The Unominated #21: Southern Comfort (dir by Walter Hill)

Posted on October 8, 2025 by Lisa Marie Bowman

Though the Academy of Motion Picture Arts and Sciences claim that the Oscars honor the best of the year, we all know that there are always worthy films and performances that end up getting overlooked. Sometimes, it’s because the competition too fierce. Sometimes, it’s because the film itself was too controversial. Often, it’s just a case of a film’s quality not being fully recognized until years after its initial released. This series of reviews takes a look at the films and performances that should have been nominated but were, for whatever reason, overlooked. These are the Unnominated.

1981’s Southern Comfort takes place in 1973. While America tries to wind down its presence in Vietnam, a squad of nine National Guardsmen take part in war games in the Louisiana bayous. The squad is led by the ineffectual Sgt. Crawford Poole (Peter Coyote) while other members include the trigger-happy Lonnie Reece (Fred Ward), the weed-smoking Tyrone Cribbs (T.K. Carter), the cowardly Private Simms (Franklyn Seales), and the tightly-wound Coach Bowden (Alan Autry). Poole may be in charge but most of the members of the squad seem to look up to the laid-back and friendly Private Spencer (Keith Carradine). The newest member of the squad is Charles Hardin (Powers Boothe), a sober-minded transfer from Texas who doesn’t seem to get along with anyone but Spencer.

With the exception of Poole and Hardin, no one takes the weekend maneuvers seriously until they find themselves lost in the bayou and it becomes obvious that Poole has no idea what he’s doing. When they come across some canoes that belong to some Cajun trappers, they decide to “borrow” them. When the trappers protest, Reece fires his weapon at them. Reece’s gun is loaded with blanks but the trappers don’t know that. They fire back, killing Poole.

The national guardsmen now find themselves lost and being stalked by the trappers, a largely unseen force that always seems to attack out of nowhere. The men have no idea where they are. The trappers, on the other hand, have lived in the swamps their entire lives. The guardsmen bicker and argue over the best way to respond. Some want to fight back and some just want to get back to civilization. One-by-one, the men are picked off until only two remain.

Though the film is a somewhat heavy-handed metaphor for the Vietnam War, Southern Comfort is still a deeply affecting and suspenseful mix of horror and action. Director Walter Hill keeps the action moving at a quick pace and the film, which was shot on location and featured scenes shot during an actual Cajun celebration, perfectly captures the languid yet ominous atmosphere of the bayous. As soon as the men see those canoes unattended, we know that they’re going to steal them and that they are making the biggest mistake of their lives. Keith Carradine and Powers Boothe both give powerful performances in the lead roles and the members of the supporting cast — especially Alan Autry and Fred Ward — make a strong impression as well. I especially liked the performance of Brion James, who has a small role as a one-armed Cajun who is more crafty than he looks.

Being a mix of horror and action, it’s probably not a shock that Southern Comfort was ignored by the Academy. At the very least, I would have found room for Ry Cooder’s original score and Andrew Laszlo’s haunting cinematography.

Previous Entries In The Unnominated:

Song of the Day: It Don’t Worry Me by Keith Carradine

Posted on August 8, 2025 by Lisa Marie Bowman

Today, the Shattered Lens wishes a happy birthday to the actor and musician Keith Carradine. Our song of the day is a song that Carradine wrote for and performed in the 1975 film, Nashville.

Film Review: McCabe & Mrs. Miller (dir by Robert Altman)

Posted on February 20, 2025 by Lisa Marie Bowman

First released in 1971, McCabe & Mrs. Miller takes place in the town of Presbyterian Church at the turn of the 19th Century.

Presbyterian Church is a mining town in Washington State. When we first see the town, there’s not much to it. The town is actually named after its only substantial building and the residents refer to the various parts of the town as either being on the right side or the left side of the church. The rest of the town is half-constructed and appears to be covered in a permanent layer of grime. This is perhaps the least romantic town to ever appear in a western and it is populated largely by lazy and bored men who pass the time gambling and waiting for something better to come along.

When a gambler who says that he is named McCabe (Warren Beatty) rides into town, it causes a flurry of excitement. The man is well-dressed and well-spoken and it’s assumed that he must be someone important. Soon a rumor spreads that McCabe is an infamous gunfighter named Pudgy McCabe. Pudgy McCabe is famous for having used a derringer to shoot a man named Atwater. No one is really sure who Atwater was or why he was shot but everyone agrees that it was impressive.

