title.
The Right Stuff was nominated for Best Picture but, in the end, it lost to a far more lowkey film, 1983’s Terms of Endearment. Sam Shepard was nominated for Best Supporting Actor but lost to Jack Nicholson. Nicolson played an astronaut.
I don’t hear a lot about LAST OF THE DOGMEN, the 1995 modern day western starring Tom Berenger, Barbara Hershey and Kurtwood Smith. I love the movie, and I have for years. My buddy Chuck, his son Carter, and I recently drove up the hill to Fayetteville to watch the Arkansas Razorbacks play football. We had a great day! We ate at the Catfish Hole for lunch and then watched the Razorbacks beat Louisiana Tech 35-14. It was fun (See picture below for the happy crew). We had about a 3-hour drive home so we were talking about things we both love, like the Andy Griffith Show. Out of nowhere, Chuck said, “Do you want to know a movie I love? It’s called the LAST OF THE DOGMEN.” It was the last thing I was expecting to hear. I also love the movie. We talked about it and had a good time, but I made a mental note to watch it again soon. So here we are.
LAST OF THE DOGMEN opens with Sheriff Deegan (Kurtwood Smith) trying to find three escaped convicts in Northwest Montana. Deegan calls in the best tracker he knows, Lewis Gates (Tom Berenger), to go into the mountains to find the convicts. The two men have a history as Gates was married to the sheriff’s daughter, and the daughter died. The sheriff clearly doesn’t like Gates and blames him for his daughter’s death, but he knows he’s the man for the job. With Gates and his genius dog Zip right on their tails, the convicts are mysteriously killed by a group of men on horses who shoot them with arrows. Gates see the men riding off through a fog and is convinced they are Indians. He ends up seeking out the help of Native American historian Lillian Sloan (Barbara Hershey) to help him understand what he may have seen. He’s able to convince Lillian to ride into the mountains with him because he needs a translator if he actually finds anyone, and the two head off into the Oxbow. After a week of roughing it, they’re about to give up when they suddenly find themselves surrounded by the Indian dog soldiers. They’re taken as prisoners to the Indian camp, where the leader of the dog soldiers, Yellow Wolf, has a sick son. It seems he was shot by one of the escaped prisoners. Gates heads back to town to get penicillin for the son, which ultimately saves his life. Gates and Lillian spend some time getting to know and respect this isolated Cheyenne tribe. Meanwhile, Sheriff Deegan, unable to forgive Gates for the death of his daughter, gathers a group of men and they head into the Oxbow to find Gates. Will the Indians be able to have peace and live their lives like they did in the 19th century, or will they be discovered and forced to live out the fates of their ancestors? Well, if you haven’t seen it, just watch and enjoy!
As I said earlier, I’m a big fan of LAST OF THE DOGMEN. I was initially interested in the movie because I like Tom Berenger as a leading man. His SHOOT TO KILL with Sidney Poitier is a big time personal favorite. I also like him in PLATOON, SOMEONE TO WATCH OVER ME, BETRAYED, MAJOR LEAGUE, SHATTERED, SNIPER and THE SUBSTITUTE. He had been a big sex symbol earlier in his career. By the time of this film, he’s getting a little too old and heavy to be a sex symbol. In THE LAST OF THE DOGMEN, he’s actually very funny, and I really enjoy watching him have fun on screen. I’ll also go ahead and say that I’ve never been a huge fan of the actress Barbara Hershey, but she keeps showing up in movies I love. Outside of this, she’s also in HOOSIERS, and it’s one of my favorites. While there’s something about her I don’t really like, she is pretty good, and I do like her chemistry with Berenger. When they finally share a big smooch towards the end of the film, I liked it. And what can I say about Gates’ Australian cattle dog Zip? He’s an integral part of the story and saves Gates & Lillian’s asses on multiple occasions. At one point in the story, Lillian says “it’s disconcerting to know that the smartest member in our expedition is a dog!” It’s true!
