Song of the Day: Theme From The Godfather by Nino Rota


Today, the Shattered Lens observes the birthdays of two great actors, Robert Duvall and the much-missed Diane Keaton.

Along with being two of America’s best actors, Duvall and Keaton also co-starred in the first two Godfather films.  They didn’t share many scenes in the second film (though there was at least one Duvall/Keaton scene that was filmed but not included in the final film) but, in the first film, they have a memorable moment in which Keaton (as Kay) visits the Corleone compound while the Corleones are in the middle of a gang war, and asks Duvall’s Tom Hagen to send a letter to Michael in Sicily.  Hagen explains that he can’t do that because that would serve as evidence that he knew where Michael was.  When Kay notices a car that has obviously been bombed, Tom blandly replies, “Oh, that was an accident.  Luckily, no one was hurt!”

In honor of these two amazing performers and my favorite movie of all time, today’s song of the day is Nino Rota’s theme from The Godfather.

Scenes That I Love: Diane Keaton and Al Pacino in The Godfather


Today would have been Diane Keaton’s 80th birthday.

In today’s scene that I love, from 1972’s The Godfather, Keaton plays Kay Adams Corleone, the wife of Michael (Al Pacino).  In this scene, Michael has “allowed” Kay to ask him about the family business.  She asks him if he had his brother-in-law, Carlo, killed.  Michael says, “No.”  Kay is relieved …. until she steps out into the hallway and realizes, as the door is shut in her face, that her husband just lied to her.

This is a beautifully acted scene and one of the most powerful endings in film history.

4 Shots From 4 Films: Special Robert Duvall Edition


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 95th birthday of Robert Duvall!  Robert Duvall is rightly known as one of America’s greatest actors but he’s also directed a few films as well.  Today, in honor of Mr. Duvall’s birthday, it’s time for….

4 Shots From 4 Robert Duvall Films

Angelo, My Love (1983, dir by Robert Duvall, DP: Joseph Friedman)

The Apostle (1997, dir by Robert Duvall, DP: Barry Markowitz)

Assassination Tango (2002, dir by Robert Duvall, DP: Felix Monti)

Wild Horses (2015, dir by Robert Duvall, DP: Barry Markowitz)

Monday Live Tweet Alert: Join Us for Joker’s Poltergeist!


As some of our regular readers undoubtedly know, I am involved in hosting a few weekly live tweets on twitter and occasionally Mastodon.  I host #FridayNightFlix every Friday, I co-host #ScarySocial on Saturday, and I am one of the five hosts of Mastodon’s #MondayActionMovie!  Every week, we get together.  We watch a movie.  We snark our way through it.

Tonight, for #MondayActionMovie, the film will be Joker’s Poltergeist!

If you want to join this watch party, just hop onto Mastodon, pull up Joker’s Poltergeist on YouTube or Tubi, start the movie at 8 pm et, and use the #MondayActionMovie hashtag!

Enjoy!

Brad reviews NOWHERE TO RUN (1993), starring Jean-Claude Van Damme!


In NOWHERE TO RUN, Jean-Claude Van Damme plays Sam Gillen, a recently escaped convict who finds himself hiding on the outer edges of a rural farm owned by widowed mother Clydie Anderson (Rosanna Arquette) and her two children, Mookie and Bree (Kieran Culkin and Tiffany Taubman). Through a variety of circumstances, Sam learns that a ruthless developer, Franklin Hale (Joss Ackland), and his enforcer Mr. Dunston (Ted Levine), are trying to force all of the farmers to sell their land, using violence if necessary. When bad guys show up one night and threaten Clydie and her kids, Sam emerges from the woods and kicks their asses. Soon Sam finds himself fighting off more of Hale’s goons, romancing the beautiful widow and becoming more emotionally connected to the kids. With his past closing in, Sam decides to do whatever it takes to protect Clydie and her kids, even if that costs him his freedom.

