October True Crime: Zodiac (dir by David Fincher)


Who was the Zodiac Killer?

That is a question that has haunted journalists, cops, and true crime fans since the late 60s.  It is known that the Zodiac Killer murdered at least five people in Northern California in 1968 and 1969.  He targeted young couples, though he is also thought to have murdered on taxi driver as well.  What set Zodiac apart from other killers is that he was a prolific letter writer, who sent cards and ciphers to the police and the journalists who were reporting on his crimes.  In one of his ciphers, Zodiac claimed that he had killed 37 people.  Cartoonist Robert Graysmith later wrote two books about his personal obsession with the case.  He estimated that the Zodiac may have been responsible for hundred of murders, up through the 80s.  Of course, reading Graysmith’s first Zodiac book, it’s also easy to suspect that Graysmith reached a point where he saw the Zodiac’s hand in every unsolved murder in the San Francisco area.  Of all the unidentified serial killers in American history, Zodiac is one that most haunts us.  Zodiac was a serial killer who operated in an era when such things were still considered to be uncommon.  Much as Jack the Ripper did during the Victorian Age, Zodiac announced the arrival of a new age of evil.

Zodiac wrote about being a film fan and he was probably happy about the fact that he inspired quite a few films.  1971’s The Zodiac Killer came out while Zodiac was still sending letters to the police and cops actually staked out the theaters showing the film just to see if he  would show up.  Dirty Harry‘s Scorpio Killer was also based on Zodiac, right down to the taunting letters that he sent the mayor and again, one has to wonder if Zodiac ever showed up to watch Clint Eastwood take him down.

And, if Zodiac survived into the 21st Century, one has to wonder if he showed up in the theaters for 2007’s Zodiac.

One of the best true crime films ever made, Zodiac not only recreates the crimes of the Zodiac but it also examines the mental price of obsessing over the one unknown force of evil.  Mark Ruffalo plays Dave Toschi, the celebrity cop who nearly sacrificed his professional reputation in his search for the identity of the killer.  Jake Gyllenhaal plays cartoonist Robert Graysmith, who spends over a decade searching for the Zodiac’s identity and who loses his wife (Chloe Sevigny) in the process.  And Robert Downey, Jr. plays Paul Avery, the crime reporter to whom the Zodiac wrote and who sunk into paranoia and addiction as a result.  This is a film that is less about the Zodiac’s crime and more about how this unknown killer seemed to unleash a darkness that would come to envelope first a city and eventually an entire nation.

As one might expect from a film directed by David Fincher, Zodiac plays out like a filmed nightmare with the starkly portrayed murders being all the more disturbing because they often take place outside, where people would think they would be safe.  (The second murder is especially terrifying, as it plays out without even the sound of background music to allow us the escape of remembering that it’s only a movie.)  Fincher heightens our paranoia but having a different actor play the killer in each scene, reminding us that the Zodiac could literally be anyone.  Indeed, one of the scarier things about Zodiac is that, in the course of his investigation, Graysmith meets so many different people who seem like they could be the killer.  Even if they aren’t the Zodiac, the viewer is left with the feeling that the world is full of people who are capable of committing the same crimes.  The film becomes a journey into the heart of darkness, with the Zodiac becoming both a malevolent force and potentially your next door neighbor.  And with the film’s detailed recreation of the 60s and the 70s, the film becomes a portrait of a country on the verge of changing forever with the Zodaic and his crimes representing all the fear waiting in the future.

Again, as one might expect from a Fincher film, it’s a well-acted film, especially by Robert Downey, Jr.  Zodiac came out a year before Iron Man, when Downey was still better known for his personal troubles than for his talent.  Downey perfect captures his character’s descent into self-destruction, as he goes from being cocky and self-assured to being so paranoid that he’s carrying a gun.  (Paul Avery’s actual colleagues have disputed the film’s portrayal of Avery being mentally destroyed by the Zodiac.)  Ruffalo and Gyllenhaal also do a good job of portraying Toschi and Graysmith’s growing obsession with the case while Charles Fleischer and John Carroll Lynch both make strong (and creepy) impressions as two men who might (or might not) be the killer.