I think the thing I like the most about the LAST OF THE DOGMEN is the idea that a group of Cheyenne Indians could be living out their lives the way they did a century ago. Something about that is romantic and magical to me, and it gave me an emotional interest in the film. Isn’t that why we really love movies? The best ones can reach into our souls and find something that’s valuable to us. I love the idea of Cheyenne Indians living out their heritage and protecting it at all costs. There’s something simple and meaningful about that. Director Tab Hunter really leans into this emotional truth. It’s the only film he would direct, and it seems to share the one message that meant the most to him. Most of us would give anything to have an opportunity to share with the world who we really are. Hunter got that opportunity and shared this movie. That’s pretty cool to me.
HOOSIERS is based on the true story of a small high school winning the Indiana state basketball championship in 1954. Gene Hackman plays Coach Norman Dale, the once successful college coach who gets a second chance when he’s hired to coach high school basketball in the tiny town of Hickory, Indiana. It takes some time for Coach Dale to whip the talented, but undisciplined young men into a team, and it also takes a little time for local legend Jimmy Chitwood to decide that he will play basketball again. Chitwood had stopped playing prior to the arrival of Coach Dale, but after watching the way the coach goes about his business, he decides he’ll give it another go. After a rough start, the team starts playing good basketball and starts piling up wins as they make their way towards a potential state championship.
HOOSIERS was released when I was 13 years old, and it has been one of my favorite movies for almost 40 years. Why, you might ask? I’ll start by giving you a little Bradley Crain family history. First, basketball was my life growing up. My dad was a teacher and high school basketball coach. From the earliest days I can remember, my dad was teaching me how to play basketball. He taught me the proper techniques for shooting, and through lots of practice I became very good at it. I’m one of those people who could be referred to as a “gym rat.” The only things I wanted to do growing up were play basketball and go fishing. I have a brother who is one year and 5 days older than me, and he loved basketball too. The competition between the two of us made it difficult at times at home, but it also pushed us to get better. Second, I grew up in a small rural community in Arkansas known as Toad Suck, and I went to school in the small town of Bigelow, Arkansas. Bigelow was classified as a “Class B” school for sports purposes. This was the smallest classification that you could be in, and my class consisted of approximately 40 students. Finally, when HOOSIERS came out I was in junior high and my dream was to win a high school state basketball championship. Our teams were good, and I was still young and naïve enough to believe anything was possible. We even won the district championship my 9th grade year, which was the year after HOOSIERS was released. Alas, the chips didn’t fall our way, and even though we won a lot of basketball games over the next few years, there were no state championships. Now back to the movie!
One of my favorite things about HOOSIERS is the cast of young men hired to play the members of the team. So often in movies, the actors that are supposed to be good at basketball are clearly not. That’s not the case in HOOSIERS. These guys can act and are talented basketball players as well. And what can I say about the cast that includes a marvelous Gene Hackman as the coach, and Dennis Hopper as the friendly, but alcoholic dad of one of the players who “knows everything there is to know about the greatest game ever invented.” Hopper is phenomenal, and his work was recognized with an Oscar nomination. Finally, as the team is making its way towards the championship, each player is given a moment to shine and do their part to help the team. I liked that. It all makes for an exciting and heartwarming true story that pretty much anyone can enjoy. I still love the movie now just thinking about it!
In 2021’s The Manor, Barbara Hershey plays Judith Albright. Once a professional dancer, Judith now works as a dance instructor. Or, at least, she does until she has a sudden stroke at her 70th birthday party. Judith survives the stroke but it’s discovered that she has Parkinson’s disease. Judith decides that it’s time to move into a nursing home. Her grandson, Josh (Nicholas Alexander), disagrees but the rest of Judith’s family thinks that Judith is making the right decision.
At first, the nursing home seems ideal for Judith. The nurses seem to be friendly. The home is actually in a stately old manor and Judith has a nice view of the nearby woods from her room. It’s true that Judith’s roommate seems to think that there’s something sinister happening but Judith (and everyone else) chalks that up to senility. Judith moves into the Manor and even befriends some of the other residents, including Roland (Bruce Davison).
