The AARP Honors Top Gun: Maverick!


 

To be honest, the AARP naming Top Gun: Maverick the best film of 2022 is perhaps the least surprising moment of the 2022 awards season.  Don’t get me wrong.  I love Top Gun: Maverick and it’s my pick for the best of 2022.  But I don’t think there was ever any doubt that it was going to win with an organization made up of people who saw the first Top Gun when it was originally released in theaters.

Anyway, here are all the AARP winners!  You can see all of the nominees by clicking here.

Best Picture/Best Movie for Grownups
Top Gun: Maverick

Best Actress
Michelle Yeoh (Everything Everywhere All at Once)

Best Actor
Brendan Fraser (The Whale)

Best Supporting Actress
Judith Ivey (Women Talking)

Best Supporting Actor
Judd Hirsch (The Fabelmans)

Best Director
Baz Luhrmann (Elvis)

Best Screenwriter
Kazuo Ishiguro (Living)

Best Actress (TV)
Sheryl Lee Ralph (Abbott Elementary)

Best Actor (TV)
Jeff Bridges (The Old Man)

Best TV Series
The Old Man

Best TV Movie/Limited Series
Black Bird

Best Ensemble
She Said

Best Intergenerational Movie
Till

Best Time Capsule
Elvis

Best Grownup Love Story
Good Luck to You, Leo Grande

Best Documentary
Gabby Giffords Won’t Back Down

Best Foreign Film
The Quiet Girl (Ireland)

 

Monday Live Tweet Alert: Join Us For End of a Gun and White Lightning!


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

 

 

Tonight, for #MondayActionMovie, the film will be 2016’s End of a Gun!  Selected and hosted by Matthew Titus, it features Steven Seagal being Steven Seagal.

 

Following #MondayActionMovie, Brad and Sierra will be hosting the #MondayMuggers live tweet.  We will be watching 1973’s White Lightning, starring Burt Reynolds!  This film can be found on Prime and Tubi!

It should make for a night of fun viewing and I invite all of you to join in.  If you want to join the live tweets, just hop onto twitter, start End of a Gun at 8 pm et, and use the #MondayActionMovie hashtag!  Then, at 10 pm et, start White Lightning , and use the #MondayMuggers hashtag!  The live tweet community is a friendly group and welcoming of newcomers so don’t be shy.   

Burt says “Come on in!”

Retro Television Reviews: Hitchhike! (dir by Gordon Hessler)


Welcome to Retro Television Reviews, a feature where we review some of our favorite and least favorite shows of the past!  On Sundays, I will be reviewing the made-for-television movies that used to be a primetime mainstay.  Today’s film is 1974’s Hitchhike!  It  can be viewed on YouTube!

Claire Stevens (Cloris Leachman) is an emotionally vulnerable woman who is dealing with her loneliness and depression by driving to San Francisco to visit her sister.  As she’s driving, she spots a young man named Keith (Michael Brandon).  Keith is standing on the side of the road and holding out his thumb.  At first, Claire does the smart thing and she drives by him without stopping.  However, Claire starts to feel guilty so she turns around and — NO, CLAIRE!  WHAT ARE YOU THINKING!? — offers him a ride.  It turns out that he’s going to San Francisco as well!

At first, the drive is awkward.  Keith says that he doesn’t want to talk and he doesn’t appreciate it when Claire tries to make him listen to the classical music station.  But, as they drive, Keith starts to let down his defenses.  He says that he wishes that he could just sail away on the ocean.  He encourages Claire to embrace life and to just go for it.  They stop at a pier and have lunch.  Claire buys Keith a silly white hat and she places it on his head because, as she puts it, “it’s cute.”  Keith argues with her but he doesn’t take off the hat.  However, when Keith spots some cops, he immediately leads Claire away from them.

The viewer watches all of this with a sense of dread because the viewer knows what Claire doesn’t.  The viewer knows that Keith is the son of a wealthy man.  The viewer knows that Keith had been having an affair with his stepmother, who was only a few years older than Keith.  And the viewer knows that Keith murdered his stepmother with the same weapon that he’s currently carrying in his bag.  The police are looking for Keith and Keith is willing to do just about anything to stay free.