McCabe proves himself to be an entrepreneur. He settles down in Presbyterian Church and establishes himself as the town’s pimp. Soon, he is joined by a cockney madam names Mrs. Miller (Julie Christie). The two of them go into business together and soon, Presbyterian Church has its own very popular bordello. Sex sells and Presbyterian Church becomes a boomtown. It attracts enough attention that two agents of a robber baron approach McCabe and offer to buy him out. McCabe refuses, thinking that he’ll get more money if he holds out. Mrs. Miller informs him that the men that he’s dealing with don’t offer to pay more money. Instead, they just kill anyone who refuses their initial offer.

Three gunmen do eventually show up at Presbyterian Church and we do eventually get an answer to the question of whether or not McCabe killed Atwater or if he’s just someone who has borrowed someone else’s legend. The final gunfight occurs as snow falls on the town and the townspeople desperately try to put out a fire at the church. No one really notices the fact that McCabe is fighting for his life at the time and, as befits a revisionist western, there’s nothing romantic or dignified about the film’s violence. McCabe is not above shooting a man in the back. The killers are not above tricking an innocent cowboy (poor Keith Carradine) into reaching for his gun so that they’ll have an excuse so gun him down. McCabe may be responsible for making Presbyterian Church into a boomtown but no one is willing to come to his aid. The lawyer (William Devane) that McCabe approaches is more interested in promoting his political career than actually getting personally involved in the situation. Mrs. Miller, a businesswoman first, smokes in an opium den with an air of detachment while the snow falls outside.

It’s a dark story with moments of sardonic humor. It’s also one of director Robert Altman’s best. The story of McCabe and Mrs. Miller and the three gunmen is far less important than the film’s portrayal of community growing and changing. Featuring an ensemble cast and Altman’s trademark overlapping dialogue, McCabe & Mrs. Miller puts the viewer right in the heart of Presbyterian Church. There are usually several stories playing out at once and it’s often up to the viewer to decide which one that they want to follow. Yes, the film is about Warren Beatty’s slick but somewhat befuddled McCabe and Julie Christie’s cynical Mrs. Miller. But it’s just as much about Keith Carradine’s Cowboy and Rene Auberjonois’s innkeeper. Corey Fischer, Michael Murphy, John Schuck, Shelley Duvall, Bert Remsen, and a host of other Altman mainstays all have roles as the people who briefly come into the orbit of either McCabe or Mrs. Miller. Every character has a life and a story of their own. McCabe & Mrs. Miller is a film that feels as if it is truly alive.

As with many of Altman’s films, McCabe & Mrs. Miller was not fully appreciated when initially released. The intentionally muddy look and the overlapping dialogue left some critics confused and the film’s status as a western that refused to play by the rules of the genre presented a challenge to audience members who may have just wanted to see Warren Beatty fall in love with Julie Christie and save the town. But the film has endured and is now recognized as one of the best of the 70s.

Scenes That I Love: The I’m Easy Scene From Robert Altman’s Nashville

Posted on February 20, 2025 by Lisa Marie Bowman

Since today would have been Robert Altman’s 100th birthday, it only seems right that today’s song of the day should come from his best film. In this scene from 1975’s Nashville, Keith Carradine sings I’m Easy as Altman’s camera finds each of his lovers in the audience, all convinced that Carradine is singing expressly to them.

This song won Nashville it’s only Oscar. It also made Keith, who wrote the song, the only Oscar winner amongst the fabled Carradine family.

I Watched A Winner Never Quits (1986, dir. by Mel Damski)

Posted on January 28, 2025 by Dazzling Erin

In 1945, Peter Gray made history when he became the first one-armed major league baseball player. Gray grew up in poverty in Pennsylvania. His father was a miner and Peter was one of five children. He was only seven years old when he lost his right arm in a wagon accident but he loved baseball and he wasn’t going to let his disability keep him from playing. He learned how to bat and catch and throw with his left hand. He quit school when he was thirteen and worked for a while as waterboy while playing baseball in the local leagues. Eventually, he made his way up to the minor leagues and, in 1945, he was called up to the majors. He played one season for the St. Louis Browns.

