4 Shots From 4 Films: Special Sydney Pollack 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!

87 years ago today, Sydney Pollack was born in Indiana.  Though Pollack got his start as an actor, he soon moved into directing and was one of the key television directors of the 1960s.  He eventually branched out into film, making a name for himself as a director of intelligent and sensitive comedies and dramas.  Though he only directed 21 films over the course of his career, his films received a total of 48 Oscar nominations and 11 wins.  1982’s Tootsie and 1985’s Out of Africa were both nominated for Best Picture.  Out of Africa won.

Pollack also returned to acting in the 90s, making a name for himself as a skilled character actor.  I’ll always remember him from Eyes Wide Shut, interrogating Tom Cruise while playing pool.

When he passed away in 2008, Pollack was remembered as one of the best directors of Hollywood’s second golden age.

In honor of Sydney Pollack, here are….

4 Shots From 4 Sydney Pollack Films

Jeremiah Johnson (1972, dir by Sydney Pollack, DP: Duke Callaghan)

The Yakuza (1974, dir by Sydney Pollack, DP: Duke Callaghan and Kozo Okazaki)

The Electric Horseman (1979, dir by Sydney Pollack, DP: Owen Roizman)

The Firm (1993, dir by Sydney Pollack, DP: John Seale)

Scenes I Love: Robby the Robot Makes His Debut in Forbidden Planet


According to the imdb, today is Robby the Robot’s birthday.  I didn’t know that robot’s had birthdays but apparently, they do.  Robby is 67 years old and I think that, along with Earl Holliman, he might be one of the last two surviving cast member of the 1956 sci-fi classic, Forbidden Planet.

So, it only seems appropriate that today’s scene that I love should be Robby the Robot’s debut appearance in Forbidden Planet.  Happy birthday, Robby!

8 Shots From 8 Films: Special Robert Evans 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!

92 years ago today, Robert Evans was born in New York City.  He started out working in his brother’s clothing business but a chance meeting with actress Norma Shearer led to him becoming an actor.  And while Evans, by his own account, was not a particularly good actor, he did prove himself to be very skilled at playing the games of Hollywood.  Evans eventually moved from acting to production, first as an executive at Paramount and then as an independent producer.

He lived a life as glamorous and tumultuous as the stars of his pictures and his memoir, The Kid Stays In The Picture, is considered to be one of the classic show biz autobiographies.  He hung out with cinematic rebels like Jack Nicholson and Robert Towne and counted Secretary of State Henry Kissinger as a friend.  He suggested that Francis Ford Coppola should direct The Godfather and, when Paramount put pressure on Coppola to cut the film down to two hours, it was Evans who famously announced that a two-hour Godfather was nothing more than a trailer.  He lost Ali MacGraw to Steve McQueen and, again by own account, he lost a lot of potentially productive years to cocaine.  (The Cotton Club scandal is one of the wildest in the history of Hollywood, though it should be noted that Evans himself was never charged with any wrongdoing.)  But, for all that he lost, Evans continues to gain admirers as being the epitome of the producer who was willing to take chances.  For all of his flamboyance, Evans had an eye for good material and the willingness to protect his directors.  In many ways, he was as important to the cinematic revolution of the 70s as the directors that he hired.  When Evans passed away in 2019, it was truly the end of an era.

Here, in honor of the birth and legacy of Robert Evans, are 8 Shots from 8 Films that Evans produced, either as studio chief at Paramount or as an independent producer.

8 Shots From 8 Robert Evans Films

Rosemary’s Baby (1968, dir by Romnn Polanski, DP: William A. Fraker)

Love Story (1970, dir by Arthur Hiller, DP: Richard Kratina)

The Godfather (1972, dir by Francis Ford Coppola, Cinematography by Gordon Willis)

Chinatown (1974, dir by Roman Polanski, DP: John A. Alonzo)

Marathon Man (1976, dir by John Schlesinger, DP: Conrad Hall)

The Cotton Club (1984, dir by Francis Ford Coppola, DP: Stephen Goldblatt)

The Two Jakes (1990, dir by Jack Nicholson, DP: Vilmos Zsigmond)

Sliver (1993, dir by Phillip Noyce, DP: Vilmos Zsigmond)

Film Review: The Ledge (dir by Howard J. Ford)


One year ago, Kelly (Brittany Ashworth) and her boyfriend, Luca (Talha Senturk), were climbing a mountain in Italy.  It was a great experience, until Luca put his foot on the wrong part of the mountain and promptly plunged to his death.