The late 80’s and early 90’s saw the emergence of two new action stars… Steven Seagal and Jean-Claude Van Damme. As a constant patron of our local video stores, I was there at the beginning of their careers and rented each of their new movies as they became available. Van Damme would establish himself in hit films like BLOODSPORT (1988), KICKBOXER (1989), DEATH WARRANT (1990) and UNIVERSAL SOLDIER (1992). As a big fan, I found myself in a movie theater in January of 1993 to watch his latest film, NOWHERE TO RUN. 

With a plot that resembles an old western… a man corrupted by wealth tries to force a widow off her land until a kind-hearted drifter steps in… NOWHERE TO RUN isn’t trying to reinvent the action genre, but it does give Van Damme a different kind of role. His Sam Gillen isn’t a wisecracking action hero or an unstoppable martial artist. Rather, he’s a flawed man with a particular set of skills who’s looking for redemption. I think Van Damme plays that soulful weariness better than most would give him credit for. Rosanna Arquette brings a credible presence to this genre film that helps sell the relationship between her and Van Damme, and the presence of her kids, also amps up the stakes and gives the story a genuine sense of vulnerability. When Sam decides to fight back, it’s not to protect himself, but to protect people worth standing up for. That motivation helps make the film more engaging than you might normally expect from an early 90’s action film. 

Speaking of action, NOWHERE TO RUN doesn’t feature a ton of action, but what it does have is effective. The early sequence where Van Damme’s character initially steps in to help the terrorized family is especially strong. There are several additional fight sequences and a prolonged motorcycle chase to provide some entertainment, but don’t expect wall-to-wall action or you could be disappointed. Joss Ackland (LETHAL WEAPON 2) and Ted Levine (THE SILENCE OF THE LAMBS) are suitably nasty villains so we definitely want to see them get their comeuppances, and the film effectively obliges. I also like the fact that NOWHERE TO RUN is set out on a rural farm. This setting enhances its “western” feel, and I certainly appreciate that unique element for an action film of this era. 

At the end of the day, I enjoyed NOWHERE TO RUN when I watched it in the movie theater back in 1993, and I enjoyed it again today. It’s certainly not flashy and action packed like HARD TARGET or TIMECOP, but it is a solid, and surprisingly emotional Van Damme film. I recommend it. 

Scenes That I Love: Rambo Rages In Rambo: First Blood Part II


Today’s scene that I love comes from the 1985 film, Rambo: First Blood Part II.  In this scene, Sylvester Stallone’s John Rambo — having survived being abandoned yet again in Vietnam — let’s the CIA knew exactly what he thinks about their operation.  As directed by George Pan Cosmatos and performed by Stallone, this scene is pure 80s action.

If you ever meet James Cameron, remind him that he wrote the script for this film and see how he reacts.

Here’s a scene that I love:

4 Shots from 4 Films: Special George Pan Cosmatos Edition


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 of director George Pan Cosmatos!  It’s time for….

4 Shots From 4 George Pan Cosmatos Films

The Cassandra Crossing (1976, dir by George Pan Cosmatos, DP: Ennio Guarnieri)

Rambo: First Blood Part II (1985, dir by George Pan Cosmatos, DP: Jack Cardiff)

Cobra (1986, dir. George Pan Cosmatos, DP: Ric Waite)

Leviathan (1989, dir by George Pan Cosmatos, DP: Alex Thomson)

January Positivity: Tapestry (dir by Ken Kushner)


Oh, how I have struggled with Tapestry.

Seriously, I have lost track of the number of times that I’ve tried to watch 2019’s Tapestry, just to give up on it as I realized that it was next to impossible to actually follow the film’s story.  Earlier today, I tried to watch it again and I finally made it all the way to the end.

It’s the story of a family.  Ryan (Stephen Baldwin) is an executive who loses his job but doesn’t tell his wife about it.  She doesn’t find out until his former place of employment calls the house.  “He’s at work,” she says.  “Oh, he got another job already?” is the response.  Awkward!  What’s even more awkward is that Ryan is eventually hired back at his company but now he’s just a lowly salesman, with a boss who is several years younger than him.