I have to admit that I yelled a little when Claire offered Keith a ride because it was such an obviously stupid thing to do.  Everyone knows that it’s never a good idea to pick up a hitchhiker.  And, if you’re a woman who is driving down an isolated road by yourself, the last thing you should ever do is offer a ride to some strange man standing on the side of the road.  Claire’s actions were foolish but, because she was played by Cloris Leachman, it was still hard not to sympathize with her.  Claire is someone who feels as if she’s been abandoned by the world and, quite obviously, she sees Keith as a kindred spirit.  Over the course of their journey, it becomes obvious that Claire is using Keith as a substitute for what she’s missing in her life.  He becomes both a son and a companion to her.  Unfortunately, Keith tends to go into a rage whenever he sense anyone getting too close to him.

Hitchhike! is a short movie and, for all the dramatic build-up, it ends on a rather anti-climatic note.  Cameron Mitchell shows up as a detective who is looking for Claire and Keith and he gives a mannered performance that is oddly over-the-top by even his generous standards.  That said, Michael Brandon has the blandly handsome look of a generic but charming serial killer while Cloris Leachman gives a credible and sympathetic performance as Claire.  If nothing else, this film can be watched with The Hitcher as a double feature.  Never stop your car for anyone!

Film Review: You People (dir by Kenya Barris)


Ezra Cohen (Jonah Hill) and Amirah Mohammed (Lauren London) have been dating for six months.  Ezra is a Jewish atheist who works at a brokerage firm but who says his lifelong dream has been to be a podcaster.  Lauren is Black and a devout Muslim.  A graduate of Howard University, she is pursuing a career as a designer.  Despite coming from very different backgrounds, Ezra and Amirah are deeply in love and want to get married.  However, becoming engaged also means …. MEETING THE PARENTS!

Shelley and Arnold Cohen (played by Julia Louis-Dreyfus and David Duchovny) are self-styled progressives who immediately embarrass Ezra by going out of their way to trying to show how liberal and non-racist they are.  Shelley, in particular, goes out of her way to bond with Amirah but it’s immediately obvious that Shelley views Amirah as being more someone to show off than as an actual human being.  Meanwhile, Akbar Mohammed and Fatima Mohammed (played by Eddie Murphy and Nia Long) are members of the Nation of Islam who admire Louis Farrakhan and who claim that the Jews were behind the slave trade.

Just from that plot description, you can see a huge part of the problem with the new film, You People.  Whereas Shelley’s problem is that she’s too quick to brag about how much she loves the idea of having a black daughter-in-law, Akbar’s problem is that he’s an anti-Semite.  His main objections to Ezra are that 1) Ezra isn’t black and 2) Ezra’s Jewish.  While Shelley takes Amirah shopping, Akbar tries to get Ezra killed by tricking him into wearing “the wrong colors” to a barbershop.  While Shelley shows off Amirah to all of her liberal friends, Akbar shoves Ezra onto a basketball court.  While Shelley is awkwardly trying to prove that she’s an ally, Akbar is inviting himself to Ezra’s wild Las Vegas bachelor party.  (Akbar is disturbed to discover that Ezra has a “coke guy.”  If this film had been made ten years ago, Ezra would have had a weed guy and it would have been easier to buy the film’s contention that Akbar is being unreasonable.)  Shelley is certainly obnoxious and she fully deserves to get called out for her behavior.  But Akbar is an anti-Semite who peddles the type of conspiracy theories that have been at the center of the alarming rise in recent hate crimes.  Whereas Shelley is clueless, Akbar is actually malicious.  And while that’s a story that one certainly could try to tell, it also makes it a bit difficult to buy the film’s fanciful ending.  The movie ultimately can’t decide if it wants to be a fearless satire of race relations or a feel-good romcom.  The tone of the film switches from scene to scene and Kenya Barris’s direction is so inconsistent that he makes Judd Apatow look like a disciplined filmmaker by comparison.