Though the film was not a success at the box office and it was totally ignored by the Academy, Zodiac has built up a strong reputation in the years since its released.  It’s inspired a whole new generation of web sleuths to search for the killer’s identity.  Personally, my favored suspect is Robert Ivan Nichols, an enigmatic engineer who abandoned his former life and changed his name to Joseph Newton Chandler III in the 70s and who committed suicide in 2002.  I think much like Jack the Ripper, the Zodiac’s identity will never be definitely known.  There have been many compelling suspects but most of the evidence seems to be circumstantial.  (That’s certainly the case when it comes to Nichols.)  The Zodiac was thought to be in his 30s or even his early 40s in 1969 so it’s doubtful that he’s still alive today.  In all probability, his identity and his motive will forever remain an unsolvable mystery.

Back to School Part II #37: Can’t Hardly Wait (dir by Deborah Kaplan and Harry Elfont)


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Oddly enough, the late 90s and early 2000s saw a lot of movies about teenagers that all had strangely generic names.  She’s All That, Down To You, Drive Me Crazy, Head Over Heels, Get Over It, Bring It On … the list is endless.

And then you have the 1998 graduation party-themed Can’t Hardly Wait.  Can’t Hardly Wait has such a generic name that, when you first hear it, you could be forgiven for naturally assuming that it stars Freddie Prinze, Jr.  Of course, if you’ve actually seen the film, you know that it features almost everyone but Freddie Prinze, Jr.  This is one of those films where even the smallest roles are played by a recognizable face.  In fact, there’s so many familiar actors in this film that a good deal of them go uncredited.  Jenna Elfman, Breckin Meyer, Melissa Joan Hart, Jerry O’Connell, and Amber Benson may not show up in the credits but they’re all in the film.  In fact, you could argue that Melissa John Hart, playing an impossibly excited girl who is obsessed with getting everyone to sign her yearbook, and Breckin Meyer, playing an overly sensitive lead singer, provide the film with some of its comedic highlights.

(That said, perhaps the most credible cameo comes from Jerry O’Connell.  He plays a former high school jock who ruefully talks about how he can’t get laid in high school.  He’s so convincingly sleazy and full of self-pity that you find yourself wondering if maybe O’Connell was just playing himself.  Maybe he just stumbled drunkenly onto the set one day and started talking to anyone who would listen…)

Can’t Hardly Wait takes place at one huge high school graduation party, which is actually a pretty smart idea.  The best part of every teen movie is the party scene so why not make just make the entire movie about the party?  Almost every member of the graduating class is at this party and we get to see all of the usual types.  There’s the stoners, the jocks, the nerds, and the sarcastic kids who go to parties specifically so they can tell everyone how much they hate going to parties.  Eric Balfour shows up as a hippie.  Jason Segel eats a watermelon in the corner.  Sara Rue’s in the kitchen, complaining about how everyone’s a sheep.  Jamie Pressly drinks and assures her best friend that she’s at least as pretty as Gwynneth Paltrow.  (“And you’ve got way bigger boobs!” she adds, encouragingly.)  Outside, Selma Blair frowns as someone hits on her with bad line.

Of course, Mike Dexter (Peter Facinelli) and Amanda Beckett (Jennifer Love Hewitt) are the main topic of conversation at the party.  For four years, Mike and Amanda were the school’s power couple but Mike decides to dump Amanda right before they graduate.  Mike feels that he’s going to have a great time in college and he doesn’t need any old high school commitments holding him down.  His best friends all agree to dump their girlfriends too.  Mike spends the party watching, in horror, as all of his friends go back on their promise.  Amanda, meanwhile, wanders around and wonders who she is now that she’s no longer Mike Dexter’s girlfriend.

