Tag Archives: Film

The Films of 2026: Citizen Vigilante (dir by Uwe Boll)

Posted on by Lisa Marie Bowman

In Citizen Vigilante, Armie Hammer returns to the screen as Sanders, a former American military operative who is now living in an unnamed European country.  The people in the country are terrified because the country has been flooded with violent refugees and the liberal judges and the ineffective police and the corrupt government can’t or won’t keep anyone safe.  Sanders makes it his mission to mete out justice.

When he sees a group of arrogant young people refusing to pay to ride the bus, he pays for their ticket and then shows their leader that he has a gun.  He explains how one person refusing to pay leads to everyone else having to pay more.

When he visits with a prostitute, he is disgusted to see that the building she works in has mold.  Sanders is especially upset because his company owns the building.  Sanders say that people have to start doing the right thing.  Then he pays a woman for sex.

When a judge allows a group of rapists to go free because they’re struggling to “integrate into society,” Sanders drugs the judge and slits his wrists.

Sanders goes to the office of his father’s company and orders the any of his tenants who aren’t paying their rent should be immediately evicted.  It’s explained that the government won’t allow Sanders to immediately evict anyone.  In fact, the government wants Sanders to hand over his open units so that they can be used to house migrants.  Sanders says that he’ll talk to the tenants himself.  Uh-oh.

When the cops come looking for Sanders, he blows them up.

Sanders kills an innocent motorist in order to make a point about how people are scared to break the law.  Wait, what?  This is our hero?

Sanders kills a lot of people.  He’s the Citizen Vigilante.  He sends out distorted videos of himself in which he rambles about Nietzsche and justice.  The fact that he sends out visually distorted videos would seem to suggest that he’s trying to hide his identity but he also spends almost the entire film wearing the exact same outfit and making no attempt to disguise his appearance while out in public.  Interpol is determined to catch him but the average citizen, the people being victimized by “woke liberalism” (to quote Sanders), love him.

Lord help us.  It’s 2026 and otherwise reasonable people are currently debating the merits of a Uwe Boll film.  For all the talk about how this film is politically incorrect and right-wing, it’s really not that much different from Boll’s Assault on Wall Street.  Both Assault on Wall Street and Citizen Vigilante are crude, heavy-handed films that capture the fantasies of people who currently feel powerless.  Assault on Wall Street was designed to appeal to the Resistance morons, the same people who would later insist that Luigi Mangione’s vapid manifesto was a call for revolution.  Citizen Vigilante is designed to appeal to the most simple-minded of the populists.  Running through both Citizen Vigilante and Assault on Wall Street is a contempt for anything that reeks of “the system.”  Both films are fueled less by politics and more by paranoia.  Germany made the mistake of banning Citizen Vigilante, which just added more fuel to a fire that would have otherwise burned itself out.

Citizen Vigilante opens with a scene of shocking violence.  It’s one of the more effective moments in the film, largely because it captures the randomness of modern crime.  It’s also one of the few scenes not to feature Armie Hammer.  One can make the argument that Armie Hammer was treated unfairly when he was canceled.  (I mean, there are people out there who still think that Hammer is a cannibal!)  Before his career collapsed, Hammer was a busy actor.  His piercing eyes and his deep voice made him ideal for both heroes and villains.  Citizen Vigilante has been touted as Hammer’s comeback, or at least it was until it was actually released.  Hammer wanders through the film in almost zombie-like trance, refusing to show a hint of emotion.  Every time he speaks, the deepness of his voice only reminds of how shallow the character (and the film) really is.  The film works best when its lead character and actor are nowhere to be seen.

Citizen Vigilante is crude.  Is it effective?  Occasionally.  Like most revenge films, it gets at the type of primal thoughts that a lot of people pretend not to have.  That said, Uwe Boll is not a good director.  Uwe Boll is an interesting media presence.  I respect the fact that, when he challenged his critics to a boxing match, he actually followed through and knocked most of them out.  I imagine there are many directors who are envious of that.  But, as a filmmaker, Boll has never shown much skill or concern when its come to concepts like pacing, continuity, or getting the best out of his actors.  Citizen Vigilante is a slow film that’s built around a character who registers as a big blank.  It’s neither as dangerous nor as revolutionary as you may have heard.  In the end, it’s just another film about people getting shot, blown up, and stabbed.  I imagine that some scenes will achieve a second life on YouTube.  That’s just the way of the world nowadays.  But the film itself will be forgotten in a few months.