However, it’s not long before Judith starts to suspect that something strange is happening at the Manor. She hears strange noises. There are mysterious deaths. It turns out that not all of the nurses are as friendly as the originally seem. Judith starts to have visions of a strange tree-like creature in her room. When Judith tries to talk to the nursing home’s staff, they dismiss her concerns and condescendingly tell her that she’s just confused. Some of them even threaten her to keep her from making too much trouble. Are they just bad nurses or is there something even worse motivating them? And can Judith discover the Manor’s secret before she becomes the latest victim?
The Manor was the eighth and the last entry in the Welcome to the Blumhouse horror anthology series. Each of the films premiered on Prime, with The Manor dropping on October 8th, 2021. For the most part, the quality of the films featured as a part of Welcome to the Blumhouse were uneven. However, The Manor actually works fairly well. What the film lacks in budget, it makes up for in atmosphere. The nursing home is a truly creepy location and director Axelle Croyon does a good job of creating the feeling that there could be something lurking in every shadow. The scenes were Judith is woken in the night are well-done and the scenes where Judith is told that she is simply confused because she’s elderly are properly infuriating. Barbara Hershey is well-cast as Judith, giving a good performance as someone who is at peace with being in her twilight years but who still isn’t quite ready to give up on life. She is well-matched by Bruce Davison, playing a more ambiguous resident of the nursing home. The ending of The Manor is also a bit unexpected, with Judith making a choice that’s unexpected but which makes sense if you look back over what we’ve learned about her over the course of the film.
In the end, The Manor feels like a modern version of one of those old episodes of The Twilight Zone or The Outer Limits. Yes, the film does teach an important lesson about aging and respecting our elders but, even more importantly, it adds a slightly unexpected twist to give the story a properly macabre conclusion. The Manor is an effective little horror tale and one that gives Barbara Hershey a chance to shine.
The year is 1973. The American Solider (played by David Carradine, who also directed) has just been discharged from Vietnam and is now hitchhiking across an America that he no longer understands. When he reaches a small town in Kansas, he stumbles across a run-down carousel sitting in an overgrown field. The Soldier decided to spend the night camping in the field and, the next morning, he sets out to rebuild the old merry-go-round.
No one in town can understand why the Soldier is doing what he is doing. The local teenagers harass him while a silent and beautiful girl in a white dress (played by Carradine’s then-partner, Barbara Hershey) brings him a toolbox but runs away whenever the Soldier tries to speak with her. Some of the older townspeople, led by gas station owner Mike (Michael Greene), help the Soldier by giving him odd jobs and deals on equipment and tools. But, when the Soldier refuses to attend a weekly cockfight, both Mike and eventually the entire town turns against him.
Even with the community refusing to help, the Soldier continues his work. Finally, the Soldier needs only one last piece to complete the restoration. Mike agrees to give it to him on the condition that the Soldier first fight a dog.
Based on the 1948 novel, The Perfect Round, Americana was a passion project for both David Carradine and Barbara Hershey. They first learned of the book and its story in 1969. Four years later, using the money that he made starring in Kung Fu, Carradine purchased the rights to the novel and set out to the bring the story to the screen. As producer, director, editor, and star, Carradine had complete artistic control over the project. This was both a blessing and a curse because Carradine spent a total of 8 years editing his film. It then took another two years for Americana to finally be picked up by a distributor, Crown International Pictures. Ten years after filming began, Americana was finally released in 1983. Carradine was shooting new scenes up until two weeks before the film’s release, which explains why the Soldier suddenly and dramatically ages an hour into the completed movie.
Americana may be strange but it’s not bad. In some ways, it reminded me of what First Blood would have been like if, instead of going on a rampage, Rambo had taken the Sheriff’s advice and moved on to the next town. It has its share of pretentious moments but the overall story, about a man who, having seen so much destruction in Vietnam, now just wants to build something good, shines through. Even if her character never makes sense, Barbara Hershey is stunningly beautiful and Carradine is effectively low-key as the Soldier. Even Americana‘s controversial ending works as a statement about sacrifice. Much like the characters played by John Wayne in The Searchers and The Man Who Shot Liberty Valance, The Soldier’s role is to defend and improve a society that has no place for him inside of it.