Now, on the anniversary of Luca’s fatal fall, Kelly and her friend Sophie (Anias Parello) are planning on climbing the mountain in his memory.  However, the night before their scheduled climb, they meet four friends.  Josh (Ben Lamb), Zach (Louis Boyer), Taylor (David Wayman), and Reynolds (Nathan Welsh) have known each other since they were kids.  They grew up together.  They went to high school and college together.  Now, they still go on weekend trips together, hoping to hold onto some remnant of their disappearing youth.  They’re a tightly-knit group, even though Zach, Taylor, and Reynolds seem to be a bit weary of Josh.

Josh invites Kelly and Sophie to hang out with the group.  Kelly, who is still mourning Luca, quickly grows disgusted with Josh’s overbearing and toxic personality.  Leaving Sophie behind, Kelly returns to her cabin to get some sleep.  When Sophie doesn’t return to the cabin, Kelly steps outside to look for her and discovers and films the four men tossing Sophie over the edge of a cliff.

With the men now pursuing her, Kelly has no choice but to climb the mountain from which Luca previously fell.  The men chase after her, reaching the top of the mountain before her and leaving Kelly trapped between the rocks below and Josh above.  Josh says that he just wants the camera but Kelly knows that there’s no way Josh is going to let her escape the mountain alive.

There’s a slightly interesting idea at the heart of The Ledge.  While Josh is, from the start, an obvious sociopath, the other three men are portrayed with a bit more ambiguity.  All three of them know that Josh is dangerous and, when Josh initially kills Sophie, all three of them initially resist his demands that they help him cover up what has happened.  In the end, though, all three of them set aside their qualms and literally get blood on their hands.  Taking as individuals, Taylor, Zach, and Reynolds are all level-headed and even likable but none of them are willing to stand up to Josh and, when they get together as a group, only Reynolds is the only one to weakly protest their actions.  Even though Zach, Taylor, and Reynolds are not as vicious as Josh, they all became complicit in his actions when they decided that their loyalty to the group was more important than doing the right thing.  As such, it doesn’t matter that Zach has a family or that Taylor initially tried to calm Josh down.  It doesn’t even matter that the guilt-stricken Reynolds, at one point, allows Kelly to run past him rather than attempt to capture her.  For all of the guilt that they feel as a result of their actions, Taylor, Zach, and Reynolds are all complicit because none of them were willing to do the right thing from the start.  The fact that they don’t do more to stop Josh make them just as guilty as he is.

As I said, it’s an interesting idea but the film doesn’t really do much with it.  Indeed, once Kelly starts to climb that mountain, the narrative gets bogged down with flashbacks to her relationship with Luca and scenes of Josh shouting insults at her while she climbs.  The film features some striking shots  and Brittany Ashworth is a likable lead but the narrative momentum stalls out early.  It turns out that there’s only so much time you can spend watching one person climb and one person yell until your attention starts to wander elsewhere.  Much like Luka, The Ledge gets off to a promising enough start but then loses its grip and falls back to Earth.

The TSL’s Grindhouse: World Gone Wild (dir by Lee H. Katzin)


“World Gone Wild!?  What’s that about?”

Don’t ask me.  I just watched the movie and I’m not particularly sure what the point of it all was.  Released in 1987, World Gone Wild is one of those films that was made to capitalize on the post-apocalypse boom of the 70s and 80s.  Basically, imagine a Mad Max film that sucks and you’ll have a pretty good idea of what World Gone Wild is like.

There’s been a nuclear war.  Civilization has collapsed and now, there are just tiny outposts of humanity who are trying to survive.  It hasn’t rained in decades.  Old-timer Ethan (Bruce Dern) is in charge of a town called Lost Wells.  He remembers what rain was like and he also remembers what rock music used to sound like, too.  As for Lost Wells, it’s one of those dreary little desert communities that always tend to pop up in movies like this.  Angie (Catherine Mary Stewart) teaches the community’s children in an abandoned school bus.  They have a bunch of books on etiquette.  One little girl can recite every word ever written by Emily Post.  That gets annoying fast.  Emily Post didn’t live on a school bus in the desert.