Wow.  I just watched and reviewed a Uwe Boll film.  I should get hazard pay.

 

Scene That I Love: The Opening of All That Jazz

Posted on by Lisa Marie Bowman

“Showtime!”

Since today is Bob Fosse’s birthday, it’s only appropriate that today’s scene that I love comes from his 1979’s masterpiece, All That Jazz!

This sequence captures everything we need to know about Joe Gideon (Roy Scheider).  We see his talent.  We see his self-destructive habits.  And, though we don’t realize it until the end of the film, we also see that death is patiently waiting for him.

 

4 Shots From 4 Films: Special Bob Fosse Edition

Posted on by Lisa Marie Bowman

4 Or More Shots From 4 Or More 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!

Today, we celebrate the birth and legacy of Bob Fosse.  It’s time for….

4 Shots From 4 Bob Fosse Films

Cabaret (1972, dir by Bob Fosse, DP: Geoffrey Unsworth)

Lenny (1974, dir by Bob Fosse, DP: Bruce Surtees)

All That Jazz (1979, dir by Bob Fosse, DP: Giuseppe Rotunno)

Star 80 (1983, dir by Bob Fosse, DP: Sven Nyvkist)

Film Review: Can’t Stop The Music (dir by Nancy Walker)

Posted on by Lisa Marie Bowman

1980’s Can’t Stop The Music opens with Jack Morrell (young Steve Guttenberg) working in a record store.  However, he’s got bigger plans that just standing behind a cash register.  He quits his job and then roller skates around New York with a big goofy grin on his face.  Everyone he passes is charmed.  And why not?  New Yorkers are famous for their good-humor and polite manners.

Jack is a songwriter but he doesn’t have the voice necessary to sell his songs.  His platonic roommate, former supermodel Sam Simpson (Valerie Perrine), decides that what Jack needs is a band to sing his lyrics.  Luckily, Sam knows a singer named Felipe Rose.  He spends all of his time dressed like an Indian brave.  There’s no specific reason given for his costume choice, it’s just something that he does.  Sam and Jack are also able to recruit a construction worker (David Hodo), a “leatherman” (Glenn Hughes), a cowboy (Randy Jones), a G.I. (Alex Briley), and a singing cop (Ray Simpson).  The name of the band?  The Village People!

Yes, Can’t Stop The Music is fictionalized story of how The Village People came together.  It was directed by TV actress Nancy Walker.  It was a major studio production, one that was expected to build on the popularity of disco and bring in a lot of money.  Unfortunately, it was released at the same moment that disco stopped being trendy.  Can’t Stop The Music has a reputation for being bad and campy.  Both of those things are true but I should point out that it’s also a remarkably boring film.  The movie is full of characters who are constantly coming and going.  Sam has a large collection of friends and former co-workers, all of whom just tend to randomly pop up.  Most of them don’t really add much to the overall plot and, indeed, it’s hard not to resent being expected to keep track of all of them when there’s really no reason for many of them to be in the film.  A pre-transition Caitlyn Jenner plays Ron White, a lawyer who is mugged while delivering a cake and who ends up as Sam’s boyfriend.  As much as I made fun of Jenner as a performer while reviewing CHiPs, Jenner is even worse in You Can’t Stop The Music.  In fact, Jenner’s performance is one of the worst that I have ever seen.  If Ron angry?  Is Ron sad?  Is Ron in love?  Is Ron an alien from outer space?  You never really can tell, largely because Caitlyn Jenner’s performance is so inept.  It’s not so much that Jenner can’t show emotion and one gets the feeling that Jenner isn’t even sure what emotion is.