If Americana had been released in 1973, it probably would have been ahead of its time. Few people wanted to talk about Vietnam, much less go to a movie that was a metaphor for the entire conflict. When Americana was was released in 1983, people were more interested in refighting the war and achieving victory with Sylvester Stallone and Chuck Norris and had little interest in Carradine’s more thoughtful approach. Americana got pushed into obscurity but David Carradine’s vision of post-war America is still worth watching.
So, this year I am making a sincere effort to review every film that I see. I know I say that every year but this time, I really mean it.
So, in an effort to catch up, here are four quick reviews of some of the movies that I watched over the past few weeks!
An annoying kid named Chris Cross (David Arnott) tells us the story of his life.
In the year 1969, Chris and his mother, Tracy (Goldie Hawn), are living in Key West. While the rest of the country is excitedly watching the first moon landing, Chris and Tracy are just trying to figure out how to survive day-to-day. Tracy tries to keep her son from learning that she’s working as a stripper but, not surprisingly, he eventually finds out. Chris comes across some drugs that are being smuggled into Florida and, wanting to help his mother, he decides to steal them and sell them himself. Complicating matters is the fact that the members of the drug ring (one of whom is played by Steve Buscemi) don’t want the competition. As well, Tracy is now dating Joe (Arliss Howard), who just happens to be an undercover cop. And, finally, making things even more difficult is the fact that Chris just isn’t that smart.
There are actually a lot of good things to be said about Crisscross. The film was directed by the renowned cinematographer, Chris Menges, so it looks great. Both Arliss Howard and Goldie Hawn give sympathetic performances and Keith Carradine has a great cameo as Chris’s spaced out dad. (Traumatized by his experiences in Vietnam, Chris’s Dad left his family and joined a commune.) But, as a character, Chris is almost too stupid to be believed and his overwrought narration doesn’t do the story any good. Directed and written with perhaps a less heavy hand, Crisscross could have been a really good movie but, as it is, it’s merely an interesting misfire.
Ryan (Ryan Kelly) is a teen who stopped speaking after his father died. One day, Ryan falls off a bridge and promptly drowns. However, he’s not quite dead yet! Instead, he’s in The Dust Factory, which is apparently where you go when you’re on the verge of death. It’s a very nice place to hang out while deciding whether you want to leap into the world of the dead or return to the land of the living. Giving Ryan a tour of the Dust Factory is his grandfather (Armin Mueller-Stahl). Suggesting that maybe Ryan should just stay in the Dust Factory forever is a girl named Melanie (Hayden Panettiere). Showing up randomly and acting like a jerk is a character known as The Ringmaster (George De La Pena). Will Ryan choose death or will he return with a new zest for living life? And, even more importantly, will the fact that Ryan’s an unlikely hockey fan somehow play into the film’s climax?
The Dust Factory is the type of unabashedly sentimental and theologically confused film that just drives me crazy. This is one of those films that so indulges every possible cliché that I was shocked to discover that it wasn’t based on some obscure YA tome. I’m sure there’s some people who cry while watching this film but ultimately, it’s about as deep as Facebook meme.
Harry Deane (Colin Firth) is beleaguered art collector who, for the sake of petty revenge (which, as we all know, is the best type of revenge), tries to trick the snobbish Lord Shabandar (Alan Rickman) into spending a lot of money on a fake Monet. To do this, he will have to team up with both an eccentric art forger (Tom Courtenay) and a Texas rodeo star named PJ Puznowksi (Cameron Diaz). The plan is to claim that PJ inherited the fake Monet from her grandfather who received the painting from Hermann Goering at the end of the World War II and…
Well, listen, let’s stop talking about the plot. This is one of those elaborate heist films where everyone has a silly name and an elaborate back story. It’s also one of those films where everything is overly complicated but not particularly clever. The script was written by the Coen Brothers and, if they had directed it, they would have at least brought some visual flair to the proceedings. Instead, the film was directed by Michael Hoffman and, for the most part, it falls flat. The film is watchable because of the cast but ultimately, it’s not surprising that Gambit never received a theatrical release in the States.