That etiquette doesn’t do much good when it comes to protecting Lost Wells from Derek Abernathy (Adam Ant), a cult leader who dresses in all-white and who wants to take control of Lost Wells away from Ethan.  (In a somewhat clever twist, it turns out that Ethan learned how to become a cult leader by reading a book about Charles Manson.)  Knowing that the majority of the people in his town are too obsessed with Emily Post to fight off Derek and his army, Ethan recruits a group of mercenaries led by George Landon ( who is played by Michael Pare, who looks like he was absolutely miserable while shooting this movie).  George and his men agree to protect Lost Wells from Derek and, in the process, they regain some of their lost humanity and they start to believe in the possibility of rain.  Or something like that.  Fortunately, one of George’s mercenaries is played by the supercool character actor Anthony James.  He doesn’t get to do much but hey, it’s still Anthony James and Bruce Dern in the same movie!  Yay!

For a film called World Gone Wild, this is a strangely low-key affair.  Even the most unimpressive of Mad Max rip-offs will usually have an exciting car chase or two.  At the very least, there’s usually a big battle where people sacrifice their lives for the future of humanity.  In World Gone Wild, the mercenaries pretty much just go to Lost Wells and then wait for Derek to come back.  And when Derek returns, there’s a few explosions and some gunfire but that’s pretty much it.  Neither side really puts up much of a fight, which leads me to wonder if Derek really even cared about Lost Wells.

On the plus side, the film has got Bruce Dern, doing his wild-eyed old-timer bit.  That’s always fun to watch and, if nothing else, Dern appears to be having fun in this movie.  At the very least, he’s having more fun that Michael Pare and Catherine Mary Stewart, both of whom seem to spend the majority of the movie looking for a way to make a quick escape.  And I suppose the film does win some novelty points for casting Adam Ant as the main villain, even though Derek ultimately turns out to be not much of a threat.

In the end, World Gone Wild‘s greatest strength is Bruce Dern.  He’ll make you believe in the rain again.

Guilty Pleasure No. 57: The Voyeurs (dir by Michael Mohan)


The Voyeurs premiered on Amazon in 2021 and I have to say that I’m a little bit angry that I didn’t bother to watch the movie until last week.  Seriously, someone should have alerted me about this film because this is exactly the type of shamelessly sordid, narratively nonsensical film that I always end up enjoying.  Seriously, I expect better from my friends.

The film opens with Pippa (Sydney Sweeney) trying on lingerie in a chic shop, just to suddenly realize that anyone looking through the shop’s front window would be able to see her.  Pippa glares reproachfully at both the window and, presumably, the people watching this movie.  That’s right, the film opens with the lead character judging you for watching.  However, as we soon discover, Pippa is a bit of a hypocrite.

Pippa was buying the lingerie as a way to celebrate moving into a new studio apartment with her boyfriend, Thomas (Justice Smith).  Unfortunately, Thomas is kind of a lame-o and he ends up falling asleep as soon as they move in and before Pippa can show him what she’s bought.  When Thomas does eventually wake up, he and Pippa discover that they can stare straight into the the apartment across the street from them.  That apartment is inhabited by a handsome and sexy photographer (Ben Hardy) and his beautiful wife (Natasha Liu Bordizzo).  Pippa and Thomas find themselves obsessively watching as Thomas and Pippa make love in the kitchen and basically everywhere else in their apartment.  (Meanwhile, Thomas is still complaining about how much he hates his job.)  Eventually, Pippa and Thomas even figure out a way to capture the vibrations of the other apartment’s windows so that they can “hear” what the photographer and his wife are saying to each other.   While Thomas worries that Pippa is becoming too obsessed with the neighbors, Pippa is busy fantasizing about the photographer and befriending his wife.  When Pippa discovers that the photographer is cheating on his wife and cruelly gaslighting away her concerns, Pippa makes a decision that leads to….