The media loved the story of the one-armed baseball player but Peter always said that he resented feeling like he was being put on display whenever he took the field. He was a competitive outfielder who could catch a ball, remove his glove, and then throw the ball to the infield just as quickly as anyone with two hands. As a hitter, he struggled because pitchers figured out early on that he couldn’t hit the breaking ball. After the 1945 season, Peter was sent to back to the minors, where he spent the rest of his career. Though Peter was known for being an angry player who resented anyone pointing out his disability, he still made time to visit amputees in military hospitals to show them that they could still find success and to encourage them to chase after their dreams.

Peter’s story was the basis of A Winner Never Quits, which I watched on YouTube this weekend. It was a good baseball movie, starring Keith Carradine as Peter. What I liked is that the movie didn’t make him into a saint. Carradine played Peter as being angry and with a definite chip on his shoulder. Peter had every right to be angry and I’m glad the movie acknowledged that. In both the movie and in real life, Peter was worried that he was just being treated as a sideshow. In the movie, his attitude improves when he meets a young boy who recently lost his arm and who looks up to Peter. Peter remained a friend to the boy and his family for the rest of his life. A Winner Never Quits is about pursuing what you love and never giving up. That’s what baseball is all about. A Winner Never Quits is a good and inspiring baseball movie that’s not just for the fans.

The Films of 2025: Laws of Man (dir by Phil Blattenberger)

Posted on January 15, 2025 by Lisa Marie Bowman

Laws of Man opens with two U.S. marshals driving through the desert of Utah. Tommy Morton (Jackson Rathbone) is young and impulsive, a Korean war vet who is quick to open fire. Frank Fenton (Jacob Keohane) is older and more cautious. He also served in the military, though his service was during World War II. Frank is haunted by flashbacks to a particularly gruesome battle. Tommy and Frank may spend most of their time wearing black suits in the desert but neither one breaks a sweat.

The year is 1963. Kennedy is in the White House. The communists are on the move. And Tommy and Frank are busy executing arrest warrants in the most desolate part of the country. An attempt to arrest Mormon cult leader Crash Mooncalf (Ricard Brake) leads to a bloody shootout that leaves Mooncalf and his followers dead. Their next assignment leads them to a small town in Nevada, where Bill Bonney (Dermot Mulroney) and his violent family is suspected of killing local ranchers and stealing their land.

From the minute that Tommy and Frank arrive in Nevada, something feels off. They stay at a cheap motel, where Tommy picks up a woman named Dinah (Ashley Gallegos) and Frank spends his time talking to a bartender named Callie (Kelly Lynn Reiter). An old rancher named Don Burgess (Forrie J. Smith) shows off his gun and says that he would rather suffer a violent death than give up his land. A traveling preacher named Cassidy Whitaker (Harvey Keitel) approaches Frank in the parking lot and starts talking about sin and redemption. Meanwhile, FBI agent Galen Armstong (Keith Carradine) appears to be curiously unconcerned with the Bonneys and their reign of violence. As for the sheriff (Graham Greene), he spending his time sitting outside a burned-out ranch house. The charred bodies of the owners are still inside, seated around the dinner table.

An attempt to arrest Bill Bonney at his home leads to a violent shootout, one in which no one is killed but Bill is still not happy about having a bunch of bullet holes in his roof. Tommy and Frank attempt to serve the arrest warrant, just to discover that it’s not going to be as easy as they thought. Frank, whose World War II flashbacks are getting more and more intense, wants to leave town. Tommy, however, is obsessed with discovering what exactly everyone is hiding.

And, through it all, people who know their history will notice that the film is taking place in November of 1963 and the 22nd is rapidly approaching….

Laws of Man gets off to a strong start but begins to meander about halfway through. Luckily, the film’s final third features a wonderfully insane twist that recaptures the viewer’s attention. No matter what you may think is going on in the film, it can’t prepare you for just how weird things eventually get. Laws of Man is an entertaining film, one that is occasionally a bit too self-consciously quirky for its own good but which ultimately works. Jackson Rathbone and Jacob Keohane both give strong performances in the lead roles and the familiar faces in the film’s supporting cast all do their best to bring the film’s often surreal world to life. Dermot Mulroney and Keith Carradine give especially strong performance while Harvey Keitel appears to be having fun as the offbeat preacher.

Laws of Man managed to truly take me by surprise. For fans of paranoid cinema, it’s definitely worth making time for.

Lisa Marie Reviews An Oscar Nominee: The Power of the Dog (dir by Jane Campion)

Posted on January 5, 2025 by Lisa Marie Bowman

It’s interesting how quickly a film can be forgotten.