On a personal note, I saw Gambit while Jeff & I were in London last month. So, I’ll always have good memories of watching the movie. So I guess the best way to watch Gambit is when you’re on vacation.
This is the story of two homicide detectives. Detective Vincent Cusack (John Spencer) is tough and cynical and world-weary. Detective Maria Quinn (Jaclyn Smith) is dedicated and still naive about how messy a murder investigation can be when it involves a bunch of Manhattan socialites. A reputed drug dealer is found dead during a party. Apparently, someone intentionally gave him an overdose of heroin. Detective Cusack thinks that the culprit was Dr. Brian Venible (Michael Nouri). Detective Quinn thinks that there has to be some other solution. Complicating things is that Quinn and Venible are … you guessed it … lovers! Is Quinn truly allowing herself to be held in the arms of a killer or is the murderer someone else?
This sound like it should have been a fun movie but instead, it’s all a bit dull. Nouri and Smith have next to no chemistry so you never really care whether the doctor is the killer or not. John Spencer was one of those actors who was pretty much born to play world-weary detectives but, other than his performance, this is pretty forgettable movie.
When a spoiled heiress named Joanne Slayton (Goldie Hawn) falls off of her luxury yacht, no one seems to care. Even when her husband, Grant (Edward Herrmann), discovers that Joanne was rescued by a garbage boat and that she now has amnesia, he denies knowing who she is. Instead, he takes off with the boat and proceeds to have a good time. The servants (led by Roddy McDowall) who Joanne spent years terrorizing are happy to be away from her. In fact, the only person who does care about Joanne is Dean Proffitt (Kurt Russell). When Dean sees a news report about a woman suffering from amnesia, he heads over to the hospital and declares that Joanne is his wife, Annie.
Convinced that she is Annie, Joanne returns with Dean to his messy house and his four, unruly sons. At first, Dean says that his plan is merely to have Joanne work off some money that she owes him. (Before getting amnesia, Joanne refused to pay Dean for some work he did on her boat.) But soon, Joanne bonds with Dean’s children and she and Dean start to fall in love. However, as both Grant and Dean are about to learn, neither parties nor deception can go on forever…
This is one of those films that’s pretty much saved by movie star charisma. The plot itself is extremely problematic and just about everything that Kurt Russell does in this movie would land him in prison in real life. However, Russell and Goldie Hawn are such a likable couple that the film come close to overcoming its rather creepy premise. Both Russell and Hawn radiate so much charm in this movie that they can make even the stalest of jokes tolerable and it’s always enjoyable to watch Roddy McDowall get snarky. File this one under “Kurt Russell Can Get Away With Almost Anything.”
A remake of Overboard, with the genders swapped, is set to be released in early May.
Diana Sullivan (Jill Clayburgh) is a writer for Cosmopolitan and she’s got a problem! It turns out that her teenager daughter, Grace (Martha Plimpton), is skipping school and snorting cocaine! OH MY GOD! (And, to think, I thought I was a rebel just because I used to skip Algebra so I could go down to Target and shoplift eyeliner!) Diana knows that she has to do something but what!?
Diana’s solution is to get Grace out of New York. It turns out that Diana has got some distant relatives living in Louisiana bayou. After Cosmo commissions her to write a story about them, Diana grabs Grace and the head down south!
(Because if there’s anything that the readers of Cosmo are going to be interested in, it’s white trash bayou dwellers…)
The only problem is that Ruth (Barbara Hershey) doesn’t want to be interviewed and she’s not particularly happy when Diana and Grace show up. Ruth and her four sons live in the bayous. Three of the sons do whatever Ruth tells them to do. The fourth son is often disobedient so he’s been locked up in a barn. Diana, of course, cannot understand why her relatives aren’t impressed whenever she mentions that she writes for Cosmo. Meanwhile, Grace introduces her cousins to cocaine, which causes them to go crazy. “She’s got some strange white powder!” one of them declares.