Preston Meyers (Ethan Embry) struggles to work up the courage to tell Amanda that he’s had a crush on her ever since the first day he saw her.  Meanwhile, Preston’s best friend — the reliably sarcastic Denise (Lauren Ambrose) — finds herself locked in an upstairs bathroom with Kenny “Special K” Fisher (Seth Green).  (Needless to say, Kenny is the only person who actually calls himself “Special K.”)  Kenny is obsessed with losing his virginity.  Denise, meanwhile, won’t stop talking about the sweet and dorky Kenny that she knew way back in elementary school.

And then there’s William Lichtner (Charlie Korsmo).  He’s spent his entire life being tormented by Mike and he specifically goes to the party looking for revenge.  However, he has a few beers and quickly becomes the most popular senior at the party.  He even gets a chance to bond with Mike…

Can’t Hardly Wait is a favorite of mine.  It’s one of those films that doesn’t add up too much but it’s so so damn likable that it doesn’t matter.  It’s full of smart and funny scenes and all the actors are incredibly likable.  If you’re not rooting for Preston and Amanda by the end of the movie then you have no heart.  In fact, Can’t Hardly Wait is a lot like Empire Records.  They may not be much depth to it but it’s so sincere and earnest that you can forgive it.

You can even forgive the generic name.

Embracing the Melodrama Part II #103: 21 Grams (dir by Alejandro Gonzalez Inarritu)


21_grams_movieRemember how shocked a lot of us were when we first saw Birdman?  Well, it wasn’t just because Birdman featured an underwear-clad Michael Keaton levitating in his dressing room.  And it also wasn’t just because Birdman was edited to make it appear as if it had been filmed in one continuous take (though, to be honest, I would argue that the whole “one continuous shot” thing added little to the film’s narrative and was more distracting than anything else.)  No, the main reason we were shocked was that Birdman was directed by Alejandro Gonzalez Inarritu and, when we thought of an Inarritu film, we thought of something like 2003’s 21 Grams.

It’s not easy to explain the plot of 21 Grams, despite the fact that 21 Grams does not tell a particularly complicated story.  In fact, if anything, the plot of 21 Grams feels like something that either Douglas Sirk or Nicholas Ray could have come up with in the 50s.  Indeed, the plot of 21 Grams is far less important than the way the Inarritu tells the story.  (In that, the dark and grim 21 Grams does have something in common with the arguably comedic Birdman.)

Inarritu tells his story out of chronological order.  That, in itself, is nothing spectacular.  Many directors use the same technique.  What distinguishes 21 Grams is the extreme to which Inarritu takes his non-chronological approach.  Scenes play out with deceptive randomness and it is left to the viewer to try to figure out how each individual scene fits into the film’s big picture.  As you watch 21 Grams, you find yourself thankful for little details like Sean Penn’s beard, the varying lengths of Naomi Watts’s hair, and the amount of sadness in Benicio Del Toro’s eyes because it’s only by paying attention to those little details can we piece together how once scene relates to another.

The film tells the story of three people whose lives are disrupted by the type of tragedies that the pre-Birdman Innaritu was best known for.

Sean Penn plays Paul Rivers, who is a sickly mathematician who desperately needs a new heart.  He’s married to a Mary (Charlotte Gainsbourg), who devotes all of her time to taking care of him and is frustrated by Paul’s fatalistic attitude towards his condition.  When Paul does finally get a new heart, he gets a new existence but is haunted by the fact that it has come at the expense of another man’s life.

Christina Peck (played by Naomi Watts) is a former drug addict who is now married with kids and who appears to have the perfect life.  That is until her husband and children are tragically killed and, in her grief, Christina falls back into her old lifestyle.  The formerly stable and happy Christina becomes obsessed with the idea of getting revenge for all that she has lost.  Naomi Watts was deservedly nominated for an Oscar for her work here.  Her vulnerable and emotionally raw performance holds your interest, even when you’re struggling to follow the film’s jumbled chronology.

And finally, there’s Jack Jordan (Benicio Del Toro).  Like Christina, Jack is a former drug addict.  Whereas Christina used the stability of family life to help her escape from her demons, Jack uses his new-found Christianity.  And just as Christina struggles after she loses her family, Jack struggles after tragedy causes him to lose his faith.  Like Paul, he struggles with why he’s been allowed to live while other have not.  Del Toro was nominated for an Oscar here and, like Watts, he more than deserved the nomination.