The cast is full of talent but the characters are largely one-dimensional.  Jonah Hill is undoubtedly a good actor but he’s also nearly 40 years old and, with his full beard, he looks about ten years older, which makes it a bit hard to believe that he would be that concerned with getting the approval of his future in-laws.  At first, a role of Akbar would seem ideal for Eddie Murphy but, with the exception of a scene where Akbar quizzes Ezra on his favorite Jay-Z song in an attempt to trick Ezra into saying the “n-word,” Murphy doesn’t really get to do much other than stand around with a pained expression on his face.  Probably the most interesting performance in the film comes from Mike Epps, who plays Akbar’s brother and who is one of the few characters willing to call everyone out on their hypocrisy.  But, unfortunately, Epps is only in a handful of scenes and the film uses him as more of a dramatic device than a fully rounded character.

As I watched You People, I couldn’t help but think about another film about an interracial wedding, Rachel Getting Married.  That film provided a believable and multi-layered look at two different cultures coming together.  You People, however, can’t quite make up its mind what it believes or what it wants to say and, unfortunately, what it does say is often said with a surprising lack of self-awareness.  At times, it’s so proud of itself that it feels like it almost could have been written by Shelley Cohen.

You People is streaming on Netflix.

Live Tweet Alert: Watch The Prowler with #ScarySocial


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

Tonight, for #ScarySocial, I will be hosting 1981’s The Prowler!

That’s right!  It’s the most ruthless slasher film ever made, with special death effects from the great Tom Savini!

If you want to join us on Saturday night, just hop onto twitter, start the film at 9 pm et, and use the #ScarySocial hashtag!  The film is available on Prime, Tubi, and a few other streaming sites.  I’ll be there co-hosting and I imagine some other members of the TSL Crew will be there as well.  It’s a friendly group and welcoming of newcomers so don’t be shy.

Here’s What Won At Sundance


To be absolutely honest, I didn’t really pay much attention to the Sundance Film Festival this year.  I may or may not regret that come next December.  Traditionally, it seems that at least a few Oscar contenders begin their journey at Sundance but there’s always a chance that the big Sundance success story could turn out to be something like Zolaa film that gets a lot of festival hype but doesn’t really stick around in anyone’s mind afterwards.

Today, the 2023 Sundance Film Festival’s awards winners were announced.  Time will tell whether or not the films listed below will have much of a life outside of Sundance.  Out of the films honored, Magazine Dreams sounds like the one most likely to break out.

U.S. DRAMATIC COMPETITION
Grand Jury Prize: A.V. Rockwell for “A Thousand and One”
Audience Award: “The Persian Version,” directed by Maryam Keshavarz
Directing: Sing J. Lee for “The Accidental Getaway Driver”
Waldo Salt Screenwriting Award: Maryam Keshavarz for “The Persian Version”
Special Jury Award: Acting: Lio Mehiel for “Mutt”
Special Jury Award: Ensemble: The cast of “Theater Camp,” directed by Molly Gordon and Nick Lieberman.
Special Jury Award: Creative Vision: The creative team of “Magazine Dreams,” directed by Elijah Bynum
Festival Favorite Award: “Radical,” directed by Christopher Zalla

U.S. DOCUMENTARY COMPETITION
Grand Jury Prize: “Going to Mars: The Nikki Giovanni Project,” directed by Joe Brewster and Michèle Stephenson
Audience Award: “Beyond Utopia”
Directing: Luke Lorentzen for “A Still Small Voice”
Jonathan Oppenheim Editing Award: Daniela I. Quiroz for “Going Varsity in Mariachi”
Special Jury Award – Clarity of Vision: “The Stroll,” directed by Kristen Lovell & Zackary Drucke
Special Jury Award – Freedom of Expression: “Bad Press

WORLD CINEMA DRAMATIC COMPETITION
Grand Jury Prize: “Scrapper”
Audience Award: “Shayda,” directed by Noora Niasari
Directing Award: Marija Kavtaradze “Slow”
Special Jury Award – Cinematography: Lílis Soares for “Mami Wata”
Special Jury Award – Best Performance: Rosa Marchant, “When It Melts”
Special Jury Award – Creative Vision: Sofia Alaoui for “Animalia”

WORLD CINEMA DOCUMENTARY COMPETITION
Grand Jury Prize: “The Eternal Memory”
Audience Award: “20 Days in Mariupol,” directed and produced by Mstyslav Chernov