So, this is a weird film. On the one hand, you have an immensely talented actress like Jill Clayburgh giving one of the worst performances in cinematic history. (In Clayburgh’s defense, Diana is such a poorly written character that I doubt any actress could have made her in any way believable.) On the other hand, you have Barbara Hershey giving one of the best. As played by Hershey, Ruth is a character who viewers will both fear and admire. Ruth has both the inner strength to survive in the bayou and the type of unsentimental personality that lets you know that you don’t want to cross her. I think we’re supposed to feel that both Diana and Ruth have much to learn from each other but Diana is such an annoying character that you spend most of the movie wishing she would just go away and leave Ruth alone. In the thankless role of Grace, Martha Plimpton brings more depth to the role than was probably present in the script and Don Swayze has a few memorable moments as one of Ruth’s sons. Shy People is full of flaws and never really works as a drama but I’d still recommend watching it for Hershey and Plimpton.
If nothing else, last night’s episode of The X-Files was definitely an improvement over the season premiere.
The whole thing started off with a bang, as a bunch of Russians showed up and tried to gun down Mulder and Scully. It turns out that apparently, the Executive Branch has hired a Russian agency to handle America’s secret intelligence work. The Russians can even give orders to the FBI. Yes, it’s all about Trump and I’m sure the Resistance loved it while the majority of MAGA probably wasn’t watching The X-Files to begin with. Speaking for myself, as a fairly nonpartisan reviewer, I stopped being shocked by Russian villains a long time ago. At this point, whenever a mobster or a mercenary shows up in a movie or TV show, I always expect to hear a Russian accent before they even open their mouth.
Anyway, as Skinner explains, the fact that the Executive Branch now hates the FBI is going to make it even more difficult for Mulder and Scully to do their thing. I’m not really sure how much I agree with Skinner on that, though. If there’s anything that quickly became apparent about these Russian mercenaries, it was just how totally inept they were at their job. They literally blew up Mulder and Scully’s apartment and yet, Mulder and Scully still escaped without a scratch. Later, another Russian assassin popped up and, even though he had the element of surprise on his side, he still couldn’t manage to hit either one of them. Part of me hopes that the Russian ineptness was deliberate on the part of the show. That would be the ultimate joke, wouldn’t it? The Russians aren’t even good at their job and they still managed to secretly take over the country.
When Mulder and Scully weren’t running from the Russians, they were dealing Langley, an old friend who, despite having been dead for 16 years, still kept appearing on Mulder’s phone and asking if Mulder was there. It turns out that Langley, like a lot of geniuses, arranged for his consciousness to be transported into a simulated world after his death. However, it turns out that the simulation is actually a prison where people like Steve Jobs are being used for slave labor.
It also turned out, of course, that Erika Price (the great Barbara Hershey) was the one behind both the Russians and the dead slave labor. She explained that every time you use an iPhone, a piece of your mind is scanned and stolen. When you think about it, that makes perfect sense.
Last night’s episode was all about paranoia, which is one reason why I enjoyed it. Admittedly, things did get off to a somewhat shaky start with the whole shoot out between Mulder, Scully, and the Russians, which was so haphazardly edited that I was worried I was going to get carsick just from watching it. But, after that, the episode became a deliberately paced mediation of darkness, death, and a paranoia. The extended sequence where Mulder and Scully explored the shadowy National Cemetery was brilliantly handled. As I watched, I was very much aware that there was undoubtedly a secret behind every tombstone.
That said, the main reason that last night’s episode worked was because of the playful chemistry between David Duchovny and Gillian Anderson. The main problem with the premiere — well, one of them — is that Duchovny and Anderson didn’t have many scenes together. Instead, Anderson spent almost the entire episode is the hospital while Duchovny spent his time driving through tobacco country. Last night, though, Duchovny and Anderson were together in nearly every scene and their banter was the best thing about the show.