As for the Village People themselves …. well, this film leaves little doubt that none of them were professional actors.  Felipe Rose probably comes the closest to giving a credible performance but, as individuals, the members of the Village People aren’t that interesting and it takes forever for them to actually become a group.  Even after they become a group, they still can’t generate enough on-screen charisma to really hold our attention.  Who knew the Village People were so boring?

The majority of the film plays coy as far as the subtext of the Village People’s song are concerned.  Steve Guttenberg’s character is definitely gay-coded without the film actually coming out and saying so..  The construction worker gets a fantasy in which he imagines being lusted after by several female groupies.  The first few performances of the Village People are rather bland and it’s almost as if the film is trying to avoid the fact that the Village People’s songs and the personas of the performers all paid tribute to gay culture in the 1970s.  But then the film hits the YMCA production number and suddenly, the Village People are frolicking with half-naked, muscular men while joyfully singing about everything that’s available at the YMCA.  For that brief moment, the film embraces the campiness of the Village People and this major studio production actually becomes a bit subversive.  It’s also one of the few moments in the film in which anyone seems to be genuinely happy.  The Village People seem to be having fun.  Unfortunately, the YMCA sequence is the exception instead of the rule.

Can’t Stop The Music‘s sin isn’t that it’s boring as much as it’s just bland.  It’s an incredibly blah film.  No film about New York in the 70s has any right to be so forgettable.

Lifetime Film Review: Murder In Music City (dir by Dave Thomas)

Posted on by Lisa Marie Bowman

The music industry!  It’s murder!

And if you have any doubt about whether or not that statement is true, just consider the recent Lifetime film, Murder In Music City.

Jimmy Stone (Ty Trumbo) is a handsome young singer/songwriter who is trying to make it big in Nashville.  When we first see him, he’s taking a shower because this is a movie that knows what its audience wants.  Jimmy then sits down and works on a song that he’s been writing about a woman named Stephanie.  It sounds …. well, actually it sounds terrible.  But it’s terrible in that way that gets stuck in your head, kind of like that “Take Me To Church” song by Hozier.  Hey, Jimmy might have a hit on his hands!  Unfortunately, Jimmy is then beaten death with a guitar.

Because Jimmy was a guest of country superstar Aiblene Tucker (Deena Dill), she is arrested for his murder.  Abilene’s estranged daughter, Caroline (Madison Crawford), comes to Nashville to try to prove that her mother is innocent.  Caroline’s investigation leads her to everyone from one of Abilene’s ex-husbands to the president of Abilene’s fan club.  It turns out that Abilene always had a lot of people around her and they all had a motive for killing Jimmy.  Working with Abilene is Jimmy’s brother, Kyle (Brigdon York).  Abilene starts to fall for Kyle but it turns out that Kyle has some secrets of his own.

This film features an unusual twist on the typical Lifetime plot by having someone get arrested for the murder about halfway through the film.  With the real murderer apparently in jail, Abilene is free to resume her life and prepare for her comeback special.  However, Caroline comes to suspect that perhaps the wrong person was arrested and that the real murderer is still out there.  It all leads to secrets being revealed and songs being sung.  There’s a lot of songs sung in this film.  Perhaps too many, to be absolutely honest.

Despite not being a country music fan, I have to say that I absolutely loved Murder In Music City.  It was a film that cheerfully embraced the melodrama and celebrated all the excess that went along with it.  It was the type of fun, “I don’t believe that just happened” film that used to dominate the Lifetime airwaves.  This is one of those films where you don’t really worry too much about narrative logic or whether or not all of the clues really add up.  Instead, you just enjoy the ride.  And it is a very enjoyable ride.  There’s nothing more fun that watching someone have to both solve a murder mystery and deal with an egocentric parent.

In the role of the self-absorbed Abilene, Deena Dill gives a wonderful performance.  She’s not going to let a little thing like being accused of murder get in the way of her lavish lifestyle and her upcoming show.  Deena Dill plays Abilene as a force of nature and she brings a lot of humor to the role.  Also giving a good performance is Madison Crawford, who is very likable and relatable as Caroline.  You can see how having a mother like Abilene has shaped her but you also see the inner strength that has allowed Caroline to build a life of her own.