Based on a novel by Thomas Savage, The Power of the Dog was one of the most anticipated films of 2021. It was considered to be a front runner for Best Picture even before it was released. Even though everyone knew 2021 was going to be the year that the Academy finally got around to giving Will Smith the Oscar, there was still a lot of excitement about the idea of Benedict Cumberbatch playing a sinister and closeted cowboy named Phil Burbank. The first teaser featured Cumberbatch being wonderfully creepy. I remember that I was certainly looking forward to it.

When it finally showed up in theaters and then premiered on Netflix, the reviews were …. respectful. They were positive but they weren’t exactly enthusiastic. This was the type of film where people noted that it was well-made and well-acted but it seemed to just be missing a little something. The film was nominated for a lot of Oscars but, in the end, it only won one, for Jane Campion’s direction. (And Campion, unfortunately, had to spend the days leading up to the ceremony dealing with a stupid controversy over a very mild joke she made to Serena and Venus Williams about how making a movie was more difficult than playing tennis.) People admired the skill that went into The Power of the Dog but, in the end, it was CODA that captured the hearts of the Academy. CODA may not have been as technically well-made as Power of the Dog but CODA was a film that made people cry. And, in 2021, voters who had spent an entire year being told that they would die a horrible death if they even dared to leave their house without putting on a mask, decided to vote with their hearts.

Taking place in 1925 Montana, The Power of the Dog centers on two prominent ranchers, the Burbank brothers. Phil Burbank is a man’s man, a bluff and hearty type who lives to conquer the land and who doesn’t have much use for women. Phil looks down on anything that he considers to be a sign of weakness, like showing emotion or making paper flowers. And yet, Phil is also fiercely intelligent and Ivy League-educated, a man who is capable of playing beautiful music but who has decided not to. Phil is cruel and manipulative. Perhaps the only person that he’s ever respected is his mentor, Bronco Henry. Phil’s admiration for Henry and his collection of gay pornography tells us all we need to know about why Phil is so obsessed with maintaining his “manly” image.

His brother, George (Jesse Plemons), is a much more sensitive soul than Phil and yet, he allows himself to be dominated by his brother. It’s not until George meets and marries a widow named Rose (Kirsten Dunst) that he starts to come out of his shell. Angry that Rose seems to be freeing George from his domination, Phil goes out of his way to make her life miserable, even preventing Rose from playing the piano. In her loneliness, Rose starts to drink. Phil, meanwhile, sets himself up as a mentor (and potentially more) for Rose’s sensitive and introverted son (Kodi Smit-McPhee), who does like to make paper flowers but who also has an obsession with his late father’s medical books….

The Power of the Dog is a film that I had mixed feelings about. On the one hand, I did respect the craft that went into making the film. The Montana scenery was both beautiful and ominous. And I thought that both Jesse Plemons and Kirsten Dunst gave award-worthy performances. Dunst, especially, really captured the pain of Rose’s life on the ranch. Plemons, meanwhile, made George’s gentle nature compelling, which is not always the easiest thing for an actor to do. At the same time, Benedict Cumberbatch was miscast as Phil and Kodi Smit-McPhee’s performance was a bit too cartoonishly creepy for the film’s ending to really be as shocking as it was obviously meant to be. Ultimately, the main problem with the film was that Campion, as a director, kept the audience from really connecting with the characters. The film was well-made but almost as emotionally remote as Phil Burbank and it left the audience feeling as if they were on the outside looking in. While the book leaves you feeling as if you’re actually in Montana and allows you into the hearts of all of the characters, even Phil, the movie leaves you feeling as if you’ve just watched a really carefully-made film that ultimately treated you as scornfully as Phil treated Rose.

Because it is such a well-made film, The Power of the Dog is a film worth watching but it’s not necessarily a film that leaves you with any desire to watch a second time. For all the excitement that the film generated before it was released, it was largely forgotten after it lost the Oscar for Best Picture to CODA.

The Unnominated: The Long Riders (Dir by Walter Hill)

Posted on March 10, 2024 by Lisa Marie Bowman

First released in 1980, The Long Riders is one of the many films to tell the story of the James/Younger Gang.