As I watched last night’s episode, I was able to understand why so many people love The X-Files. It’s not the conspiracies. It’s not even the monsters. Instead, it’s all about the way that David Duchovny and Gillian Anderson bounces lines off of each other. Here’s hoping that the rest of the season understands this as well.
Well, let’s get this over with…
(Seriously, if I ever get tired of “Stay supple!,” that’ll probably be my new catch phrase…)
As you my remember, way back in 2016, I reviewed the 10th season of The X-Files. With the exception of the episode that featured Rhys Darby, I didn’t care much for it. In fact, the episode that was set in Texas almost drove me to throw a shoe at the TV. However, the 10th season did end with a big cliffhanger and, since I hate the idea of a story going unfinished, I knew I would have to watch the 11th season whenever it premiered. And I also knew that I’d have to review it because that’s what I do.
Well, tonight, the 11th season premiered. Armed with as much knowledge as one can hope to gain from scanning Wikipedia, I twice watched My Struggle III.
The episode began with a lengthy monologue from the Cigarette Smoking Man (William B. Davis), in which he talked about how, if the American people knew about what was truly going on in the darkest corners of the government, there would be riots in the streets. Personally, I love conspiracy theories and I’m generally opposed to all forms of controlling legal authority so I enjoyed that part of the show. The episode managed to work footage of every U.S. President except for Obama into the opening conspiracy montage. Personally, if I had edited the show, I would snuck Obama in there just to mess with people and their expectations. But that’s just me!
Anyway, as much fun as that little conspiracy monologue may have been, I was more concerned with how the show was going to deal with the fact that the world literally ended at the end of season 10. Well, it was quickly revealed that nothing that happened during My Struggle II actually happened. Instead, it was all just a vision that Scully had. Apparently, it’s a premonition of what will happen unless Mulder … does something.
Does what exactly? I’m not sure and, to be honest, I’m not really sure that the show does either. I understand that this episode is meant to be part of a bigger mythology and, as a result, it was supposed to be a bit open-ended. However, as I watched My Struggle III, I got the feeling that the episode was mostly just something that was hastily whipped up so that the show could do away with season 10’s disastrous finale. And it was hard not to feel that, narratively, the show took the easy way out.
The majority of the episode was made up of Mulder driving his car from location to location, searching for the Cigarette Smoking Man. This led to Mulder breaking into a mansion and having a conversation with Mr. Y (Alexandre Campion) and Erika Price (Barbara Hershey) about aliens and the secret history of the world. To be honest, it was kind of boring and it didn’t really hold my attention.
Meanwhile, the Cigarette Smoking Man and Agent Reyes (Annabeth Gish) were having a conversation with Skinner (Mitch Pileggi). During the conversation, the Cigarette Smoking Man revealed that he, and not Mulder, is the true father of Scully’s son, William.
And twitter exploded in rage.
Don’t fear, twitter! There’s always a good chance that next week’s episode will open with the Cigarette Smoking Man revealing that he actually isn’t the father or maybe it’ll just turn out that someone else was having a vision. By dismissing season 10’s cliffhanger as just being a dream (or a vision or premonition or whatever), The X-Files has reminded us that nothing on the show actually means anything. Who needs to maintain continuity or narrative integrity when you can just shrug and say, “Well, y’see, it’s all a part of the conspiracy…”
(As I watched tonight’s episode, I found myself thinking about Twin Peaks: The Return. No matter how weird or convoluted Twin Peaks got, I still never doubted that David Lynch did have a definite destination in mind. That’s not a feeling that I got from tonight’s episode of The X-Files.)
Now, here’s the good news! I have heard, from people who I trust, that the upcoming episodes are nothing like the premiere. Apparently, the premiere was one of those “we have to do it” things. The upcoming episode will be stand-alone episodes, much like the one where Mulder met the Were-Monster.
So, with that in mind, I will tune in next week to see if episode 2 is any better than episode 1.
Will you?
Through the Shattered Lens 