A terrifically entertaining film, Murder In Music City is what Lifetime should be all about!

Catching Up With The Films Of 2025: Nuremberg (dir by James Vanderbilt)

Posted on by Lisa Marie Bowman

Nuremberg opens the day before the official surrender of Nazi Germany.  Hermann Goering (Russell Crowe), widely considered to have been the second-most powerful person in the Third Reich, surrenders to American soldiers in Austria.  A war hero before he joined the Nazi Party and a long-revered figure in Germany, Goering is haughty even when surrendering.  He is someone who is obviously used to being in charge and being treated with respect.  In fact, he demands it.

Goering is one of the handful of high-ranking Nazis who have been captured after the fall of Germany.  Many of the leaders of the Third Reich and the architects of the Holocaust, including Hitler himself, have committed suicide.  Others have headed to South America or the Middle East, where they have assumed false identities and live in hiding.  As for Goering and his fellow prisoners, they are going to be tried for War Crimes but no one is quite sure how to go about doing that.  American Supreme Court Justice Robert Jackson (Michael Shannon) finds himself in charge of trying the Nazis.  His solution is an international tribunal.  Not only will men like Goering be put on trial but the world will also see the evidence of their crimes.  The trial will take place at Nuremberg, Germany.  Those on trial will face the prospect of execution, if convicted.

Lt. Col. Douglas Kelley (Rami Malek), a psychiatrist, is brought in to examine the Nuremberg defendants.  Though he meets with and examines all of them, he finds himself fascinated by Goering, who turns out to be highly intelligent, highly charismatic, and highly manipulative.  Goering even helps Kelley to win the trust of some of the other defendants.  Kelley, who is originally only interested in writing a book about his experiences, finds himself falling for Goering’s claims of just being a patriot who didn’t truly know the full extent of Hitler’s crimes.  However, once the trial begins, Kelley is confronted with not only the atrocities committed by the Nazis but also Goering’s role in them.

As a self-confessed history nerd, Nuremberg was a film that I was curious about.  Director James Vanderbilt previously gave us Truth, a film that basically whitewashed the efforts of Dan Rather and Mary Mapes to push a verifiably false story about George W. Bush during the 2004 election.  Since Truth was one of the most dishonest films that I’ve ever seen, I had my concerns with the idea of Vanderbilt directing Nuremberg.  I’m happy to say that Nuremberg is a much better film than Truth.  The film doesn’t shy away from documenting the crimes of the Nazis and it also makes clear that anti-Semitism was at the heart of the Third Reich.  Considering that Holocaust denialism is on the rise and that, in America, anti-Semitism has been normalized to the extent that we have members of Congress and mayors of major cities who openly traffic in the type of anti-Jewish conspiracy theories that were previously exiled to the fringiest regions of the Internet, Nuremberg provides a history lesson that many would do well to learn.

(That said, some have no interest in learning.  After he went on social media to accuse the Jews of controlling the weather, DC councilman Trayon White agreed to visit the Holocaust Museum but reportedly left after only a few minutes.  He stayed long enough so he could claim to have been there but obviously had no interest in learning anything.)

That said, Nuremberg’s ambitions are occasionally beyond the scope of James Vanderbilt’s capabilities.  Ending with a title card telling us that the Nuremberg tribunal later served as a model for the International Criminal Court would be more effective if the ICC itself hadn’t turned out to be such a joke.  Visually, the film is well-crafted and has a good eye for historical detail but the it moves slowly and, at times, Vanderbilt seems to be more concerned with trying to craft Oscar moments than with holding the audience’s attention.  The film’s strength lies with its cast, especially Russell Crowe, Michael Shannon, and Leo Woodall.  (Rami Malek sometimes seems to be miscast but he’s still convincingly disillusioned.)  It’s not a great film but it is a good one and, ultimately, an important one.

 

Scenes That I Love: Ash Replaces His Hand In Evil Dead II

Posted on by Lisa Marie Bowman

Today, the Shattered Lens wish a happy birthday to the one and only Bruce Campbell!  And what better way to celebrate and to get the day started than with an iconic scene from 1987’s Evil Dead II?