A group of former Confederate guerillas who became some of the most notorious bank robbers to roam post-Civil War America and who were based in Missouri, the brothers who made up the James/Younger Gang were hunted by the Pinkertons and beloved by the citizens who viewed them as being 19th Century Robin Hoods. Following a disastrous attempt to rob a bank in Northfield, Minnesota, the Younger brothers were captured by the government while Jesse and Frank James made it back to Missouri. Jesse was shot in the back by Bob Ford while Frank subsequently surrendered to authorities and made a good living on the lecture circuit.

The Long Riders tells the story of the gang, from their first encounter with the heavy-handed Pinkertons to the Northfield raid to Frank’s eventual surrender. Director Walter Hill both celebrates the legend of the James/Younger Gang while also emphasizing that all the members of the gang were also individual humans who had their strengths and their flaws. Hill emphasizes the idea of the gang being a group of post-war rebels, still fighting a war against a government that is more interested in protecting banks than looking after people. The Long Riders deconstructs the legend while also celebrating it.

The main thing that sets The Long Riders apart from other films about the James/Younger Gang is the fact that the brothers are played by actual brothers. David, Keith, and Robert Carradine plays the Youngers. Randy Quaid plays Clell Miller while Dennis Quaid assumes the role of the cowardly Ed Miller. Nicholas and Christopher Guest make a memorably creepy impression as Charley and Bob Ford. And finally, Jesse and Frank James are played by James and Stacy Keach. (The Keaches also worked on the film’s script). And while Stacy is definitely the more charismatic of the Keach brothers, the film makes good use of James’s rather stoic screen presence. While the rest of the gang enjoys the outlaw life, James Keach’s Jesse is rigid, serious, and ultimately too stubborn and obsessive for his own good.

Now, the casting might sound like a gimmick but it works wonderfully. When Clell chooses the gang over Ed, it carries an emotional weight because we’re watching real brothers reject each other. The comradery between the Carradines carries over to the comradery between the Youngers and it also informs their occasional rivalry with the better known James brothers. While it is Stacy Keach and David Carradine who ultimately dominate the film, every brother in the cast makes a strong impression. Also giving a memorable performance is Pamela Reed as a defiantly independent Belle Starr, who loves David Carradine’s Cole Younger but marries Sam Starr (James Remar). The knife fight between Carradine and Remar is one of the film’s highlights, as is the violent and disastrous attempt to rob the bank in Northfield.

The Long Riders is an exciting and ultimately poignant western but sadly, it received not a single Oscar nomination, not even for the stunning cinematography or Ry Cooder’s elegiac score. Fortunately, just like the legend of the James/Younger Gang, The Long Riders lives on.

Previous entries in The Unnominated:

October True Crime: Winter of Frozen Dreams (dir by Eric Mandlebaum)

Posted on October 15, 2023 by Lisa Marie Bowman

The 2009 film, Winter of Frozen Dreams, opens with a young woman named Barbara Hoffman (Thora Birch) in a Wisconsin courtroom in 1980. She is on trial, having been accused of committing two murders. The jury reads their verdict and the film flashes back three years to show us how how Barbara ended up in that courtroom.

It’s a bit of an odd way to open the film, one that robs the story of any suspense. The story of Barbara Hoffman is a true one but, unlike other true crime stories, it’s not a commonly known one. I had not heard of Barbara Hoffman until I watched this film and, after the film ended, I immediately went to Google to make sure that the film was actually telling the truth when it claimed to be based on a true story. Barbara Hoffman and her trial apparently were a big deal in 1980. (Her trial was the the first murder trial to ever be televised.) But it is now so obscure that it doesn’t even have a Wikipedia entry.

As seen in the film, Barbara Hoffman was a genius. She had a 145 IQ and was the valedictorian of her high school class. She went to college to study chemistry and was doing quite well academically. However, when she got a job answering the phones in a massage parlor, she realized that she could make a lot more money as a sex worker than as a chemist. She dropped out of college before starting her final semester and went to work for a pimp named Ken Curtis (Dean Winters).

Barbara was engaged to two different men. One was Harry Berge (Dan Moran), who has a taste for bondage and being ritually humiliated. At first, his co-workers thought he was kidding when he started introducing the much younger Barbara as being his fiancée but Harry actually signed over all of his property to her and allowed Barbara to take out a life insurance policy on him.