Well, it leads to a lot and I certainly won’t spoil it.  I will say that it’s all wonderfully melodramatic and silly.  The Voyeurs has multiple twists, none of which make much sense.  Indeed, it’s best not to think too much about any of the twists or the film’s rather macabre conclusion.  Instead, watch it for the sex, the glamour, the spacious apartments, and the beautiful people.  Don’t worry about logic.  Instead, just accept The Voyeurs as a dream.  Sydney Sweeney brings some much-needed sincerity to her role while Hardy and Bordizzo both appear to understand exactly the type of film in which they’ve found themselves and, wisely, they fully embrace the sordidness of it all.  At times, Justice Smith seems to almost be taking the movie too seriously but even that adds to The Voyeurs off-center charm.  Someone always takes things too seriously in a film like this.

The Voyeurs is the type of sordid daydream-turned-nightmare that we can all love.

Previous Guilty Pleasures

  1. Half-Baked
  2. Save The Last Dance
  3. Every Rose Has Its Thorns
  4. The Jeremy Kyle Show
  5. Invasion USA
  6. The Golden Child
  7. Final Destination 2
  8. Paparazzi
  9. The Principal
  10. The Substitute
  11. Terror In The Family
  12. Pandorum
  13. Lambada
  14. Fear
  15. Cocktail
  16. Keep Off The Grass
  17. Girls, Girls, Girls
  18. Class
  19. Tart
  20. King Kong vs. Godzilla
  21. Hawk the Slayer
  22. Battle Beyond the Stars
  23. Meridian
  24. Walk of Shame
  25. From Justin To Kelly
  26. Project Greenlight
  27. Sex Decoy: Love Stings
  28. Swimfan
  29. On the Line
  30. Wolfen
  31. Hail Caesar!
  32. It’s So Cold In The D
  33. In the Mix
  34. Healed By Grace
  35. Valley of the Dolls
  36. The Legend of Billie Jean
  37. Death Wish
  38. Shipping Wars
  39. Ghost Whisperer
  40. Parking Wars
  41. The Dead Are After Me
  42. Harper’s Island
  43. The Resurrection of Gavin Stone
  44. Paranormal State
  45. Utopia
  46. Bar Rescue
  47. The Powers of Matthew Star
  48. Spiker
  49. Heavenly Bodies
  50. Maid in Manhattan
  51. Rage and Honor
  52. Saved By The Bell 3. 21 “No Hope With Dope”
  53. Happy Gilmore
  54. Solarbabies
  55. The Dawn of Correction
  56. Once You Understand

Lisa Marie’s Early Oscar Predictions for June


It’s the time of the month again!  It’s time for me to share my brave attempts to randomly guess at what will be nominated for the Oscars next year!  I do this on a monthly basis.  For the first six or seven months of the year, it’s a bit of a fool’s errand.  Usually, it’s not until late September and October that the Oscar race really starts to become a bit clearer and, even then, there’s always a few surprises and late additions.  So, in other words, take the predictions below with a grain of salt.  Actually, take them with several grains of salt.  A few of these films and performers will definitely be nominated.  Several probably won’t but these are the best guesses that I can currently make based on the rumors and speculation that I’ve seen online.

Probably the biggest Oscar news this month was that Top Gun: Maverick is still dominating the box office.  That’s good new for Maverick, both because it reminds the Academy of how much people love the film and it will also help to keep the movie fresh on everyone’s mind as the rest of the year unfolds.  To those who say that Top Gun: Maverick isn’t a traditional Oscar movie, I would say that 1) they have a point and 2) the same could have been and was said about Mad Max: Fury Road, Get Out, Joker, Black Panther, Dune, and several other recent nominees that both did well at the box office and scored several Oscar nominations.  It’s probably time for us to stop thinking about whether or not a movie is a “traditional” nominee because it’s been a while since that’s really been a deciding factor.  The times are changing.

Anyway, below you’ll find my nominees for the month of June!  If you want to see how my thinking has progressed, be sure to check out my predictions for February, March, April, and May!  They’re good for a laugh if nothing else.

Finally, if I had to predict a winner for Best Picture, I would probably go with The Fabelmans.  I think Steven Spielberg making a film about his childhood will be hard to resist and I think there are some people who feel that Spielberg didn’t quite get the amount of Oscar love that he deserved for West Side Story.