Special Jury Prize – Directing: “Smoke, Sauna Sisterhood,” Anna Hints
Special Jury Award – Creative Vision: “Fantastic Machine”
Special Jury Award – Verité: “Against the Tide”

OTHER AWARDS
NEXT Audience Award: “Kokomo City”
NEXT Innovator Award: “Kokomo City”
Alfred P. Sloan Feature Film Prize: “The Pod Generation”

SHORTS
Short Film Grand Jury Prize: “When You Left Me on That Boulevard,” directed by Kayla Abuda Galang
Short Film Jury Award – U.S. Fiction: “Rest Stop,” directed by Crystal Kayiza
Short Film Jury Award – International Fiction: “The Kidnapping of the Bride,” Sophia Mocorrea
Short Film Jury Award – Non-Fiction: “Will You Look at Me,” directed by Shuli Huang.
Short Film Special Jury Award – International Directing: “AliEN0089,” directed by Valeria Hofmann.
Short Film Special Jury Award – U.S Directing: “The Vacation,” directed by Jarreau Carrillo

Live Tweet Alert: Join #FridayNightFlix for Troll 2!


 

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

Tonight, at 10 pm et, I will be hosting the third #FridayNightFlix of 2022!  The movie? 1990’s Troll 2!

If you want to join us this Friday, just hop onto twitter, start the movie at 10 pm et, and use the #FridayNightFlix hashtag!  It’s a friendly group and welcoming of newcomers so don’t be shy.

Troll 2 is available on Prime and Tubi!  See you there!

Film Review: Wire Room (dir by Matt Eskandari)


Wire Room tells the story of Justin Rosa (Kevin Dillon).

Once upon a time, Justin was a member of the Secret Service.  But, for reasons that are never really made clear, Justin was eventually demoted and found himself working for Homeland Security.  After 18 years, Justin has finally achieved his dream.  He’s been assigned to a wire room, a high-tech command center where HSI agents conduct surveillance on high-profile criminals.  On his first day, Justin shows up late.  He gets yelled at by his superior, Shane Mueller (Bruce Willis).  Justin explains that he couldn’t find anywhere to park.  Shane is not impressed.  Of course, Shane takes a taxi to and from work because Shane is a total alcoholic who likes to spend his free time at the local strip club.

After meeting Shane and Nour Holborow (Shelby Cobb), Justin is left in the wire room alone.  His sole job is to keep an eye on a British arms dealer, Eddie Flynn (Oliver Trevena, who chews the scenery with relish).  Shane is obsessed with taking down not only Eddie but also all of the corrupt cops that are on Eddie’s payroll.  Eddie has no idea that his entire mansion is wired and that Homeland Security is watching him while he wanders around the house in his leopard-print robe.  Eddie also doesn’t know that a bunch of assassins are coming to his house to try to kill him.

Realizing that Eddie is about to be killed, Justin tries to call Shane but Shane is too busy getting drunk to answer his phone.  When Nour calls about an unrelated manner, Justin asks her for advice.  She tells him to call Shane.  He already tried that!  Realizing that Homeland Security is full of drunks and incompetents, Justin decides to call Eddie himself.  Soon, Justin and Eddie enter into an uneasy partnership.  Justin tries to keep Eddie alive while Eddie tries to figure out how Justin knows what’s happening at his house.  To me, it would seem like it shouldn’t be difficult for Eddie to figure out that Homeland Security has wired his house but no one in this movie is particularly smart.

Wire Room was one of the last movies that Bruce Willis made before announcing his retirement from acting.  Willis doesn’t get much screen time and his dialogue consists mostly of profane insults.  That said, it is nice to see Willis playing a good guy again and there’s even a few hints of the old Willis charisma to be found in his performance.  If nothing else, he seems to enjoy the scenes in which Shane gives Justin a hard time.  As for Justin, he really is a truly stupid character who makes so many obvious mistakes that it’s hard not to worry about the fact that he’s been entrusted with keeping the homeland safe.  Fortunately, Kevin Dillon is an actor who can make stupidity likable.  (There’s a reason why Johnny Drama was the only character on Entourage that anyone really cared about.)