It was Barbara’s other fiancé, a mild-mannered video clerk named Jerry Davies (Brendan Sexton III), who Barbara called on Christmas to tell him that she had discovered Harry’s dead and battered body in her bathroom. Convinced that Harry had been murdered by Ken, Jerry helped Barbara to hide the body in the Wisconsin snow. Of course, even while Jerry was helping Barbara cover up Harry’s death, Barbara was taking out a considerable life insurance policy on him.

After Jerry has an attack of conscience and leads the police to the body, it falls to the pipe-smoking Detective Lulling (Keith Carradine) and his partner (Leo Fitzpatrick) to figure out who was responsible for Harry’s murder. Lulling’s instinct is to suspect Barbara but everyone else seems to think that either Ken or Jerry is the more obvious suspect. After all, Barbara’s a genius. Why would she kill someone?

It’s an interesting story, though Winter of Frozen Dreams is never quite as compelling as one might wish. Some of that is because, despite her genius IQ, Barbara herself never becomes that interesting of a character and Thora Birch never seems to be that invested in her performance. She delivers her lines in a rather flat manner, never really showing the charisma necessary to be convincing as a real-life femme fatale. That said, you do feel sorry for the two men, especially Brendon Sexton III. And Keith Carradine and Leo Fitzpatrick make for an amusing detective team. I almost wish the two of them had starred in their own series, where they traveled the Pacific Northwest and solved small town murders.

Of course, the biggest problem with this movie is that it opens with the verdict so we already know what’s going to happen. We know who is going to die and we know what’s going to happen to Barbara as a result. There’s zero suspense as to how things are going to work out. It’s an error on the part of the filmmakers and an unfortunate one.

Retro Television Reviews: Trial By Fire (dir by Alan Metzger)

Posted on August 6, 2023 by Lisa Marie Bowman

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 1995’s Trial By Fire! It can be viewed on YouTube!

Trial By Fire opens with an absolutely heart-breaking scene, in which a teenager named Kip Bouchmeyer (Andrew Kavovit) enters his bedroom, closes and locks the door (and, in the process, locks out his dog, who sits out in the hallway sadly), and then proceeds to shoot himself.

The upper class community in which Kip lived is stunned by his suicide but they are soon also scandalized by reports that Kip had been having an affair with one of his teachers, Paulette Gill (Gail O’Grady). Paulette denies the rumors but soon, Kip’s friends are coming forward and saying that Kip not only told them about the affair but that some of them spied on Kip while he was with her. Paulette continues to deny the accusations but still loses her teaching license. Paulette is put on trial, accused of seducing Kip and setting off the chain of events that led to his death. The only people who seem to be willing to believe Paulette’s side of the story are Paulette’s husband, Roger (Michael Bowen), and her attorney, Owen Turner (Keith Carradine).

Indeed, it doesn’t take long for Owen to discover that there are several inconsistencies in the stories that the other students are spreading about Paulette and how she behaved as a teacher. Owen starts to suspect that Kip’s friends met after Kip’s suicide and concocted the story of Kip and Paulette’s affair on their own. But why would they do that and, more importantly, can Owen convince anyone else?

There have been a lot of movies made about teachers seducing and carrying on affairs with students. (I wrote about one of them, Murder in New Hampshire, just a few weeks ago.) There have been far less films made about teachers who are falsely accused. Interestingly enough, Trial By Fire is based on a true story. Paulette Gill was a real teacher and, just as in the movie, she really was accused of contributing to the death of one of her students. Because it’s based on a true story, Trial By Fire doesn’t answer every question that was raised by the case. Though the film leaves no doubt that Paulette was innocent of seducing Kip, the film leaves it to the viewer to decide whether she was the victim of an actual conspiracy or if a bunch of teenagers just had an overactive imagination. The film also leaves it to the viewer to decide as to whether or not Paulette allowed herself to get too close to her students, even if she didn’t actually have an affair with Kip. It could be argued that Paulette allowed herself to care too much about Kip and was rather naïve in not realizing how easily gossip can spread in a high school. But I think it could also be argued that it’s better to care too much than to not care at all.

It’s a good movie, though a rather sad one. (The image of that dog sitting outside of Kip’s bedroom left me depressed for a full day.) The cast, which is full of TV regulars, does a good job with their characters. I especially liked Keith Carradine’s performance as the tough but fair-minded attorney. Trial By Fire takes a familiar subject and gives it an unexpected spin, leaving the audience to consider what their own complicity would have been if they had found themselves in the same situation.