(While Sean Penn was not nominated for his performance in 21 Grams, he still won the Oscar for his role in Mystic River.)

21 Grams is a powerful and deeply sad film, one that will probably shock anyone who only knows Inarritu for his work on Birdman.  21 Grams is not always an easy film to watch.  Both emotionally and narratively, it’s challenging.  But everyone should accept the challenge.

 

 

2014 in Review: The Best of Lifetime and SyFy


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Hello there and welcome to January!

This is the time of year that the Shattered Lens usually takes one final look back at the best and worst of the previous year’s offerings in cinema, television, literature, and music!  Last year, I kicked things off by taking a look at the best that the SyFy network had to offer.

Unfortunately, SyFy didn’t produce as many original films in 2014 as they did in 2013.

However, my beloved Lifetime network remained a consistent showcase for some of the best and worst melodrama that one could hope for.

With that in mind, here are my nominees for the best films and performances that were featured on either the SyFy or the Lifetime network last year!  As always, winners are listed in bold.

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Best Film

Battle of the Damned

Flowers in the Attic

Grumpy Cat’s Worst Christmas Ever

*Lizzie Borden Took An Axe*

Sharknado 2

Starving in Suburbia

Best Actress

Kate Beckinsale in The Trials of Cate McCall

Maria Bello in Big Driver

Annie Heise in The Good Mistress

Tara Reid in Sharknado 2

*Christina Ricci in Lizzie Borden Took An Axe*

Kierna Shipka in Flowers in the Attic

Best Supporting Actress

Kendra Anderson in The Good Mistress

*Ellen Burstyn in Flowers in the Attic*

Clea DuVall in Lizzie Borden Took An Axe

Heather Graham in Petals on the Wind

Tina Ivlev in Death Clique

Izabella Miko in Starving in Suburbia

Best Actor

Trevor Donavon in Bermuda Tentacles

Mason Dye in Flowers in the Attic

Michael Keaton in Blindsided

Dolph Lundgren in Battle of the Damned

Patrick Muldoon in Finders Keepers

*Ian Ziering in Sharknado 2*

Best Supporting Actor

James Cromwell in The Trials of Cate McCall

David Field in Battle of the Damned

*Griff Furst in Status Unknown*

Judd Hirsch in Sharknado 2

Mark McGrath in Sharknado 2

John Savage in Bermuda Tentacles

Best Director

Doug Campbell for Death Clique

Deborah Chow for Flowers in the Attic

Anthony C. Ferrante for Sharknado 2

*Nick Gomez for Lizzie Borden Got An Axe*

Christopher Hutton for Battle of the Damned

Tara Miele for Starving in Suburbia

Best Screenplay

Kayla Alpert for Flowers in the Attic

Tim Hill and Jeff Morris for Grumpy Cat’s Worst Christmas Ever

Stephen Kay for Lizzie Borden Took An Axe

Thunder Levin for Sharknado 2

*Tara Miele for Starving in Suburbia*

Griff Furst and Marcy Holland for Status Unknown

Flowers in the Attic

Tomorrow, I’ll continue my look back at 2014 by revealing my picks for the 16 worst films of 2014!

Previous Entries in Our Look Back At 2014:

Things That I Dug In 2014 Off The Top Of My Head

 

 

Back to School #58: She’s All That (dir by Robert Iscove)


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She’s All That, a 1999 high school-set adaptation of My Fair Lady, has a lot to answer for.

When I, as an impressionable 13 year-old first saw this film, I left the theater believing that high school would be full of random, fully choreographed dance-offs.  That, after all, is what happened towards the end of She’s All That.  After watching as handsome jock Zack (Freddie Prinze, Jr.) spent almost the entire movie changing Laney (Rachael Leigh Cook) from an artist into a Prom Queen, the great prom dance-off made for the perfect climax.