Throughout this, we hear narration from his mother (Tina Louise) and the first part of the film is so haphazardly edited that I have to admit that I was frequently confused as to whether or not his mother was dead or alive.  Having now watched the entire film, I now know that his mother was alive but dying for the majority of the film, though her narration was still coming from beyond the grave.  Ryan’s father was played by Burt Young and I’ll say right now that I am a Burt Young fan.  I’ve seen the Rocky movies.  Burt Young’s performance as the always-drunk Paulie was always spot on, even if Paulie himself wasn’t always the most likable character.  That said, I also spent the first part of the movie confused as to whether or not the father was meant to be alive or not.  The film is so weirdly edited that it’s hard to keep track of who anyone is or where they are at any particular moment.

As Ryan, Stephen Baldwin mopes through the film, which I guess is understandable considering that his parents may or may not have been dead.  I mean, if it was confusing to me as a viewer, I can only imagine what it was like for him as a child.  It’s hard to really get a handle on who Ryan is supposed to be as a person or how we’re supposed to feel about him.  In many ways, he seems as depressed when his life is going well as he is when his life is falling apart.  Baldwin seems to be disconnected from the film, which is a polite way to say that he doesn’t really seem to be making much of an effort.

And that’s a shame because Stephen Baldwin is actually not a bad actor.  Back in the day, when he was actually invested in a role and making an effort, he was a consistently good actor, even if he did have a tendency to appear in terrible movies.  Like Alec, he could do both comedy and drama but he didn’t have Alec’s tendency to overact.  With this film, Stephen just glumly goes through the motions.  It’s a bit boring to watch.

That said, I will say that, now that I’ve actually seen it, the end of the film is effective.  Maybe it’s because I’ve lost both my parents but I did find the film’s final thought — that Ryan’s mother was heading to a better place even as she kept an eye on her family — to be a comforting one.

Brad discusses THE MAGNIFICENT SEVEN (1960), directed by John Sturges!


Way back in 1960, Director John Sturges took Akira Kurosawa’s timeless classic SEVEN SAMURAI (1954) and translated its themes of honor and sacrifice into the American western THE MAGNIFICENT SEVEN. A classic on its own, the film stars such cinematic legends as Yul Brynner, Steve McQueen, James Coburn, Eli Wallach, and Charles Bronson. The storyline of a small group of men protecting a village from bandits proved to be an irresistible subject once again, especially the way it was handled here. Its theme music by Elmer Bernstein is one of the most instantly recognizable pieces of music in western cinema. It’s not easy translating a masterpiece without suffering quite negatively in comparison, and I’ve always admired how Sturges and his team of writers were able to create a film that both honored the source material while successfully transferring its content to a different part of the world. 

The lead performances of Yul Brynner and Steve McQueen anchor the film, and the screenplay masterfully takes the time to introduce us to each of the seven men and their myriad of reasons for taking on this mission. We care about the men because we get to know them. After Brynner and McQueen, we learn James Coburn is the most badass, Robert Vaughn is the most cowardly, Brad Dexter is the most money hungry, and Horst Buchholz is the most naive. Unsurprisingly, my favorite of the characters is Bernardo O’Reilly, played by Charles Bronson. In my opinion, the character of O’Reilly represents the heart of the story. His character is as tough as it gets and great with a gun, but it’s the way he cares for the actual people, especially the children of the village, that really stands out. It’s in these small moments and exchanges between Bronson and the kids, where the film seems to transcend the genre and become something even more reflective and meaningful. So when Bronson pays the ultimate price, it’s not for some grand purpose or ideal, it’s specifically for those kids, and the moment becomes powerful. For my money, Bronson gives one of the more moving turns in classic western cinema that remains under appreciated to this day. 

In 2025, THE MAGNIFICENT SEVEN celebrated its 65th anniversary, with many theaters around the country screening the film again. I was lucky enough to catch one of those screenings at a theater in downtown Little Rock. It was a wonderful night at the movies. Today, on what would have been his 116th Birthday, I celebrate Director John Sturges and this great film that has meant so much to me!