Best Picture

Babylon

Empire of Light

Everything Everywhere All At Once

The Fabelmans

Killers of the Flower Moon

My Policeman

Rustin

She Said

Top Gun: Maverick

Women Talking

Best Director

Damien Chazelle for Babylon

Joseph Kosinski for Top Gun: Maverick

Maria Schafer for She Said

Martin Scorsese for Killers of the Flower Moon

Steven Spielberg for The Fabelmans

Best Actor

Tom Cruise in Top Gun: Maverick

Colman Domingo in Rustin

Brendan Fraser in The Whale

Tom Hanks in A Man Called Otto

Brad Pitt in Babylon

Best Actress

Naomi Ackie in I Wanna Dance with Somebody

Cate Blanchett in Tar

Ana de Armas in Blonde

Margot Robbie in Babylon

Michelle Yeoh in Everything Everywhere All At Once

Best Supporting Actor

Paul Dano in The Fabelmans

Tom Hanks in Elvis

Anthony Hopkins in Armageddon Time

Tobey Maguire in Babylon

Ke Huy Quan in Everything Everywhere All At Once

Best Supporting Actress

Jessie Buckley in Women Talking

Jamie Lee Curtis in Everything Everywhere All At Once

Sally Field in Spoiler Alert

Li Jun Li in Babylon

Michelle Williams in The Fabelmans

Film Review: I Want You Back (dir by Jason Orley)


Poor Peter and Emma!

Peter (Charlie Day) and Emma (Jenny Slate) both work in the same building in downtown Atlanta.  That’s one thing that they have in common.  Peter works for a soulless nursing home company.  At a typical meeting, Peter listens as the other executives debate whether or not it’s actually necessary to spend so much money feeding the residents.  Peter dreams of starting his own nursing home, one where the elderly will be treated with the respect that they deserve.  Emma is an administrative assistant in an orthodontist’s office.  She lives in an apartment with two college students, even though she hasn’t been enrolled in college for years.  Though they’re both in their early thirties, neither Peter nor Emma have really be able to get their lives going yet.  That’s another thing that they have in common.

And there’s a third thing that they have in common.  They’ve both recently been dumped.  Anne (Gina Rodriguez) left Peter because she felt that Peter was stuck in a rut and she’s now dating a pretentious but dashing middle school theater teacher named Logan (Manny Jacinto).  Emma’s ex, personal trainer Noah (Scott Eastwood), is now deeply in love with a pastry chef named Ginny (Clark Backo).  Anne and Noah may have moved on but both Peter and Emma want their exes back.

When Emma and Peter meet each other while looking for a place to cry in the office stairwell, they strike up a quick friendship.  They also hatch a brilliant scheme.  Emma will volunteer to work on Logan’s production of Little Shop of Horrors and, while doing so, she’ll seduce him and cause Anne to break up with him.  Meanwhile, Peter will befriend Noah and convince him that Ginny really isn’t right for him.

Of course, things don’t go as smoothly as expected.  We’ve all seen Strangers on a Train enough times to know that these “You’ll help me and I’ll help you” schemes never seem to work out.  Peter does manage to befriend Noah but it turns out that Noah is deeply in love with Ginny.  Meanwhile, Logan is more than open to the idea of being seduced but it turns out that Anne is also interested in exploring new things.  While Peter and Noah are hitting the clubs and getting taunted, for being “old,” by Pete Davidson, Emma is being forced to sing Suddenly Seymour with the 13 year-old star of Little Shop of Horrors.  Peter and Emma are also growing closer, even as they try to get back with their exes.

Currently streaming on Prime, I Want You Back is an amusing romantic comedy, one that works due to a surprisingly clever script and a charming cast.  For all the indignities that Peter and Emma go through in their quest to win back the exes, the film always treats their emotions with respect.  The scene in which 30-something Emma wipes away tears while a bespectacled 13 year-old sings Suddenly Seymour to her is a wonderfully comedic moment but, because Emma feels like a fully realized character instead of just a comedic caricature, the film works on an emotional level as well.  “I’m not ready for this,” Emma mutters as the kid starts to sing and it’s a funny line that works because it’s also a line to which everyone can relate.  Everyone knows the feeling.  Jenny Slate and Charlie Day are charming as the two leads and both Scott Eastwood and Gina Rodriguez bring some welcome depth to the role of the exes.  No one in this film turns out to be as simple or as one-dimensional as the viewer might initially expect.  Instead, we find ourselves caring about not only Emma and Peter but also about Noah and Anne, as well.

I Want You Back is a sweet-natured and genuinely funny romantic comedy.  The final scene is perfect.  Check it out on Prime.