I mean, just check it out:

Imagine how disappointed I was, once I finally did reach high school, to discover that it was actually nothing like She’s All That.  There were no big dance numbers for no particular reason.  I went to five different proms and none of them were ever as much fun as the prom at the end of She’s All That.

So thank you, She’s All That, for getting my hopes up.

As for the rest of the film, it’s a guilty pleasure in much the same way as Never Been Kissed.  I was recently doing some research over at the imdb and I was surprised to discover just how many films Freddie Prinze,Jr. made between 1999 and 2002.  For the most part, they’ve all got rather generic names.  What’s funny is that I probably saw most of them because, back then, I would get excited over almost any PG-rated movie that featured a cute guy and had a hint of romance about it.  But, with the exception of She’s All That, I can’t really remember a single one of them.  But you know what?  Freddie Prinze, Jr. may not be a great actor and his films may have basically all been the same but he had a certain something that, when you were 13 or 14, made him the perfect crush.  There was a hot blandness to Freddie Prinze, Jr. that prevented him from being compelling but did make him the perfect star for a film like She’s All That.

Along with featuring that prom dance-off and being the epitome of a Fredde Prinze, Jr. movie, She’s All That is also remembered for featuring Rachael Leigh Cook as one of the most unlikely ugly ducklings in the history of the movies.  Rachael plays Laney and the entire film’s starting off point is that Zack has made a bet with Dean (Paul Walker, as handsome here as he was in Varsity Blues) that he can turn Laney into a prom queen.  However, it should be a pretty easy bet to win because all Laney has to do is let her hair down, start wearing makeup, and stop wearing her glasses.

Myself, I’m severely myopic.  Usually, I wear contact lenses but occasionally, I may be running late or may not feel like putting my contacts in or maybe I just want to try a different look.  So, occasionally, I’ll wear my glasses and I have to say that, other than a few guys who always make “hot librarian” jokes, everyone pretty much treats me the same regardless of whether I’m wearing my glasses or not.  I do have to admit though that, when I take off my glasses and dramatically let my hair down, I always say that I’m having a She’s All That moment.

Anyway, She’s All That is okay.  I like it but I don’t love it and, to be honest, the film’s main appeal is a nostalgic one.  Freddie Prinze, Jr. and Paul Walker both look good, Rachael Leigh Cook and Jodi Lynn O’Keefe will keep the boys happy, and Matthew Lillard has a few good scenes where he plays an obnoxious reality tv celeb.

And there’s always that dance number!

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Back to School #52: The Faculty (dir by Robert Rodriguez)


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Have you ever wanted to see Jon Stewart get stabbed in the eye with a hypodermic needle?

If you answered yes, then 1998’s The Faculty might be the film for you!

The Faculty takes a look at what happens when a new alien species happens to turn up outside of a painfully normal high school in Ohio.  By painfully normal, I mean that Herrington High School is just as messed up as you would expect a suburban high school to be.  The teachers are all underpaid and resentful of their principal (Bebe Neuwrith).  Prof. Furlong (Jon Stewart) is the overqualified science teacher who will perhaps be a little too excited about the chance to examine a new alien species.  Coach Willis (Robert Patrick) is the emotionally shut off coach of the school’s losing football team.  Mrs. Olson (Piper Laurie) is the drama teacher who struggles to promote creativity in a school that’s more interested in blind conformity.  Miss Burke (Famke Janssen) is the teacher who cares too much.  And, finally, there’s Nurse Harper (Salma Hayek), who looks a lot like Salma Hayek.

And, as typical as the teachers may be, the students are even more so.  We get to know a few and they all neatly fit into the expected stereotypes.  Casey (Elijah Wood) is the nerdy outcast who is regularly picked on by … well, by everyone.  Deliliah (Jordana Brewster) is the status-obsessed head cheerleader who has just broken up with her boyfriend, Stan (Shawn Hatosy), because he quit the football team.  Zeke (Josh Hartnett) is the school rebel, the kid who is repeating his senior year and who sells synthetic drugs out of the trunk of his car.  Stokes (Clea DuVall) is an intentional outcast who pretends to be a lesbian and has a crush on Stan.  And finally, there’s Marybeth (Laura Harris), a new transfer student who speaks with a Southern accent.