Like the majority of Willis’s recent films, Wire Room is a low-budget action film.  The special effects aren’t particularly special and the action scenes are fairly rudimentary.  A huge problem with the film is that the viewer is never quite sure how close or how far anyone is from the titular location.  For instance, we’re continually told that people are heading towards the wire room but it seems like it takes them forever to actually show up.  At one point, we see a group of bad guys heading up to the wire room but, somehow, Justin and Shane still have time to scrounge up some weapons and have a fairly detailed conversation before any of them actually arrive.  For all of the shooting and the yelling, Wire Room also never convinces us that there’s much at stake as far as the story is concerned.  Shane, for instance, doesn’t seem to be particularly upset when Justin tells him about what is happening at Eddie’s house, despite the fact that Eddie’s death would destroy Shane’s investigation into police corruption.  If Shane, the man in charge of the investigation, doesn’t care about what happens then why should we?

That said, there is some perhaps unintentional enjoyment to be found in Wire Room.  Kevin Dillon plays Justin as being so dense and so slow-witted that the film almost becomes a parody of the recent spate of movies and television shows that have been released about hyper competent government agents.  There are laughs to be found and Bruce Willis gets to be the good guy again.  Wire Room is not a particularly memorable movie but it is a decent time waster.

The Writers Guild Announces Their Nominees For The Best Screenplays of 2022!


Earlier today, the Writers Guild of America announced their nominees for the best screenplays of 2022.  As happens every year, a lot of screenplays were deemed ineligible, largely because they weren’t written by members of the WGA.  That’s certainly fair enough.  (Among the “big” films to be declared ineligible: Triangle of Sadness, Banshees of Inisherin, RRR, and All Quiet on the Western Front.)  Here is what was nominated:

SCREENPLAY NOMINEES

ORIGINAL SCREENPLAY
Everything Everywhere All At Once – Written by Daniel Kwan & Daniel Scheinert; A24
The Fabelmans – Written by Steven Spielberg & Tony Kushner; Universal Pictures
The Menu – Written by Seth Reiss & Will Tracy; Searchlight Pictures
Nope – Written by Jordan Peele; Universal Pictures
Tár – Written by Todd Field; Focus Features

ADAPTED SCREENPLAY
Black Panther: Wakanda Forever – Screenplay by Ryan Coogler & Joe Robert Cole, Story by Ryan Coogler, Based on the Marvel Comics; Walt Disney Studios Motion Pictures
Glass Onion: A Knives Out Mystery – Written by Rian Johnson; Netflix
She Said – Screenplay by Rebecca Lenkiewicz, Based on the New York Times Investigation by Jodi Kantor, Megan Twohey and Rebecca Corbett and the Book She Said by Jodi Kantor and Megan Twohey; Universal Pictures
Top Gun: Maverick – Screenplay by Ehren Kruger and Eric Warren Singer and Christopher McQuarrie, Story by Peter Craig and Justin Marks, Based on Characters Created by Jim Cash & Jack Epps, Jr.; Paramount Pictures
Women Talking – Screenplay by Sarah Polley, Based upon the Book by Miriam Toews; Orion Pictures/MGM

DOCUMENTARY SCREENPLAY
2nd Chance – Written by Ramin Bahrani; Showtime Documentary Films
Downfall: The Case Against Boeing – Written by Mark Bailey & Keven McAlester; Netflix
Last Flight Home – Written by Ondi Timoner; MTV Documentary Films
Moonage Daydream – Written by Brett Morgen; Neon
¡Viva Maestro! – Written by Theodore Braun; Greenwich Entertainment

How will the WGA nominations effect the Oscar nominations?  They won’t, seeing as the Oscar nominations were announced yesterday.  Personally, I respect the WGA’s commitment to not being a precursor.  The winners will be announced on March 5th.

Scenes That I Love: Nick Confronts Rick Von Slonecker in Whit Stillman’s Metropolitan


The Shattered Lens wishes a happy birthday to director Whit Stillman!

Today’s scene that I love comes from Stillman’s first film, 1990’s Metropolitan.  In this scene of preppie-on-preppie violence, Nick (Chris Eigeman) confronts the loathsome aristocrat Rick Von Slonecker (Will Kempe).  Upper class fisticuffs follow.  Chris Eigeman is about as perfectly cast as any actor ever has been in the role of Nick.