These students would seem to have nothing in common but they’re going to have to work together because the entire faculty of Herrington High has been taken over by aliens!  Fortunately, the aliens are vulnerable to Zeke’s drugs, which is something that is learned after Jon Stewart takes a hypodermic to the eye…

When one looks over the top Texas filmmakers (director like Terrence Malick, Richard Linklater, Mike Judge, and David Gorden Green), Robert Rodriguez often comes across as being both the most likable and the least interesting.  Like his frequent collaborator Quentin Tarantino, Rodriguez fills his movies with references and homages to other films but, unlike Tarantino, there rarely seems to be much going on behind all of those references.  However, Rodriguez’s referential style works well in The Faculty because, along with acting as an homage to both Invasion of the Body Snatchers and John Carpenter’s The Thing, The Faculty also manages to tap into a universal truth.

Teachers are weird!

Or, at least, they seem weird when you’re a student.  Now that I’m out of high school, I can look back and see that my teachers were actually pretty normal.  They were people who did their jobs and, as much as I like to think that I was everyone’s all-time favorite, I’m sure that there have been other brilliant, asthmatic, redheaded, aspiring ballerinas who have sat in their class.  My teachers spent a lot of time talking about things that I may not have been interested in but that wasn’t because they were obsessed with talking to me about algebra or chemistry or anything like that.  They were just doing their job, just like everyone else does.

But, seriously, when you’re a student, it’s easy to believe that your teachers have been possessed by an alien life form.

Probably the best thing about The Faculty is the fact that the aliens cause the teachers to act in ways that are the exact opposite of their usual personalities.  For most of the teachers, this means that they turn into homicidal lunatics.  But, in the case of Coach Willis, this actually leads to him not only becoming a happy, well-adjusted human being but it also turns him into a good coach.  Suddenly, Willis is getting emotional about the games, his team loves him, and he even gets a win!

Go Coach Willis!

As for the film itself, it’s not bad at all.

Lisa’s rating: 7 out of 10.

What Lisa Marie Watched Last Night #98: Lizzie Borden Took An Axe (dir by Nick Gomez)


(This post contains spoilers.)

Last night, I watched the brilliant Lifetime film, Lizzie Borden Took An Axe.

Why Was I Watching It?

First off, as everyone who reads this site should know by now, I love Lifetime movies.  Add to that, I also happen to like true crime films.  (It’s not for nothing that my twitter bio reads, “Just a sweet little thing with morbid thoughts.”)  So, it’s really not so much a question of why I was watching it as how could I not watch it?

What Was It About?

On a hot summer day in 1892, both Andrew Borden and his wife are hacked to death.  Suspicion is immediately cast upon their daughter Lizzie (Christina Ricci), a free-spirited Sunday School teacher who is also known for being a compulsive shop lifter.  Is Lizzie guilty or was the crime committed by her older sister Emma (Clea Duvall) or the maid or a mysterious stranger who was seen around town on the day of crime?  Though the case itself remains officially unsolved, this film makes a pretty convincing argument that Lizzie was guilty and was only acquitted because nobody, in 19th century America, could bring themselves to believe that a woman was capable of such a violent crime.

What Worked?

It all worked.  Lizzie Borden was one of the greatest Lifetime movies that I’ve ever seen.  It took all of the elements that we expect from a good Lifetime movie — scandal, sex, and girls literally getting away with murder — and pushed them to such an extreme that the end result was absolutely brilliant.  Christina Ricci and Clea Duvall both gave great performances and Nick Gomez directed with an eye towards the surreal, the morbid, and the darkly humorous.

The scene towards the end where Lizzie whispered her confession to Emma was one of the best in the history of Lifetime.

What Did Not Work?

As I said above, it all worked.

“Oh my God!  Just like me!” Moments

I related to the Borden family maid, Bridget Sullivan, because she was Irish and hated having to wash windows.

Lessons Learned

Lizzie Borden was guilty….maybe.